DDPs Favorite Tandas:

Canaro—Late ’30s/Early ’40s Vocals

Todo te nombra, singer Ernesto Famá (1939)
Como dos extraños, singer Ernesto Famá (1940)
Copa de ajenjo, singer Francisco Amor (1941)
Cuartito azul, singer Francisco Amor (1939)

The strictest rules of traditional tango DJing require all songs in a tanda to be by the same orchestra, and also all vocals to be by the same singer. Often, this makes sense because different singers recorded with orchestras in different eras, and the sound of the orchestra can change drastically (with Di Sarli this is especially true). And some singers are so iconic (like Raúl Berón or Alberto Podestá), with such well-known voices, that it is rarely advisable to put them in a set with other vocalists.
Clearly, I don’t feel that way about Ernesto Famá and Francisco Amor. This is not a reflection on these artists or their singing; rather, it is a function of the fact that Francisco Canaro‘s sound in this period is consistent and even. These tangos are all up-tempo, though the lyrics are in fact sad and nostalgic.
We start off with the hypnotic “Todo te nombra” (literally, Everything Calls Your Name, though perhaps a better translation would be Everything Reminds Me of You), one of Canaro’s own compositions. Next comes “Como dos extraños” (Like Two Strangers), an often-covered tango composed by Pedro Laurenz, whose orchestral style is quite distinct from Canaro’s. Then we switch over to Francisco Amor, singing “Copa de ajenjo” (Cup of Absinthe), one of many tangos where alcohol helps ease a jilted man’s pain. Closing the tanda, I have the classic “Cuartito azul” (Little Blue Room), a coming-of-age song about bidding farewell to the home of one’s youth.


About Derrick Del Pilar

Born and raised in Chicago, I came to the tango while studying at the Universidad de Belgrano in Buenos Aires in 2006. In 2008 I earned my B.A. with majors in Creative Writing and Spanish & Portuguese from the University of Arizona, and in 2009 I earned an M.A. in Latin American Studies at the University of California, Berkeley. My specialty is the history & literature of early 20th century Argentina.


5 thoughts on “Canaro—Late ’30s/Early ’40s Vocals

  1. Where is the ❤ button? For this tanda and this site. I've been using it for practising and dancing to.

    Posted by terpsichoral | 03.11.2011, 12:30 pm


  1. Pingback: Listening to the follower | Tango Addiction - 16.07.2012

  2. Pingback: The sedentary and the mobile | Tango Addiction - 29.04.2012

  3. Pingback: Biagi: Vocals with Jorge Ortiz « DDP's Favorite Tandas - 07.11.2011

What Do You Think of This Tanda?

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: