Araca la cana (1933)
En la huella del dolor (1934)
Niebla del Riachuelo (1937)
Osvaldo Fresedo directed an orchestra that incorporated harps, vibraphones, and even drums. In the late 1920s they were the favorites of upper class salons in Buenos Aires.
His signature sound is sweet and mellifluous—some may find it cloying, but I find it charming. Roberto Ray is his classic vocalist of the 1930s. The two opening songs put more emphasis on the beat than the latter two, which move into very light, romantic territory, though as with many tangos the lyrics are mournful.