WHEN THE TANGO GOT THE BLUES
1. TANGO MIO, Alberto Paz
2. CUIDADO CON LOS 50, Carlos Di Sarli
3. TIERRA QUERIDA, Osvaldo Pugliese
4. PIMIENTA, Osvaldo Fresedo
5. LOS MAREADOS, Hugo Baralis
6. MI BUENOS AIRES QUERIDO, Carlos Gardel
In the early times the tango was not stranger to the social commentary but its tone was festive and trivial.
Although it lacked a lyric for the argumentation and the message, the anecdotes of the city were recorded in the allegory of the title and the illustration and the song that adorned the title page of the musical score.
The tango kept its joy until the arrival of the professional lyricist who knew how to extract from the misery of its personages succulent benefits of popularity.
The arrival of the tango with a plot framed the end of the glorious age of the old guard and its most outstanding characteristics, Bohemia, interpretative improvisation, primacy of the dance, absence of a singer, survival of the reduced ensembles and amateurism.
Once upon a time happiness climbed over the pink mud walls of the suburb, and it permeated the Sunday clothes of the compadrito and the noisy chit chat of the lasses in the inner door.
The individual and collective failures of the Argentine man who had his greater poet in Enrique Santos Discepolo, contributed enormously to the saddening to the tango.
The old happy tango was left behind buried by that disclosed national sadness, hoping that the Argentines understand that the world is not a filth and that the sun rising every morning is the image of the always renewed joy to live, to live in that beloved land.
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