Don Juan—Orquesta Típica Victor, singer Alberto Gómez (1932)
Rodríguez Peña—Orquesta Adolfo Carabelli, singer Alberto Gómez (1932)
El Trece—Orquesta Adolfo Carabelli, singer Alberto Gómez (1932)
Ventarrón—Orquesta Típica Victor, singer Alberto Gómez (1933)
Here is one tanda that, in theory, should make purists balk. A tanda should sound coherent, so that dancers can spend all twelve-odd minutes adjusting to their partner and the conditions on the floor, not readjusting their bodies to drastically different music. And since each orchestra director put their own unique stamp on the music, often changing musicians and sound over time, coherence requires a tanda to be be composed of songs only by the same orchestra director, from the same time period. Mixing orchestras in a tanda of tangos is supposed to be the cardinal sin.
Well, guess what? I’m not really mixing orchestras here. Adolfo Carabelli, you see, was the director of the Orquesta Típica Victor from 1925–1936, but though he released some tracks under his own name and some under the Victor name (as the record label’s “house” orchestra), he wrote all the arrangements and used most of the same musicians and singers.
I chose these four songs because the mood and lyrics are all similar: upbeat, boastful, lighthearted.