Blas Clemente Catrenau at the milonga, showing of his great style of Argentine Tango dancing.

“El trompito” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1943; (English translation of the lyrics).

“El trompito” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1943; (English translation of the lyrics).

Blas Clemente Catrenau at the milonga, showing of his great style of Argentine Tango dancing.

“El Trompito”

Music & Lyrics: Enrique Cadícamo.

Nací en un barrio apartado,
allá por los Mataderos,
y de pebete, nomás,
bailé el Tango bien milonguero.

Me apadrinó el bandoneón
en mi lejana niñez
y en los bailongos rufleros
yo vi bailar los carreros.
Y por eso siento bien el Tango,
porque en el fandango
lo vi y lo aprendí.

La corrida de costao
es necesaria, muchachos,
como la caña al borracho,
como el cuchillo al asao.
El ocho, che, ha de trenzar
haciendo hamacar la piba
y en forma provocativa
la sentada hay que marcar.

Soy pa’l Tango como un trompo,
bailarín de meta y ponga.
Cuando salgo a la milonga
me salen a copiar
mi forma de bailar.
En los cortes me hago el rengo
y en las vueltas, con cuidao,
por la afinidad que tengo
me llaman “El Aceitao”.

Soy pa’l Tango como un trompo
porque el fuelle es un piolín.

English translation:

I was born in a remote neighborhood,
back in the slaughterhouses,
and since I was only a child,
I danced Tango well milonguero.

The bandoneon was my godfather
in my distant childhood
and in the humble crowded dancings
I saw the cart drivers dance.
And that’s why I have a good sense for Tango,
because in the fandango
I saw it and I learnt it.

The “corrida” sideways
it is necessary, guys,
like the drink to the drunk,
like the knife to the barbecue.
The “ocho”, che!, has to braid
rocking the girl
and provocatively
the “sentada” must be lead.

I am for Tango like a spinning top,
I am a skillful dancer.
When I go out to the milonga
they try to copy
my way of dancing.
In the “cortes” I play lame
and in the turns, with care,
for the dexterity I have
they call me “The Oiled”.

I’m for Tango like a spinning top
because the bellows is a thread.

More Tango lyrics

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"La ultima cita" music sheet cover | Agustín Bardi composer of Argentine Tango

“La última cita” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1944.

“La última cita” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1944.

Agustín Bardi

Violinist, pianist and composer (13 August 1884 – 21 April 1941)

His work at the company “La Cargadora” often forced him to move away from musical activity as a performer, which is why he never wanted to take responsibility for conducting an orchestra.

He did not like to play in the cabarets, since these performances had to be done very late at night, and he had to get up early for his daytime work. The last years of his performance as a professional pianist developed in dancing halls on Saturdays and Sundays in the halls of the Spanish and Italian collectives.

At the beginning of 1921, he toured the interior of Argentina, taking advantage of his vacation from the company, with Graciano De Leone.

It was the prelude to his definitive departure as a professional pianist.

Read more about Agustín Bardi at History of Tango

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Angel D'Agostino music at Escuela de Tango de Buenos Aires

“Así me gusta a mí” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1942.

Pianist, composer and leader

(25 May 1900 – 16 January 1991)

Angel D'Agostino. Argentine music at Escuela de Tango de Buenos Aires.

His orchestra had magic and that magic was perceived without need of grandiloquence, nor stentorian deeds.

Everything was achieved through its simplicity and its good taste.

That orchestra neither achieved the musical recognition that the orchestras of Aníbal Troilo, Carlos Di Sarli or Osvaldo Fresedo had, nor produced the popular phenomenon of the Juan D’Arienzo orchestra, but since 1940 up to the present, tango generations never stopped their respect and admiration towards him. Continue reading at www.todotango.com…

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Read it in Spanish…

Angel Vargas. Argentine music at Escuela de Tango de Buenos Aires.

“No aflojés” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1940.

Angel Vargas. Argentine music at Escuela de Tango de Buenos Aires.Ángel Vargas

Singer, lyricist and composer
(22 October 1904 – 7 July 1959)

He was the paradigm of the orchestra singer, to such an extent that when we refer to Ángel Vargas, we are inevitably reminded of Ángel D’Agostino, the orchestra leader of his greatest hits.

A singer with impressive personality, he is the symbol of porteño (from Buenos Aires) tango phrasing in the 40s. Vargas sings as only in the 40s tango was sung.
His phrasing was reo and compadrito but at the same time of an infinite good taste.

He had a sweetness which compensated for his small but masculine voice, he generated sympathy and was, above all, a charismatic singer.

Among his recordings these tango interpretations stand out “No aflojés”. Continue reading at www.todotango.com…

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Luis César Amadori. Argentine music at Escuela de Tango de Buenos Aires.

“Madreselva” by Ángel D’Agostino y su Orquesta Típica with Ángel Vargas in vocals, 1944.

Luis César Amadori. Argentine music at Escuela de Tango de Buenos Aires.Luis César Amadori

Lyricist, author, entrepreneur, filmmaker and journalist
(28 May 1902 – 5 June 1977)

Writing for theater unavoidably drove him to write as well the lyrics of numerous songs, mainly tangos. He said at an interview: «As we always had in our company a star who sang tangos —Azucena Maizani, Mercedes Simone and, for me, the dearest one, the unforgettable Sofía Bozán—, I began to write lyrics for tangos». Continue reading.

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