DDPs Favorite Tandas:

D’Arienzo: ’40s Vocals with Laborde & Echagüe

Color cielo, singer Armando Laborde (1944)
Después, singer Alberto Echagüe (1944)
No nos veremos nunca más singer Alberto Echagüe (1944)
Yuyo brujo, singer Armando Laborde (1949)

The tracks recorded with Hector Mauré are probably the most popular D’Arienzo’s vocals from the 1940s, especially outside of Buenos Aires.
This tanda, featuring tracks by Alberto Echagüe and Armando Laborde (yup, I mixed singers yet again!), sounds quite distinct from the late ’30s and early ’40s vocal tracks. You can hear the transition to this sound in the more romantic tangos recorded with Mauré, especially “Amarras.”
One of the things I like about all these songs is that they have very good lyrics. You may notice that 3 out of 4 are also longer than the 1930’s vocals. The earlier songs all clock in right around 2:30, give or take. “Color cielo” is 3:01, “Después” is 2:59, and “No nos veremos nunca más” is the longest of the bunch, at 3:26.  “Yuyo brujo” is the shortest, clocking in at 2:33.
This tanda has a dark mood. “Color cielo” (Sky Blue) is a lament for a lover who has died. You can read the lyrics to “Después” by clicking through above to Poesía de gotán (careful readers and listeners will note that I also featured this song in the previous Troilo/Marino tanda—you can really hear the difference in the two orchestra leaders’ approaches by listening to them in succession). “No nos veremos nunca más” is as bleak as you’d expect from a song titled “We Will Never See Each Other Ever Again.” “Yuyo brujo” (Witch’s Brew) is probably the lightest of the bunch—which isn’t really saying much.


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.


One thought on “D’Arienzo: ’40s Vocals with Laborde & Echagüe

  1. Fabulous tanda to use when dancers are primed for something emotionally heavy, but oh so satisfying!

    I have no problem mixing singers, and instrumentals, for that matter. Some DJs insist on not mixing these, but in my opinion the determining factor has to be the mood of the pieces.

    Posted by Patricia | 23.01.2015, 6:08 pm

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