An Annotated List of Tandas

Osvaldo Pugliese
by Stephen Brown

Using the Classics of Tango Dance Music as a guide, I have recorded the more than 100 preset tandas listed below—each on compact disc with a cortina at the end.  In making these tandas my objective was to create coherent sounding tandas that capture the best recordings of each tango orchestra.  My Old Annotated List of Tandas presents less coherent tandas but may still be a useful reference.

(Organized by Epoch and Style)

Old Guard — Orquesta Típica Victor, Carabelli, Lomuto, Fresedo
Early Golden Age — De Caro, Canaro
Golden Age Harder Rhythmic — D'Arienzo, Biagi, Rodríguez
Golden Age Softer Rhythmic — Tanturi, Caló, Laurenz, D'Agostino, Troilo, Di Sarli
Golden Age Smooth — Di Sarli, Canaro, Fresedo, Troilo
Golden Age Lyrical — Caló, Troilo, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis
Golden Age Dramatic — De Angelis, Pugliese
Transitional and New Tangos
Modern Dance Orquestas
Neo-Tango Music
Milongas
Valses
La Cumparsita — The Finale

Old Guard — Orquesta Típica Victor, Carabelli, Lomuto, Fresedo

The tangos of the old guard generally had less complex arrangements and simpler rhythms in comparison to tangos played during golden age and later eras.  These tandas can be used sparingly in early in the evening when simple rhythms will help the dancers find the beat of the music.  They can also be used in the morning—as a postscript or cup of coffee after to a full evening of dancing.

Los Tubatango
(Los Tubatango is a modern era orchestra that plays in old-guard style with unique instrumentation—flute, guitar, bandoneón and tuba—that is fun when used sparingly.)
    Rodríguez Peña
    Una Noche de Garufa
    Almagro
    Zorro Gris
    – all from Una Noche de Garufa  (Music Hall  10044-2 discontinued)

Orquesta Típica Victor – Che Papusa Oí
(On some versions of this CD, the tracks are mislabeled.  The tangos below are found on tracks 1, 3, 8 and 14)
    Negro
    Pato
    Re Fa Si
    Che Papusa Oí
    – all from 1926-1940  (El Bandoneón  EBCD 85)

Orquesta Típica Victor – Adiós Buenos Aires
    Niño Bien
    El Porteñito
    Ventarrón
    Adiós Buenos Aires
    – all from RCA Victor 100 Años

Adolfo Carabelli
    Felicia
    Mi Refugio
    El Caburé
    Cuatro Palabras
    – all from Cuatro Palabras  (El Bandoneón EBCD 87)

Osvaldo Fresedo – Tigre Viejo
(These tracks presage the early golden age.)
    Tigre Viejo
    Poliya
    Pimienta
    Arrabalero
    – all from Susana Miller CD #3

Early Golden Age — De Caro, Canaro

Tangos from the early golden age represent a transition from the old guard to the golden age of tango.  They have clear, simple rhythms but show signs of the stronger orchestration that characterizes golden age tangos.  When the sound reproduction is of sufficient quality, these tandas can be used early in the evening to help educate the dancers to the beat.

Julio De Caro – Golden Age
    El Monito
    Colombina
    Derecho Viejo
    Boedo
    – all from Instrumental Tangos of the Golden Age  (Harlequin compilation HQCD 45)

Francisco Canaro – La Melodía de Nuestro Adiós
(This tanda is a classic set of tracks to help dancers find the beat of tango music.)
    La Melodía de Nuestro Adiós
    Pampa
    Retintín
    – all from La Melodía de Nuestro Adiós  (El Bandoneón EBCD 30)

Francisco Canaro y su Quinteto Pirincho
    Viento en Popa
    Don Esteban
    Champagne Tango
    – all from Nobleza de Arrabal  (El Bandoneón EBCD 90)

Francisco Canaro – Poema
(This tanda has both a lyrical and early golden-age sound.  It ends with the truly sublime "Poema."  You can now assemble this tanda from commercial sources, but all four tracks are found together on the Susana Miller compilation with a sound quality that cannot be beat.)
    Viejos Tiempos
    Mala Suerte
    Cuartito Azul
    Poema
    – all from Susana Miller compilation CD (#1 or A)

Mixed Tanda
(Although some purists would object to this mix of orchestras, dancers seem to enjoy it.  It works well early in the evening.)
    La Melodía de Nuestro Adiós – Francisco Canaro,
    – from La Melodía de Nuestro Adiós (El Bandoneón EBCD 30)
    Yo Soy El Tango – Miguel Caló,
    – from Yo Soy el Tango  (El Bandoneón EBCD 34)
    El Once – Osvaldo Fresedo,
    – from El Pibe de la Paternal  (El Bandoneón  EBCD 48)
    Mano a Mano – Francisco Lomuto
    – from Great Bands of Tango's "Golden Age" 1936-47  (Harlequin HQCD 89)

Golden Age Harder Rhythmic — D'Arienzo, Biagi, Rodríguez

In the 1930s, Juan D'Arienzo and Rodolfo Biagi joined together to revolutionize tango by returning to strong staccato rhythms in 2x4 time while using more modern arrangements and instrumentation.  After leaving D'Arienzo's orchestra, Biagi formed his own orchestra and added more striking and challenging rhythmic elements to the music.  For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised).  The strong ric-tic-tic rhythms of the music played by either orchestra seems to insist on milonguero- or club-style dancing.  The simpler rhythms of D'Arienzo's music helps the dancers find the rhythm for milonguero-style dancing.  Once the dancers find the rhythm for milonguero-style dancing, Biagi's music is a wonderful challenge.

Juan D'Arienzo – El Rey del Compás
    Retintín
    Don Esteban
    El Irresistible
    La Morocha
    – all from El Rey del Compás  (El Bandoneón EBCD 43)

Juan D'Arienzo – El Flete
(The third track, Pensalo Bien, is a vocal track but it provides a nice addition to the instrumental tracks.  For those who want a soley instrumental tanda, El Africano from the CD El Gran D'Arienzo, Vol. 1 or Ataniche from the D'Arienzo CD Sus Primeros Exitos, Vol 2. could be subsituted.)
    Unión Cívica
    – from El Rey del Compás  (El Bandoneón)
    Canaro en París
    – from La Puñalada  (Blue Moon)
    Pensalo Bien
    – from The Tango Lesson  (Sony movie soundtrack)
    El Flete
    – from The Tango Lesson  (Sony  movie soundtrack)

Juan D'Arienzo – El Africano/El Flete
(The third track, Pensalo Bien, is a vocal track but it provides a nice addition to the instrumental tracks.  For those who want a soley instrumental tanda, Ataniche from the D'Arienzo CD Sus Primeros Exitos, Vol 2. could be subsituted.)
    El Cencerro
    – from El Gran D'Arienzo, Vol. 1, 1937 (Fueye)
    El Africano
    – from El Gran D'Arienzo, Vol. 1, 1937 (Fueye)
    Pensalo Bien
    – from The Tango Lesson  (Sony movie soundtrack)
    El Flete
    – from The Tango Lesson  (Sony  movie soundtrack)

Juan D'Arienzo – Felicia
    El Internado
    – from La Puñalada  (Blue Moon BMT 011)
    Jueves
    – from La Puñalada  (Blue Moon BMT 011)
    Pampa
    – from Cambalache  (El Bandoneón)
    Felicia
    – from La Puñalada  (Blue Moon BMT 011)

Juan D'Arienzo – 9 de Julio
    9 de Julio
    – from Sus Primeros Exitos, Vol. 1  (Tango Argentino BMG-RCA)
    La Viruta
    – from Sus Primeros Exitos, Vol. 1  (Tango Argentino BMG-RCA)
    El Porteñito
    – from Sus Primeros Exitos, Vol. 2  (Tango Argentino BMG-RCA)
    Derecho Viejo
    – from Sus Primeros Exitos, Vol. 1  (Tango Argentino BMG-RCA)

Juan D'Arienzo con Alberto Echagüe
    Paciencia
    – from La Cumparsita (El Bandoneón)
    Cambalache
    – from Cambalache  (El Bandoneón)
    No Va Más
    – from Cambalache  (El Bandoneón)
    Che Negrito
    – from Vol. 21  (Club Tango Argentino CTA 321)

Juan D'Arienzo con Héctor Mauré
    Ya Lo Ves
    Mirame en la Cara
    Enamorado (Metido)
    Amarras
    – all from D'Arienzo/Maure  (Solo Tango)

Juan D'Arienzo con Mario Bustos
    Justo El 31
    Si Soy Así
    No Te Quiero Más
    Susanita
    – all from Tangos Orilleros  (Tango Argentino BMG-RCA)

Juan D'Arienzo – Para el Mundo
The music in this tanda was recorded in stereo during the concert era.  The playing seems to combine the smoother, powerful sensibilities of Di Sarli with the rhythms of D'Arienzo.)
    La Morocha
    Germaine
    Inspiración
    Criolla Linda
    – all from Tangos Para el Mundo, Vol. 2  (Tango Argentino BMG-RCA)

Orquesta Juan D'Arienzo
(Juan D'Arienzo recorded the third track, "A Media Luz."  The other three tracks are newer recordings made by Orquesta Juan D'Arienzo, which was led by a former D'Arienzo sideman and played in classic D'Arienzo style.)
    Pampa
    – from La Cumparsita  (Philips)
    Derecho Viejo
    – from La Cumparsita  (Philips)
    A Media Luz
    – from Tangos Para el Mundo, Vol. 2  (Tango Argentino BMG-RCA)
    Don Juan
    – from La Cumparsita  (Philips)

Rodolfo Biagi con Alberto Amor
(The music in this tanda is played relatively close to the softer rhythmic style and has a wonderful romantic feel.)
    Nada
    Si La Llegaran A Ver
    Tus Labios Me Dirán
    Seamos Amigos
    – all from Sus Exitos con Alberto Amor  (EMI Reliquias)

Rodolfo Biagi – Instrumentals
    Pura Clase
    – from Solos de Orquesta  (EMI Reliquias)
     Racing Club
    – from Solos de Orquesta  (EMI Reliquias)
    Unión Cívica
    – from Sus Exitos con Andrés Falgas y Teófilo Ibáñez  (EMI Reliquias)
    El Recodo
    – from Solos de Orquesta  (EMI Reliquias)

Rodolfo Biagi – Racing Club
    Unión Cívica
    – from Sus Exitos con Andrés Falgas y Teófilo Ibáñez  (EMI Reliquias)
    Son Cosas del Bandoneón
    – from Sus Exitos con Andrés Falgas y Teófilo Ibáñez  (EMI Reliquias)
    Pura Clase
    – from Solos de Orquesta  (EMI Reliquias)
    Racing Club
    – from Solos de Orquesta  (EMI Reliquias)

Rodolfo Biagi – Instrumentals (2)
(Tracks 1, 2 and 3 also are found on Pura Clase on the Blue Moon label.  Track 3 also is found on Campo Afuera on the El Bandoneón label.)
    El Incendio
    – from Su Orquesta y Sus Cantores (EMI Reliquias)
    Pura Clase
    – from Solos de Orquesta  (EMI Reliquias)
    Di Di
    – from Solos de Orquesta  (EMI Reliquias)
    La  Maleva
    – from Su Orquesta y Sus Cantores (EMI Reliquias)

Rodolfo Biagi con Jorge Ortiz
(The fourth track, Racing Club, is an instrumental.)
    Humillación
    – from Sus Exitos con Jorge Ortiz  (EMI Reliquias)
    Señor, Señor
    – from Sus Exitos con Jorge Ortiz  (EMI Reliquias)
    Pájaro Ciego
    – from Sus Exitos con Jorge Ortiz  (EMI Reliquias)
    Racing Club
    – from Sus Exitos con Jorge Ortiz, Vol. 2  (EMI Reliquias)

Rodolfo Biagi con Andrés Falgas
(The fourth track, Unión Cívica, is an instrumental.)
    Cicatrices
    Son Cosas del Bandoneón
    A Mí No Me Interesa
    Unión Cívica
    – all from Sus Exitos con Andrés Falgas y Teófilo Ibáñez  (EMI Reliquias)

Enrique Rodríguez con Roberto Flores y Armando Moreno
(I pulled this tanda together from the now discontinued 27 Tangos: 1939-1952 on EMI.)
    Son Cosas del Bandoneón
    – from El "Chato" Flores en el Recuerdo (EMI Reliquias)
    A Media Luz
    – from Tangos con Armando Moreno (EMI Reliquias)
    Cómo Se Pianta la Vida
    – from Tangos con Armando Moreno Vol. 2 (EMI Reliquias)
    En la Buena y en la Mala
    – from Tangos con Armando Moreno (EMI Reliquias)

Golden Age Softer Rhythmic — Troilo, Tanturi, Caló, Laurenz, D'Agostino, Troilo, Di Sarli

Pedro Laurenz, Ricardo Tanturi, Aníbal Troilo, Miguel Caló, and Angel D'Agostino played with softer rhythmic accents than typified the music of Juan D'Arienzo and Rodolfo Biagi.  The softer rhythmic accents give the music a more romantic feel and the music supports dancing of either salon- or milonguero-style tango.  For the tangos in this style that have vocals, the singer stayed relatively close to the orchestra's rhythm, and an occasional mixing of vocals with instrumentals in the same tanda is possible (if not advised).  These tandas are useful throughout the evening, and some of the music—particularly that recorded by Miguel Caló—is quite romantic.

Aníbal Troilo – Pichuco
(I have listed these instrumental tangos as played in the softer rhythmic style, but some are close to the harder rhythmic style.)
    Cachirulo
    Milongueando en el 40
    Guapeando
    Cordón de Oro
    – all from Yo Soy El Tango  (Troilo en RCA Victor)

Aníbal Troilo con Francisco Fiorentino – Tinta Roja
(Francisco Fiorentino with the Aníbal Troilo Orquesta is one of the classic matches of singer with a tango orchestra.  They recorded in both a softer rhythmic style and a lyrical style.  I have listed these tangos as softer rhythmic, but some have elements of the lyrical style.)
    Tinta Roja
    El Bulín de la Calle Ayacucho
    Tabernero
    Toda Mi Vida
    – all from Troilo/Fiorentino  (Solo Tango BMG-RCA)

Ricardo Tanturi con Alberto Castillo – Noches de Colón
(To give this tanda a slightly harder-edged rhythmic feel, replace Muñeca Brava as the third track with Pocas Palabras from the CD Tangos de mi Ciudad.)
    Noches de Colón
    Al Compás de un Tango
    Muñeca Brava
    El Tango Es el Tango
    – all from Tanturi/Castillo  (Solo Tango BMG-RCA)

Ricardo Tanturi con Alberto Castillo – Cuatro Compases
    Ese Sos Vos
    – from Tangos de mi Ciudad  (Tango Argentino BMG-RCA)
    Así Se Baila El Tango
    – from El Tango...Es el Tango  (Tango Argentino BMG-RCA)
    Recuerdo Malevo
     – from El Tango...Es el Tango  (Tango Argentino BMG-RCA)
    Cuatro Compases
    – from El Tango...Es el Tango  (Tango Argentino BMG-RCA)

Miguel Caló – Yo Soy el Tango
(This tanda opens with two vocals by the great Alberto Podestá.  The third track is an instrumental.  The tanda closes with a rhythmic track sung by the great Raúl Berón.)
    Yo Soy el Tango
    – from Sus Exitos con Podestá, Ortiz y Berón  (EMI Reliquias)
    La Cantina
    – from Yo Soy el Tango  (El Bandoneon)
    La Maleva
    – from Recordando Viejos Temas (EMI Reliquias)
    Lejos de Buenos Aires
    – from Al Compás del Corazón  (EMI Reliquias)

Miguel Caló – Stock Privado
(The first and fourth tracks are instrumentals.  The second and third tracks are vocals.)
    Sans Souci
    – from Sus Exitos con Podestá, Ortiz y Berón  (EMI Reliquias)
    Tedio
    – from Sus Exitos con Roberto Arrieta  (EMI Reliquias)
    Tarde Gris
    – Sus Exitos con Raúl Iriarte, Vol. 2 (EMI Reliquias)
    Saludos
    – from Sus Exitos con Podestá, Ortiz y Berón  (EMI Reliquias)

Pedro Laurenz
    Arrabal
    Amurado
    De Puro Guapo
    Nunca Tuvo Novio
    –  all from Milonga de Mis Amores  (El Bandoneón)

Angel D'Agostino y Angel Vargas – A Pan y Agua
(The fourth track is the playful "A Pan y Agua," but its opening will remind some of "Café Domínguez.")
    Pero Yo Sé
    – from Tangos de los Angeles, Vol. 1  (Tango Argentino BMG-RCA)
    Una Pena
    – from Tangos de los Angeles, Vol. 1  (Tango Argentino BMG-RCA)
    Tres Esquinas
    – from Tangos de los Angeles, Vol. 1  (Tango Argentino BMG-RCA)
    A Pan y Agua
    – from Tangos de los Angeles, Vol. 2  (Tango Argentino BMG-RCA)

Angel D'Agostino y Angel Vargas – Hotel Victoria
    Shusheta (El Aristócrata)
    – from Tangos de los Angeles, Vol. 3  (Tango Argentino BMG-RCA)
    Mano Blanca
    – from Tangos de los Angeles, Vol. 2  (Tango Argentino BMG-RCA)
    Esta Noche en Buenos Aires
    – from Tangos de los Angeles, Vol. 2  (Tango Argentino BMG-RCA)
    Hotel Victoria
    – from Tangos de los Angeles, Vol. 2  (Tango Argentino BMG-RCA)

Angel D'Agostino y Angel Vargas – Café Domínguez
(This tanda closes with the classic "Café Domínguez.")
    Me Llaman Tango
    Caricias
    Mi Viejo Barrio
    Café Domínguez
    – all from Tangos de los Angeles, Vol. 4  (Tango Argentino BMG-RCA)

Carlos Di Sarli – Shusheta
(Although Di Sarli is most associated with the smooth style, the music in this tanda was recorded early in Di Sarli's career when he played in the softer rhythmic style.  It is suitable for dancing milonguero- or salon-style tango.)
    El Recodo
    La Torcacita
    La Cachila
    Shusheta
    – all from Instrumental, Vol. 2  (Tango Argentino BMG-RCA)

Golden Age Smooth — Di Sarli, Canaro, Fresedo, Troilo

Carlos Di Sarli, Francisco Canaro, Osvaldo Fresedo and Aníbal Troilo all recorded smooth-sounding music during the golden age of tango.  The music in this category generally lacks the rhythmic accents that help support milonguero-style dancing, but salon-style dancers find it quite enjoyable for dancing.

Carlos Di Sarli developed clean sounding arrangements, and his orchestra played the walking beat of salon tango that epitomizes golden age smooth.  His music helps educate dancers to the rhythm of salon-style tango and is useful early in the evening or whenever the DJ thinks the dancers need a refreshing change of pace or help in finding the rhythm.  It is also useful in the resolution to the evening's dancing.  Other than tracks found on Instrumental, Vol. 2, most of Di Sarli's music lacks the rhythmic accents used to support milonguero-style dancing.

Francisco Canaro contributed many recordings during the golden age of tango, but only a few are enjoyable to modern ears.  His lyrical recordings with singers wear much better.  Osvaldo Fresedo is associated with the early golden age, but he also contributed smooth-sounding and lyrical recordings during the golden age.  Some of Fresedo's golden-age recordings have the rhythmic elements that help support milonguero-style dancing, but most dancers tend to treat the music as smooth.

Over his career, Troilo gradually made a shift from a softer rhythmic sound to a concert sound.  In the process of the transition, he recorded many well-regarded tangos with a smooth sound.

Carlos Di Sarli – Comme Il Faut
    Don Juan
    Tinta Verde
    El Once
    Comme Il Faut
    – all from Solo Tango, Instrumental Vol. 1  (Solo Tango BMG-RCA)

Carlos Di Sarli – Milonguero Viejo
(A great tanda with a classic set of tracks.)
    A La Gran Muñeca
    El Caburé
    Mi Refugio
    Milonguero Viejo
    – all from Milonguero Viejo  (Music Hall 10018-2 discontinued)

Carlos Di Sarli – El Ingeniero
    Champagne Tango
    – from Instrumental  (Tango Argentino BMG-RCA)
    Organito de la Tarde
    – from Solo Tango, Instrumental Vol. 1  (Solo Tango BMG-RCA)
    Cara Sucia
    – from Solo Tango, Instrumental Vol. 1  (Solo Tango BMG-RCA)
    El Ingeniero
     – from Solo Tango, Instrumental Vol. 1  (Solo Tango BMG-RCA)

Carlos Di Sarli – Bahía Blanca
(These four tracks are from the 1958 Philips session and appeared together on the now discontinued Di Sarli CD Bahía Blanca that was released by Polydor.)
    El Abrojo
    – from Susana Miller compilation CD (#1 or A)
    Una Fija
    – from Susana Miller compilation CD (#1 or A)
    Indio Manso
    – from Susana Miller compilation CD (#1 or A)
    Bahía Blanca (1958 version)
    – from The Tango Lesson  (Sony)

Aníbal Troilo – Quejas de Bandoneón
    Quejas de Bandoneón
    El Marne
    Don Juan
    El Pollo Ricardo
    – all from Su Mejores Momentos  (Music Hall discontinued)

Golden Age Lyrical — Caló, Troilo, Di Sarli, Canaro, Fresedo, Tanturi, Demare, De Angelis

During the golden age, sometimes the singer sang with orchestra, sometimes the orchestra played for the singer.  Many of the major orchestras that played in the softer rhythmic or smooth styles also recorded music in which they played for the singer.  Done right, the result was a compelling, lyrical sound.  These tandas have a wonderfully romantic and seductive feel that can help build the mood of the evening.

Miguel Caló con Raúl Berón
(This tanda has wonderfully romantic tangos for dancing with that special someone late in the evening.)
    Al Compás del Corazón
    Trasnochando
    Qué Te Importa Que Te Llore
    Tristezas de le Calle Corrientes
    – all from Al Compás del Corazón  (EMI Reliquias)

Miguel Caló con Raúl Berón (alternate)
(This tanda has a little more rhythmic feel.)
    Qué Te Importa Que Te Llore
    Tarareando
    Lejos de Buenos Aires
    Tristezas de le Calle Corrientes
    – all from Al Compás del Corazón  (EMI Reliquias)

Aníbal Troilo con Francisco Fiorentino – Malena
(Francisco Fiorentino with the Aníbal Troilo Orquesta is one of the classic matches of a singer with a tango orchestra.  They recorded in both a softer rhythmic style and a lyrical style.  This tanda has lyrical tangos and ends with the classic "Malena.")
    Pájaro Ciego
    En Esta Tarde Gris
    Sencillo y Compadre
    Malena
     – all from Troilo/Fiorentino, Vol. 1  (Solo Tango BMG-RCA)

Aníbal Troilo con Francisco Fiorentino – Gricel
(This tanda has lyrical tangos and opens with the wonderful "Barrio de Tango" and closes with the sublime "Gricel.")
    Barrio de Tango
     – from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)
    Maragata
     – from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)
    Suerte Loca
     – from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)
    Gricel
     – from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)

Aníbal Troilo con Francisco Fiorentino – Malena/Gricel
(This tanda of lyrical tangos combines some of the best Troilo/Fiorentino recordings.)
    Pájaro Ciego
     – from Troilo/Fiorentino, Vol. 1 (Solo Tango BMG-RCA)
    Barrio de Tango
     – from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)
    Gricel
     – from Troilo/Fiorentino, Vol. 2 (Solo Tango BMG-RCA)
    Malena
     – from Troilo/Fiorentino, Vol. 1  (Solo Tango BMG-RCA)

Carlos Di Sarli con Roberto Rufino
    Verdemar
    Tristeza Marina
    Cascabelito
    Charlemos
    – all from Sus Primeros Exitos, Vol. 1  (Tango Argentino BMG-RCA)

Carlos Di Sarli con Jorge Durán
    Porteño y Bailarín
    Un Tango y Nada Más
    Duelo Criollo
    Vieja Luna
    – all from Porteño y Bailarín  (Tango Argentino BMG-RCA)

Francisco Canaro – Poema
(This tanda has both a lyrical and early golden-age sound.  It ends with the truly sublime "Poema."  You can now assemble this tanda from commercial sources, but all four tracks are found together on the Susana Miller compilation with a sound quality that cannot be beat.)
    Viejos Tiempos
    Mala Suerte
    Cuartito Azul
    Poema
    – all from Susana Miller compilation CD (#1 or A)

Francisco Canaro – Uno
(This tanda consists of wonderfully romantic tangos for dancing with that special someone.  The romantic softness of Uno may not be too appealing if the mood and the sound equipment aren't right.)
    Uno
    –  from Desde el Alma (EMI Reliquias)
    Nido Gaucho
    – from Desde el Alma (EMI Reliquias)
    Como Dos Extraños
    – from Tangos Inolvidables del '40 (EMI Reliquias)
    Cada Vez Que Me Recuerdes
    – from Desde el Alma (EMI Reliquias)

Osvaldo Fresedo con Roberto Ray – Vida Mía
(This tanda has wonderfully romantic tangos for dancing with that special someone either late in the evening as the drama builds or during the resolution or denouement of the evening's dancing.  These tracks may be better classified as old guard lyrical, but they play well as golden age lyrical.  The rhythmic accents that support milonguero-style dancing are present in the music to some extent, but the overall impression is smooth and lyrical, and most dancers respond that way.)
    Vida Mía
    Niebla del Riachuelo
    Pampero
    Sollozos
    – all from Tangos de Salón  (Tango Argentino BMG-RCA)

Ricardo Tanturi con Enrique Campos – Domingo a la Noche
    Muchachos Comienza la Ronda
    Oigo Tu Voz
    Malvón
    Domingo a la Noche
    – all from Una Emoción  (Tango Argentino BMG-RCA)

Ricardo Tanturi con Enrique Campos – Una Emoción
(The second track, "Raza Criolla," is an instrumental.)
    Qué Nunca Me Falte
    – from Una Emoción  (Tango Argentino BMG-RCA)
    Raza Criolla
    – from Noches de Tango  (Tango Argentino BMG-RCA)
    Así Se Canta
    – from Una Emoción  (Tango Argentino BMG-RCA)
    Una Emoción
    – from Una Emoción  (Tango Argentino BMG-RCA)

Lucio Demare – Tango Guapo
(All of these tracks can also be found on the CD Tango Guapo on the El Bandoneón label.)
    Al Compás de un Tango
    – from Sus Exitos con Miranda, Berón y Quintana (EMI Reliquias)
    Canción de Rango
    – from Sus Primeros Exitos (EMI Reliquias)
    Tango Guapo
    – from Sus Primeros Exitos (EMI Reliquias)
    Malena
    – from Sus Exitos con Miranda, Berón y Quintana (EMI Reliquias)

Lucio Demare con Raúl Berón
    Una  Emoción
    Y Siempre Igual
    Tal Vez Será Su Voz
    Oigo Tu Voz
    – all from Sus Exitos con Raúl Berón (EMI Reliquias)

Alfredo De Angelis – Adiós Marinero
(Drawn from an orchestra that is better known for its dramatic tangos and lyrical valses, this tanda opens and closes with lyrical tangos and has two smooth instrumentals in the middle.  All of these tracks also can be found on the CD Adiós Marinero on the El Bandoneón label.)
    Adiós Marinero
    – from Los Dúos de Carlos Dante y Julio Martel (EMI Reliquias)
    Pura Maña
    – from Los Primeros Instrumentales (EMI Reliquias)
    El Entrerriano
    – from Los Dúos de Carlos Dante y Julio Martel, Vol. 2 (EMI Reliquias)
    Compadrón
    – from 20 Exitos, Vol. 1 (EMI Reliquias)

Golden Age Dramatic — De Angelis, Pugliese

Alfredo De Angelis and Osvaldo Pugliese played dramatic music that is best used to increase tension and build to the height of the evening.  As the evening builds to a climax, more Pugliese and De Angelis is included in the mix.  The music on the De Angelis tanda and the first three Pugliese tandas have simpler rhythms and might be earlier in the evening than the next two Pugliese tandas.  Of the tandas in this section, only the Pugliese tanda that I have called "De Caro por Pugliese" is suitable for early evening play.

Alfredo De Angelis – Pavadita
(This dramatic tanda closes with the must-be-played classic Pavadita.  The wonderful "Mi Dolor" replaces "Guardia Vieja" quite readily.)
    El Tango Club
    – from Instrumentales Inolvidables  (EMI Reliquias)
    Guardia Vieja
    – from From Argentina to the World  (EMI)
    El Pial
    – from From Argentina to the World  (EMI)
    Pavadita
    – from From Argentina to the World  (EMI)

Osvaldo Pugliese – De Caro por Pugliese
(This tanda captures some of Pugliese's recordings of DeCaro tangos, which which are wonderful for dancing but do not have the heavy thumping "La Yumba" beat that people associate with Pugliese.  Orgullo Criollo was recorded a bit later, but it still fits with the other tangos.  I put this tanda together from the now discontinued CD, De Caro por Pugliese on EMI Pampa.)
    Tierra Querida
    – from Instrumentales Inolvidables  (EMI Reliquias)
    Mala Junta
    – from Instrumentales Inolvidables  (EMI Reliquias)
    Orgullo Criollo
    – from Sus Grandes Exitos  (EMI Reliquias)
    Boedo
    – from Instrumentales Inolvidables, Vol. 2  (EMI Reliquias)

Osvaldo Pugliese – Corrientes y Esmeralda
(This tanda is primarily of early Pugliese recordings which are wonderful for dancing but do not have the heavy thumping "La Yumba" beat that people associate with Pugliese.  The first tango is a vocal.)
    Corrientes y Esmeralda
    – from Sus Exitos con Roberto Chanel  (EMI Reliquias)
    Mala Estampa
    – from Instrumentales Inolvidables  (EMI Reliquias)
    Tiny
    – from Instrumentales Inolvidables  (EMI Reliquias)
    El Remate
    – from Instrumentales Inolvidables  (EMI Reliquias)

Osvaldo Pugliese – Recuerdo/Fuimos
(This tanda is of music in which Pugliese made during his transition to the heavy thumping "La Yumba" beat.  The last two tangos are vocals.)
    Recuerdo
    – from Instrumentales Inolvidables  (EMI Reliquias)
    El Arranque
    – from Instrumentales Inolvidables  (EMI Reliquias)
    Farol
    – from Ausencia  (EMI Odeon)
    Fuimos
    – from Ausencia  (EMI Odeon)

Osvaldo Pugliese – Remembranza
(This tanda contains three incredibly passionate vocals and the classic instrumental "Chique.")
    Pasional
    Chiqué
    Cascabelito
    Remembranza
    – all from Ausencia  (EMI Odeón)

Osvaldo Pugliese – La Yumba/La Tupungatina
(I have made four tandas that open with the must-be-played "La Yumba" and close with the wonderful "Gallo Ciego."  The bittersweet "La Rayuela" and the sublime "La Tupungantina" are what make this tanda my favorite.)
    La Yumba
    – from The Tango Lesson  (Sony movie soundtrack)
    La Rayuela
     – from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
    La Tupungatina
    – from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias)
   Gallo Ciego
    – from From Argentina to the World  (EMI)

Osvaldo Pugliese – La Yumba/Yunta de Oro
(This tanda of classics opens with the must-be-played "La Yumba" and continues with the rhythmic "Yunta de Oro" and sublime "La Tupungatina" before closing with the wonderful "Gallo Ciego.")
    La Yumba
    – from The Tango Lesson  (Sony movie soundtrack)
    Yunta de Oro
     – from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
    La Tupungatina
    – from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias)
   Gallo Ciego
    – from From Argentina to the World  (EMI)

Osvaldo Pugliese – La Yumba
(This tanda of classics opens with the must-be-played "La Yumba" and continues with great intensity through "Nochero Soy" and "La Mariposa" to close with the wonderful "Gallo Ciego.")
    La Yumba
    – from The Tango Lesson  (Sony movie soundtrack)
    Nochero Soy
    – from Ausencia  (EMI Odeón)
    La Mariposa
    – from Ausencia  (EMI Odeón)
    Gallo Ciego
    – from From Argentina to the World  (EMI)

Osvaldo Pugliese – La Tupungatina
(This tanda illustrates my philsophy in constructing a tanda.  Susana Miller's DJ organized the songs to build intensity within the tanda.  His ordering — "La Tupungatina," "El Embrollo," "La Rayuela," "Gallo Ciego" — starts with sweet subtlety and gradually builds with bitterness through the next two tangos before culminating in intensity.  My ordering starts with a dramatic bittnerness that pulls dancers onto the floor but then softens to sweetness through the next two tangos before culminating in intensity.  The effect is more like a hammock, and I find the contribution to the evening's intensity is stronger.)
    La Rayuela
     – from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
    El Embrollo
    – from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
    La Tupungatina
    – from Cantan Alberto Moran y Roberto Chanel (EMI Reliquias)
    Gallo Ciego
    – from From Argentina to the World  (EMI)

Osvaldo Pugliese – Nochero Soy/La Mariposa
(This tanda of classics opens with the intense classic "Nochero Soy" and closes with the floating but intense "La Mariposa."  All these tangos have the classic "La Yumba" beat, but they also have lengthy departures in which the beat is submerged.  The sound borders on the transitional era when the Pugliese orchestra played dramatic concert music.)
    Nochero Soy
    – from Ausencia  (EMI Odeón)
    A Mis Compañeros
    – from Instrumentales Inolvidables, Vol. 2 (EMI Reliquias)
    El Embrollo
    – from Instrumentales Inolvidables, Vol. 3 (EMI Reliquias)
    La Mariposa
    – from Ausencia  (EMI Odeón)

Osvaldo Pugliese – Tinta Roja
(The music in this tanda is from the transitional era when the Pugliese orchestra played dramatic concert music. It can be used for social dancing, but do not be surprised if some dancers engage in theatrics.)
    Tinta Roja
    Arrabal
    A Los Amigos
    El Andariego
    – all from From Argentina to the World  (EMI)

Osvaldo Pugliese – A Evaristo Carriego
(The truly stunning music in this tanda represents the transitional era when the Pugliese orchestra played dramatic concert music.  It can be used for social dancing, but do not be surprised if some dancers engage in theatrics.)
    Emancipación
    – from From Argentina to the World  (EMI)
    Pata Ancha
    – from From Argentina to the World  (EMI)
    La Bordona
    – from From Argentina to the World  (EMI)
    A Evaristo Carriego
    – from Nostálgico  (DBN Polydor)

Transitional and New Tangos

In the late 1940s and early 1950s, tango orchestras began to shift away from dance music toward a concert sound that culminated in the new tango of Astor Piazzolla.  The music from these eras is well recorded but is generally less well suited for social dancing than music from the golden age.  I have pulled together a few tandas of music that are played with a dance beat and have the dramatic and lyrical qualities of tangos from the transitional and new-tango eras.  Tandas from these eras should be used sparingly, and care should be used in selecting music for the tandas and in positioning them during the evening's mix of music.

Alfredo Gobbi
    La Viruta
    Orlando Goñi
    Puro Apronte
    Racing Club
    – all from Instrumentales Inolvidables (Tango Argentino BMG-RCA)
    or Alfredo Gobbi (Solo Tango BMG-RCA)

Florindo Sassone
(Some dancers may have difficulty connecting with complex rhythms of this music.  Others will be exhilirated by it.)
   La Viruta
    – Bien Milonguero Vol. 2  (EMI Reliquias)
    Rawson
    – Bien Milonguero Vol. 1  (EMI Reliquias)
    Bar Exposición
    – Bien Milonguero Vol. 1  (EMI Reliquias)
    Rodríguez Peña
    – Bien Milonguero Vol. 1  (EMI Reliquias)

Mixed Tanda – Verano Porteño
(Dancers seem to enjoy this tanda of dramatic and lyrical tangos which can be used to help build toward the climax of the evening, but do not be surprised if some dancers engage in theatrics.)
    Francini-Pontier – A Media Luz
    – from Tango I  (JVC discontinued)
    Tango Bar (Raúl Juarena) – Nostálgico
    – from Tango Bar (Chesky)
    Carlos García and Tango All Stars – Adiós Nonino
    – from Tango II  (JVC discontinued)
    Raúl Garello – Verano Porteño
    – from Compilation, Buenos Aires by Night  (EMI)

New York Tango Trio
(This is a tanda of dramatic music that stirs fond memories for those who have seen the New York Tango Trio live.)
    El Entrerriano
    Yuyito
    9 de Julio
    – all from Cabarute  (Lyrichord 7428)

Litto Nebbia Quinteto
(This tanda of lyrical music can be used during the resolution or denouement of the evening's dancing.  It can also be used to refresh the dancers as the drama is building toward the height of the evening.  Although the music has a simple, clear beat, it does not seem to inspire dancers when it is played early in the evening.)
    Malandra
    Tango Canyengue
    Cabarét
    Nostálgias
    – all from Tangos Argentinos de Enrique Cadícamo  (Iris 980)

Mixed Tanda – Oblivion
(Languid describes the music in this tanda.  As such, the tanda is only useful during the denouement of the evening's dancing, when the dancers are contemplating oblivion themselves.  Use at any other time could send the DJ to oblivion in short order.)
    Trío Pantango – Silbando
    – from Tango Argentino  (ARC  EUCD 1257)
    Hugo Díaz (harmonica) – Milonga Triste
    – from The Tango Lesson  (Sony movie soundtrack)
    Daniel Barenboim –  Mi Buenos Aires Querido
    – from Tangos Among Friends
    Gidon Kremer – Oblivion
    – from Hommage à Piazzolla

Modern Dance Orquestas

Some modern tango orchestras, most notably Orquesta Color Tango, have returned to the dance beat that characterized the golden era of tango dance music. The recordings made by modern dance orchestras typically have more intricate arrangements with a little more of a dramatic concert feel than those made during the golden era, but the dance beat is prominent and the fidelity is much better than on the old recordings.

Orquesta Color Tango – Emancipación
(This contemporary orchestra now sounds quite similar to that of the Pugliese orchestra during the transitional era.  It first recorded with a Pugliese concert sound.)
    Emancipación
    – from Con Estilo para Bailar, Vol. 2 (Techno disc)
    Recuerdo
    – from Con Estilo para Bailar, Vol. 2 (Techno disc)
    Festejando
    – from Con Estilo para Bailar (Techno disc)
    A Evaristo Carriego
    – from Con Estilo para Bailar, Vol. 2 (Techno disc)

El Arranque
(The last track is actually concert-era Troilo, but it has a dance beat and fits quite well with the other three by Orquesta El Arranque.)
    El Arranque
    – from Tango (Vaiven)
    El Abrojito
    – from Tango (Vaiven)
    Zorro Gris
    – from Tango (Vaiven)
    Don Juan (Aníbal Troilo)
    – from RCA 100 Años  (BMG RCA)

Mixed Tanda – Color Tango, Cadícamo, Varela
    Orquesta Color Tango – Unión Cívica
    – from Con Estilo para Bailar, Vol. 3
    Enrique Cadícamo – Bar Nocturno
    – from Dance to Cadícamo's Music  (Melopea)
    Adriana Varela – Como Dos Extraños
    – from Maquillaje  (Melopea)
    Orquesta Color Tango – Yunta de Oro
    – from Con Estilo para Bailar, vol. 3

Mixed Tanda – Oblivion (2)
(Mae West once said, "Too much of a good thing can be wonderful."  Hence a second tanda ending in "Oblivion."  On this tanda, most of the tracks are played by modern-era orchestras.  Some dancers may find the rhythms of the third track, "Zum," to be a little challenging.)
    Aníbal Troilo – Don Juan
    – from RCA 100 Años  (BMG-RCA)
    Sexteto Sur – Tanguera
    – from Libertango  (Victor Japan)
    Orquesta Color Tango – Zum
    – from Con Estilo para Bailar (Techno disc)
    Quartango – Oblivion
    – from Esprit (Justin Time)

Neo-Tango Music

Neo-tango consists of two genres of music: tango-fusion and "alternative tango" music.  Tango fusion integrates tango rhythms with those of other musical traditions to create a modern and culturally relevant world tango music with a dance-club sound.  Alternative tango music is tango music from other traditions or non-tango music that some dancers find interesting for dancing Argentine tango steps.  At its best, neo-tango music adds variety and fidelity to an evening.  At its worst, neo-tango is simply a music to which tango steps can be executed.

The use of neo-tango music depends critically upon who is at the milonga.  Some dancers love neo-tango music and expect to hear it at the milongas they attend.  Dancers who are steeped in tango traditions often dislike it.  Consequently, the use of neo-tango music requires considerable judgement from the DJ (which I hope that I am developing).  I don't usually play much more than an occasional tanda of neo-tango music at a milonga, and when do so, I frequently recombine the tango-fusion music from the tandas listed below—occasionally including alternative tangos that are not listed.

Mixed Tanda – Tango-Fusion/Electronica
(This tanda starts with a track that has only a light layer of electronica and gradually builds to the explosive Felino.  All the tracks adhere reasonably closely to tango sensibilities.  For a variation use Bajofondo's En Mí/Soledad in place of one the Libedinsky tracks.)
    Carla Pugliese – Ostinato
    – from Ojos Verdes Cerrados
    Carlos Libedinsky – Otra Luna
    – from Narcotango (Tademus)
    Carlos Libedinsky – Vi Luz y Subí
    – from Narcotango (Tademus)
    Electrocutango – Felino
    – from Felino (Rapid Productions)

Mixed Tanda – Tango-Fusion
(This tanda contains a mixture of tango-fusion music that adheres reasonably close to a tango sound.  In comparison to some tango-fusion recordings, these pieces have subtantially fewer dance-club layers to obscure the tango rhythms.)
    Gotan Project – Una Música Brutal
    – from La Revancha del Tango (discgraph)
    Gotan Project – Queremos Paz
    – from La Revancha del Tango (discgraph)
    Carlos Libedinsky – Vi Luz y Subí
    – from Narcotango (Tademus)
    Bajofondo – En Mí/Soledad
    – from Bajofondo Tango Club (Universal)

Gotan Project
(A French/Argentine group helped create the tango-fusion sound by layering Argentine tango with other dance rhythms.  Many still consider Gotan Project to offer the best tango-fusion music.)
    Queremos Paz
    Una Música Brutal
    Epoca
    Santa María (del Buen Ayre)
    – all from La Revancha del Tango (discgraph)

Neo Tango – En Mí/Soledad
(This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound.  "El Tango" is a bit more challenging than some of the other pieces.)
    Bajofondo TangoClub – En Mí/Soledad
    – from Bajofondo TangoClub
    Hi Perspective – El Tango
    – from Leçons de Tango
    Carlos Libedinsky – Plano Secuencia
    – from Narcotango
    Tango Project – Sentimientos
    – Vol. II New Tango

Tango-Fusion Tanda
(This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound.  For tango-fusion, the first three tracks have a languid and deeply emotional sound.  The tango rhythm is a bit deeper in the mix on the fourth track.)
    Bajofondo – En Mi/Soledad
    – from Bajofondo Tango Club (Universal)
    Carlos Libedinsky – Vi Luz y Subí
    – from Narcotango (Tademus)
    Carlos Libedinsky – Otra Luna
    – from Narcotango (Tademus)
    Hi Perspective – El Tango
    – from Leçons de Tango

Neo Tango – Otra Luna
(This tanda lacks the heavy electronica found in much tango-fusion music.  It shows the softer, more languid side of neo-tango music, but still has a propulsive beat.  It works best after several more dramatic tandas.  Some dancers may find "Youkali" and "Praga" too languid.)
    Carlos Libedinsky – Otra Luna
    – from Narcotango (Tademus)
    Carla Pugliese – Ostinato
    – from Ojos Verdes Cerrados
    Mizrahi-Longhi – Youkali
    – from Carne Argenta
    Mizrahi-Longhi – Praga
    – from Carne Argenta

Neo Tango – Perfume
(This tanda contains a mixture of tango-fusion music that adheres reasonably closely to a tango sound.)
    Bajofondo TangoClub – Perfume
    – from Supervielle
    Tanghetto – Una Llamada
    – from Emigrante
    Tanghetto – Inmigrante
    – from Emigrante
    Bajofondo TangoClub – Pulso
    – from Supervielle

Mixed Tanda – Neo Tango de Roxanne
(The tanda opens with two tangos that have a languid and deeply emotional sound.  "Naranjo en Flor" has stronger dance-club feel, which helps create a transition to the dramatic "El Tango de Roxanne.")
    Bajofondo – En Mí/Soledad
    – from Bajofondo Tango Club (Universal)
    Carlos Libedinsky – Vi Luz y Subí
    – from Narcotango (Tademus)
    Hybrid Tango – Mas de lo Mismo
    – from Hybrid Tango
    Ewan McGregor, José Feliciano and Jacek Koman – El Tango de Roxanne
    – from Moulin Rouge soundtrack (Interscope)

Milongas

The fast pace of milonga music can help give a lift to everyone's energy.  It can also be used to exhaust the dancers and send them off the dance floor for a break.

Francisco Canaro – Slow Milongas
(This tanda consists of relatively slow but frequently played milongas.  Some dancers may have difficulty connecting with the slow rhythms.)
    Milonga Sentimental
    – from La Melodía de Nuestro Adiós (El Bandoneón)
    Milonga del 900
    – from Todo Milonga (Club Tango Argentino 1051)
    Silueta Porteña
    – from La Melodía de Nuestro Adiós (El Bandoneón)

Francisco Canaro – Milongas
(Although Canaro's orchestra recorded many slow milongas, this tanda has moderately paced milongas that can be used for a variety of milonga dance styles.)
    Reliquias Porteñas
    No Hay Tierra Como La Mía
    Milonga Brava
    – all from Las Grandes Orquestas del Tango (Blue Moon)

Francisco Canaro – Milongas (2)
    Cuando Un Viejo Se Enamora
    – from Milongueando con Canaro
    La Milonga de Buenos Aires
    – from Francisco Canaro (Serie de Oro)
    Milongón
    – from Bailando Tangos, Valses y Milongas (EMI Reliquias)

Juan D'Arienzo – La Puñalada (Milongas)
(This tanda opens with the stereo recording of the great D'Arienzo milonga La Puñalada.)
    La Puñalada
    – from Tangos Para el Mundo, Vol. 2  (Tango Argentino BMG-RCA)
    Candombe Oriental
    – from Cambalache (El Bandoneón EBCD 110)
    La Espuela
    – from 1944/1949 (RCA) or Corrientes y Esmeralda, 1944-1949 (RCA)

Juan D'Arienzo – Milongas
    El Temblor
    – from El Rey del Compás  (El Bandoneón 43)
    Milonga Querida
    – from El Rey del Compás  (El Bandoneón 43)
    Milonga del Corazón
    – from La Cumparsita  (El Bandoneón 84)

Juan D'Arienzo – Milongas 2
    El Esquinazo
    – from Sus Primeros Exitos, Vol. 2  (Tango Argentino BMG-RCA)
    Milonga Vieja Milonga
    – from Milonga Vieja Milonga  (Danza y Movimiento compilation)
    De Pura Cepa
    – from Sus Primeros Exitos, Vol. 2  (Tango Argentino BMG-RCA)

Juan D'Arienzo – Milongas 3
(These milongas may give some dancers the impression of being faster than they are.)
    Estampa de Varón
    – from El Rey del Compás  (El Bandoneón 43)
    El Comandante
    – from Vol. 21  (CTA-321)
    Milonga Que Peina Canas
    – from Tango Bravo (Tango Argentino BMG-RCA) or La Puñalada  (Blue Moon BMT 011)

Juan D'Arienzo – Milongas 4
(These delightful milongas are at a somewhat slower pace than is typical of D'Arienzo.)
    El Potro
    – from Cambalache (El Bandoneón EBCD 110) or Juan D'Arienzo, Vol. 2 (Serie Arco Iris)
    La Cicatriz
    – from Milongueando (RCA)
    Me Gusta Bailar Milonga
    – from Cambalache (El Bandoneón EBCD 110) or Juan D'Arienzo, Vol. 2 (Serie Arco Iris)

Rodolfo Biagi – Milongas
(Biagi's milongas are fast paced with demanding rhythms.)
    Campo Afuera
    – from Sus Exitos con Andrés Falgás y Teófilo Ibáñez (EMI Reliquias) or Campo Afuera  (El Bandoneón EBCD 40)
    Picante
    – from Su Orquesta y sus Cantores (EMI Reliquias) or Campo Afuera  (El Bandoneón EBCD 40)
    Flor de Montserrat
    – from Sus Exitos con Alberto Amor  (EMI Reliquias)

Ricardo Tanturi con Alberto Castillo – Milongas
(There may be no better singer of milongas and candombes than Alberto Castillo.)
    Mozo Guapo
    Así Es la Milonga
    Mi Morocha
    – all from Tangos de Mi Ciudad  (Tango Argentino BMG-RCA)

Alberto Castillo – Candombes y Milongas
(There may be no better singer of milongas and candombes than Alberto Castillo.)
    Vestido Punzo
    Bronce
    Café
    – all from Candombes y Milongas (EMI Reliquias)

Aníbal Troilo/Francisco Fiorentino – Milongas
    Mano Brava
     – from Troilo/Fiorentino  (Solo Tango BMG-RCA)
    Ficha de Oro
    – from Del Tiempo Guapo  (El Bandoneón EBCD 47)
    Del Tiempo Guapo
    – from Troilo/Fiorentino Vol. 2  (Solo Tango BMG-RCA)

Pedro Laurenz – Milongas
    Milonga Compadre
    Yo Soy de San Telmo
    Milonga de Mis Amores
    – all from Milonga de Mis Amores  (El Bandoneón EBCD 82)

Miguel Caló – Milongas
(This sophisticated tanda closes with the great candombe, "Azabache.")
    Milonga Antigua
    – from Al Compás del Corazón  (EMI Reliquias)
    Milonga Que Peina Canas
    – from Sus Exitos con Podestá, Ortiz y Berón  (EMI Reliquias)
    Azabache
    – from Al Compás del Corazón (EMI Reliquias)

Carlos Di Sarli – Milongas
(A tanda of playful, lyrical, relatively light and delightfully danceable milongas.)
    Rosa Morena
    – from Sus Primeros Exitos, Vol 3.  (Tango Argentino BMG-RCA)
    Zorzal
    – from Sus Primeros Exitos, Vol 3.  (Tango Argentino BMG-RCA)
    La Mulateada
    – from Sus Primeros Exitos, Vol 3.  (Tango Argentino BMG-RCA)
    Pena Mulata
    – from Sus Primeros Exitos, Vol 1.  (Tango Argentino BMG-RCA)

Osvaldo Pugliese – Milongas
(Some dancers like Pugliese's milongas, but others won't dance to them.  This tanda opens and closes with what are regarded as the better Pugliese milongas.)
    Tortazos
    – from Cantan Alberto Morán y Roberto Chanel  (EMI Reliquias)
    Andá Que Te Cure Lola
    – from Cantan Alberto Morán y Roberto Chanel  (EMI Reliquias)
    Un Baile A Beneficio
    – La Yumba  (EMI Odeon)

Mixed Tanda – Milongas
(A contemporary mix that opens with two milongas and closes with two explosive candombes.  Although the second milonga is relatively short, this tanda may be a little too long for many dancers.  Consider ending after the third.)
    Miguel Villasboas – La Mulita
    – from Tango Rioplatense  (StarMusic)
    Dan Diaz and the Tango Camerata – Milonga del 900
    – from Live at Stanford  (Rio Plata Institute)
    Juan Carlos Cáceres – Tango Negro
    – from Toca Tango  (Discos CNR de Argentina)
    Juan Carlos Cáceres – Toca Tango
    – from Toca Tango  (Discos CNR de Argentina)

Mixed Tanda – Candombes
(A mix of classic and contemporary candombes that may be a little too long for many dancers.  Consider ending after the third.)
    Miguel Caló – Azabache
    – from Al Compás del Corazón  (EMI Reliquias)
    Alberto Castillo – Café
    – from Candombes y Milongas (EMI Reliquias)
    Juan Carlos Cáceres – Tango Negro
    – from Toca Tango  (Discos CNR de Argentina)
    Juan Carlos Cáceres – Toca Tango
    – from Toca Tango  (Discos CNR de Argentina)

Guitar Milongas
(A short collection of milongas featuring guitar and bandoneón that offer something a little different.)
    Aníbal Troilo/Roberto Grela – La Trampera
    – from Cuarteto Tipico
    Dan Diaz and the Tango Camerata – Milonga del 900
    – from Live at Stanford  (Rio Plata Institute)
   Esteban Morgado – Morena
    – from Cuestarriba Tango

Valses

Tango waltz music is delightfully lyrical and romantic.  Playing it usually lifts everyone's spirits.

Los Tubatango
    Francia
    Vibraciones del Alma
    Ilusión de Mi Vida
    – all from Una Noche de Garufa (Music Hall discontinued)

Francisco Canaro – Valses 1
    Ronda del Querer
    Adiós Juventud
    Para Ti Madre
    – all from La Melodía de Nuestro Adiós  (El Bandoneón EBCD 30)

Francisco Canaro – Valses 2
    Bajo el Cielo Azul
    – from Desde El Alma  (EMI Reliquias)
    Muchacha
    – from Tangos Inolvidables del '40  (EMI Reliquias)
    Yo No Sé Que Han Hecho Tus Ojos
    – from Te Acordás Hermano? (EMI Reliquias) or Tiempos Viejos  (Blue Moon)

Francisco Canaro con Nelly Omar – Valses
(The wonderful Nelly Omar sings the first and last valses.  Francisco Canaro's Quinteto Pirincho plays the instrumental in the middle.)
    Rosa de Otoño
    – Los 100 Mejores Tangos, Milongas y Valses del Milenio, Vol. 4  (El Bandoneón EBCD 304)
    Vibraciones del Alma
    – Tangos del Tiempo Viejo  (EMI Reliquias)
    Desde el Alma
    – Desde El Alma  (EMI Reliquias)

Quinteto Pirincho (Francisco Canaro) – Instrumental Valses
    El Trovero
    Francia
    María Esther
    – all from Tangos del Tiempo Viejo, Vol. 4 (EMI Reliquias)

Juan D'Arienzo – Amor y Celos (Valses)
(This tanda closes with the classic Amor y Celos.)
    Valsecito Criollo
    – Sus Primeros Exitos Vol. 2  (Tango Argentino BMG-RCA)
    Mentías
    – Sus Primeros Exitos Vol. 2  (Tango Argentino BMG-RCA)
    Amor y Celos
    – The Tango Lesson  (Sony movie soundtrack)

Juan D'Arienzo – Valses 1
    Valsecito Criollo
    – Sus Primeros Exitos Vol. 2  (Tango Argentino BMG-RCA)
    Cabeza de Novia
    – El Rey del Compás  (El Bandoneón EBCD 43)
    Mentías
    – Sus Primeros Exitos Vol. 2  (Tango Argentino BMG-RCA)

Juan D'Arienzo – Valses 2
    No Llores Madre
    – La Cumparsita  (El Bandoneón EBCD 84)
    Inolvidable
    – La Cumparsita  (El Bandoneón EBCD 84)
    Valsecito de Antes
    – Los 100 Mejores Tangos, Milongas y Valses del Milenio, Vol. 4  (El Bandoneón EBCD 304)

Rodolfo Biagi – Valses
(This tanda closes with Biagi's incredible instrumental rendition of "Lágrimas y Sonrisas.")
    Paloma
    – from Sus Exitos con Alberto Amor  (EMI Reliquias)
    Por Un Beso de Amor
    – from Sus Exitos con Jorge Ortiz, Vol. 2  (EMI Reliquias)
    Cuatro Palabras
    – from Sus Exitos con Jorge Ortiz, Vol. 2  (EMI Reliquias)
    Lágrimas y Sonrisas
    – from Sus Exitos con Jorge Ortiz  (EMI Reliquias)

Rodolfo Biagi – Amor y Vals (Valses)
(This tanda opens with the sublime "Amor y Vals" and closes with Biagi's incredible rendition of "Lágrimas y Sonrisas.")
    Amor y Vals
    – from Valses Inolvidables  (EMI Reliquias compilation)
    Paloma
    – from Sus Exitos con Alberto Amor  (EMI Reliquias)
    Lágrimas y Sonrisas
    – from Sus Exitos con Jorge Ortiz  (EMI Reliquias)

Ricardo Tanturi con Alberto Castillo – Valses
    Mi Romance
    Con Los Amigos
    La Serenata
    Recuerdo
    – all from Tangos de Mi Ciudad  (Tango Argentino DBN-RCA)

Pedro Laurenz – Valses
(Pedro Laurenz played unbeatable vals music.)
    Mascarita
    Paisaje
    Mendocina
    – all from Milonga de Mis Amores  (El Bandoneón EBCD 82)

Aníbal Troilo and Floreal Ruiz – Valses
(This tanda opens with a definitive rendition of "Romance de Barrio" and closes with the wonderful "Flor de Lino."  The listed sources are what I currently consider the best sounding commercial releases.  All of the tracks also can be found with lower-fidelity sound on several other releases.)
    Romance de Barrio
    – from Romance de Barrio  (Troilo en RCA Victor)
    Llorarás, Llorarás
    – from Maria  (Troilo en RCA Victor)
    Palomita Blanca
    – from Quejas de Bandoneon  (Troilo en RCA Victor)
    Flor de Lino
    – from Romance de Barrio  (Troilo en RCA Victor)

Miguel Caló – Valses
(Miguel Caló played incredibly romantic vals music.)
    Bajo un Cielo de Estrellas
    – from Valses Inolvidables  (EMI Reliquias compilation)
    Pedacito de Cielo
    – from Valses Inolvidables  (EMI Reliquias compilation)
    El Vals Soñador
    – from Al Compás del Corazón  (EMI Reliquias)

Carlos Di Sarli – Valses
    Cortando Camino (1941 w/ Rufino)
    – Sus Primeros Exitos Vol. 3  (Tango Argentino BMG-RCA)
    Rosamel (1940 w/ Rufino)
    – Sus Primeros Exitos Vol. 1  (Tango Argentino BMG-RCA)
    Ausencia (1940 w/ Volpe)
    – 1940-1943  (Colección 78 RPM Euro Records)

Carlos Di Sarli – Valses 2
    De Vuelta (1947 w/ Podestá)
    Estampa Federal (1942 w/ Podestá)
    Acuérdate de Mí (1946 w/ Durán)
    – all from Sus Primeros Exitos, Vol. 3 (Tango Argentino BMG-RCA)

Alfredo De Angelis – Valses
(All of these valses are absolutely delightful.  A four vals tanda may seem a little long, but it is common in Buenos Aires.)
    Flores del Alma
    A Magaldi
    Pobre Flor
    Soñar y Nada Más
    – all from Los Dúos de Carlos Dante y Julio Martel (EMI Reliquias) or Adiós Marinero  (El Bandoneón EBCD 35)

Miguel Villasboas – Valses
(A contemporary orchestra with a vintage sound that is great for valses.)
    Luna de Arrabal
    Angustias del Corazón
    Desde el Alma
    – all from Tango Rioplatense (StarMusic)

Mixed Tanda – Valses
(This tanda closes with the the incredible and dramatic Desde el Alma.)
    Orquesta Color Tango – Ilusión de Mi Vida
    – from Con Estilo para Bailar  (Techno Disc)
    Héctor Varela – Palomita Blanca
    – from Buenos Aires de Noche  (EMI compilation)
    Lalo Schifrin Orquesta – Corazón de Oro
    – from Tango, movie soundtrack
    Osvaldo Pugliese – Desde el Alma
    – from Ausencia  (EMI)

La Cumparsita — The Finale

When the DJ plays the classic "La Cumparsita," dancers know the milonga is ending and the evening is coming to a close.  At milongas in Buenos Aires, DJs typically play at least two versions of "La Cumparsita" to end the evening.  Dancers often dance the first version with whoever is nearby and reserve the second for someone special.  Sometimes DJs will play more than two versions of "La Cumparsita."

La Cumparsita with a Rhythmic Sound
(The following recordings have a rhythmic sound that is preferred by those who dance milonguero and club-style tango.)
    Roberto Firpo – De La Guardia Vieja  (EMI Reliquias)
    Los Tubatango – Una Noche de Garufa  (Music Hall discontinued)
    Francisco Lomuto – Great Orchestras of Tango’s Golden Age  (Harlequin)
    Francisco Canaro – Las Grandes Orquestas del Tango  (Blue Moon)
    Juan D'Arienzo – Sus Primeros Exitos  (Tango Argentino BMG-RCA)
    Juan D'Arienzo – Tangos para el Mundo  (Tango Argentino BMG-RCA)
    Angel D'Agostino y Angel Vargas – Tangos de los Angeles, Vol. 2  (Tango Argentino BMG-RCA)
    Rodolfo Biagi con Jorge Ortiz, Vol. 2  (EMI Reliquias)

La Cumparsita with a Smooth or Dramatic Sound
(The following recordings have a smooth or dramatic sound that is preferred by those who dance salon-style tango.)
    Carlos Di Sarli – Instrumental  (Tango Argentino BMG-RCA)
    Aníbal Troilo – Instrumental  (Tango Argentino BMG-RCA)
    Los Porteños – Tangos de Siempre  (Seyer)
    Alfredo De Angelis – From Argentina to the World (EMI)
    Orquesta Francini-Pontier – Tangos I  (JVC)
    Florindo Sassone – Bien Milonguero, Vol. 2  (EMI Reliquias)
    Carlos García – Tangos II  (JVC)
    Dan Diaz and the Tango Camerata – Live at Stanford
    Tango X 2 Orquesta – Una Noche de Tango
    Aníbal Troilo – RCA Victor 100 Años

La Cumparsita with Progressive Sound
(The following recordings are of jazz tango and may be appreciated by those who favor a progressive sound in their tango music.)
    New York Buenos Aires Connection – The New Tango  (VAI Audio)
    Quinteto Francisco Canaro – self titled  (Melopea)

La Cumparsita with a Neo-Tango Sound
    Buenos Aires Ensemble – Tango Chill Out