Bailemos   Leave a comment

Let’s dance (1955)
LYRICS by: Reynaldo Yiso
MUSIC by: Pascual Mamone
TRANSLATION by: Alberto Paz
Last updated on: 9/15/12
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Sing along with FLOREAL RUIZ with ORCHESTRA

Bandoneon player, arranger, bandleader and composer
(22 April 1921 – 15 September 2012)
On this day the great bandoneonist PASCUAL “CHOLO” MAMONE passed away at the age of ninety-one.
His last public performance was last Tuesday at Teatro Maipo, during the “Troilo Composer” CD release presentation, playing Triste Milonguero in the bandoneon that belonged to Anibal Troilo.Mamone was without a doubt, one of the great arrangers of the music of Buenos Aires. Much sought after by maestros of the caliber of Osvaldo Pugliese and Alfredo Gobbi, he earned an outstanding prestige in the difficult art of embellishing melodies.He had a profound respect for the essence of each composition, such as it was written by the composer, and wrote his arrangements and orchestrations with balance and detailed devotion, having specially in mind the style of the target orchestra and the distinguishing features of the singer.In 1936, with more will than knowledge, he joined the orchestra led by José Otero, an obscure group that used to play in the neighborhoods. But, three years later, he succeeded in making the acquaintance of his idol, Pedro Maffia, who agreed to teach him and polish his technique. His notable growth with the instrument encouraged his teacher who, in 1942, invited the latter to join his orchestra.In 1944, after he left Maffia, he began his career as arranger and he made himself noticed with his works for Pugliese, -since 1949 and for fifteen years-; for Roberto Caló, for whom he also on some occasion played the bandoneon; for Alfredo Gobbi, José Basso, Enrique Francini and Pedro Laurenz, among others, in the 50s.

He played and wrote the charts for the Florindo Sassone Orchestra in the late 40s and, soon thereafter, for Joaquín Do Reyes, for his programs on Radio El Mundo and at venues in the interior of the country.

In 1954 he joined the Alberto Morán’s orchestra, in a twofold role, as lead bandoneon player and arranger. The aggregation was conducted by the pianist Armando Cupo. Ten years later he likewise joined the group accompanying Miguel Montero, but those were difficult years for tango and he decided not to play any more, he took up other jobs, but kept on arranging for important musicians like Atilio Stampone and Leopoldo Federico.

In the latter years of the twentieth century he was in full activity, fronting small outfits, accompanying and recording with different vocalists, also as conductor of the Orquesta Municipal del Tango of the city of San Martín, province of Buenos Aires, with Choly Cordero and Luis Linares on vocals.

As a composer, his greatest hits were: “Bailemos”, a beautiful tango with lyrics by Reynaldo Yiso; with the same author, the milonga “Cuando era mía mi vieja” that Julio Sosa converted in a smash hit. Other interesting titles are: “Un regalo de Reyes” with lyric by Yiso; “Te quiero más” with Abel Aznar; “Al latir de Buenos Aires” with Norberto Rizzi; “Noche de duendes”, “Hay lugar” and “Platea” with Haidé Daibán, and the instrumentals “Negroide”, “Con lirismo”, “Vislumbrando” and, in collaboration with Roberto Caló, the milonga “Flauteando”.


No llores, no muchacha, la gente está mirando
bailemos este tango, el tango del adiós
así entre mis brazos, mirándote a los ojos
yo quiero despedirme sin llanto y sin dolor.

La vida caprichosa nos puso frente a frente
prendiendo en nuestro pecho la hoguera de un querer,
mas hoy, la misma vida nos manda separarnos
el sueño de querernos, ya ves, no puede ser.

como antes, cariñito,
abrazados, bien juntitos,
sólo un alma entre los dos
que no vea en tus pupilas
una lágrima furtiva,
ni una sombra, ni un dolor.
que después ya sin tus ojos
he de arrancar un sollozo
por mi amor y por tu amor.
estarás en mi desvelo
¡como una estrella en el cielo
prendida en mi corazón!

No intentes rebelarte, lo nuestro es imposible,
un sueño irrealizable que nunca floreció,
qué importa que nos una un mismo sentimiento
y encienda nuestras almas la antorcha del amor.

Que tengas mucha suerte, que Dios no te abandone,
yo sé que a mí me espera la eterna soledad,
no tiembles en mis brazos, te ruego me perdones,
el tango ya termina, salgamos a llorar.

Don’t cry, girl don’t cry, people are watching
Let’s dance this tango, the farewell tango
This way in my arms, looking you in the eyes
I want to say good bye without tears or pain.

The fickle life brought us face to face
igniting in our chests the bonfire of love,
but today, life itself asks us to separate
the dream of loving, you see, can not be.

Let’s dance,
as before, darling,
embraced, really closed
just one soul between the two
Let’s dance
may I not see in your eyes
a furtive tear,
not a shadow, not any pain
Let’s dance
that later already away from your eyes
I will go on sobbing
for my love and for your love.
you will be in my sleeplessness
like a star in the sky
shining in my heart!

Don’t try to rebel, our affair is impossible
an unrealizable dream that never bloomed,
no matter to be bonded by the same feeling
and turn on our souls the torch of love.

Best of luck, may God not abandon you,
I know that for me is waiting the eternal loneliness
do not tremble in my arms, I beg you to forgive me,
the tango is almost over, let’s dance and cry.

Copyright (c) Planet Tango 1998-2012 All Rights Reserved


Posted September 15, 2012 by Alberto & Valorie in Reinaldo Yiso

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La mulateada   Leave a comment

Bunch of mulattoes (1943)
LYRICS by: Carlos Pesce
MUSIC by: Julio Eduardo Del Puerto
TRANSLATION by: Alberto Paz
Last updated on: 6/28/12
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Mazorqueros were social elements surrounding ruler Don Juan Manuel de Rosas cooperating with the Rosas’s police in maintaining order.
Chinesco is a musical instrument consisting of a metal frame from where bells hang, all horned into a wooden handle to make it sound when shaken.
Restaurador was the name given to ruler Juan Manuel de Rosas.
Locro is a regional meat and vegetable stew.
Federal is a partisan of the ruling political party
Están de fiesta, en la calle larga
Los mazorqueros de Monserrat,
Y entre las luces de las antorchas
Bailan los negros de La Piedad.
Se enlaza Pancho, rey del candombe
Con la mulata más Federal,
Y en los cuarteles de la Recova
Sueña el mulato sentimental.

Baila mulata linda
Bajo la luna llena,
Que al chi qui chi, del chinesco
Canta el negro del tambor.
Baila mulata linda
De la divisa roja,
Que están mirando los ojos
De nuestro Restaurador.

Ya esta servida la mazamorra
Y el chocolate tradicional,
Y el favorito plato de locro
Que ha preparado un buen Federal.
Y al son alegre de tamboriles
Los novios van a la Concepción,
Y al paso brinda la mulateada
Por la más santa Federación.

They’re celebrating on the long street
The mazorqueros of Montserrat,
And among the lights of torches
The La Piedad black folks are dancing .
Pancho, king of candombe binds
With the most Federal mulatto girl,
And in the barracks of the Recova
The sentimental mulatto dreams.

Dance pretty mulatto girl
Under the full moon,
With the chi qui chi, of the chinesco
Sings the black man with the drum.
Dance pretty mulatto girl
wearing the red emblem,
That they’re looking the eyes
From our Restaurador.

The porridge is ready
And the traditional chocolate,
And the favorite dish of locro
That has prepared a good Federal.
And to the happy son the drums
The couple go to the church of the Conception
And as they pass the bunch of mulattoes toast
To the holiest Federation.

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

Oro y plata   Leave a comment

Gold and silver (1943)
LYRICS by: Homero Manzi
MUSIC by: Charlo
TRANSLATION by: Alberto Paz
Last updated on: 6/10/12
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Sing along with CHARLO

Homero Manzi epic poem about a love triangle among people of color reflects on an imaginary time in the mid eighteen fifties, a period from where there is no evidence left about the lives and mores of the black population. The term “pardo” is used to define a mulatto as opposed to the generic designing of “black” to the people of color population. The use of the drum metaphor is in reference to the mythical camdombe rhythm usually associated with early slave populations in colonial Buenos Aires.
Un broche de aguamarina y una esterlina te regaló.
Tu negro, que era muy pobre, no tuvo un cobre para el amor.
Un pardo de ropa fina para tu ruina te convenció.
Yo digo que una mulata, por oro y plata se enamoró.

Late que late, y el cuero del parche bate
con manos de chocolate, el negro que la perdió;
rueda que rueda, lo mismo que una moneda,
con ropas de tul y seda, la negra que le mintió.
Todos los cueros están doblando,
Pero sus ojos están llorando,
que un pardo de cuello duro
fumando un puro se la llevó.

Siga que siga,
no sufras ni la maldigas
que el cielo también castiga
la culpa de la ambición.
La manos en la tambora
mientras tu pena, llora que llora.
Yo digo que es un tesoro
de plata y oro tu corazón.

Tu corazón.
Tu corazón.

Un broche y una esterlina
fueron la ruina de una pasión.
Un pardo con diez monedas
forró de seda tu corazón.
La plata siempre es la plata
que hiere y mata sin compasión,
yo digo que una mulata
por oro y plata se enamoró… Ay…

An aquamarine brooch and sterling he gave you.
Your black man, who was very poor, didn’t have a penny to buy love.
A well dressed mulatto man convinced you, for your downfall.
I say that a mulatto woman, for gold and silver fell in love.

Beats and beats, the drumhead beats
with chocolate hands, the black man who lost her;
rolls and rolls, same as a coin,
with robes of tulle and silk, the black woman who lied to him.
All the drum leathers are tolling,
But his eyes are crying,
a starched collar mulatto
smoking a cigar took her with him.

Follow and follow,
don’t suffer nor curse her
that heaven also punishes
the guilt of ambition.
The hands on the drum
while your sorrow, crying crying.
I say it is a treasure
of silver and gold your heart.

Your heart.
Your heart.

A clasp and a sterling
were the ruin of a passion.
A mulatto with ten coins
silk lined her heart.
Silver is always the silver
that wounds and kills without mercy,
I say that a mulatto girl
for gold and silver fell in love… Oh!

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

Posted June 10, 2012 by Alberto & Valorie in Homero Manzi

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Madre hay una sola   Leave a comment

Mother, there is only one (1930)
LYRICS by: José de la Vega
MUSIC by: Agustín Bardi
TRANSLATION by: Alberto Paz
Last updated on: 6/10/12
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Sing along with CARLOS GARDEL

Pagando antiguas locuras
Y ahogando mi triste queja,
Volví a buscar en la vieja
Aquellas hondas ternuras
Que abandonadas dejé.
Y al verme nada me dijo
Por mis torpezas pasadas,
Palabras dulcificadas
De amor por el hijo
Tan sólo escuché!

Besos y amores…
Amistades… bellas farsas
y rosadas ilusiones
en el mundo hay a montones
por desgracia…
¡Madre hay una sola!…
Y aunque un día la olvidé
me enseñó al final la vida
que a ese amor hay que volver.

Y nadie venga a arrancarme
del lado de quien me adora
de quien con fe bienhechora
se esfuerza por consolarme
de mi pasado dolor…
Las tentaciones son vanas
para burlar su cariño;
para ella soy siempre un niño,
¡Benditas sus canas!
¡Bendito su amor!

Paying old follies
And drowning my sad complaint
I sought in the old woman
Those deep tenderness
That I left abandoned.
And seeing me she said nothing
About my past blunders,
Sweetened words
of love for the son,
It’s all I heard!

Kisses and love …
Friends … beautiful shams
and rosy illusions
in the world there are plenty
unfortunately …
Mother, there is only one! …
And though one day I forgot her
Life taught me at the end
that to that love we must return .

And nobody tear me away
from the one who adores me
from whom with beneficent faith
strives to comfort me
from my past pain …
The temptations are vain
to circumvent her affection;
for her I am always a child,
Blessed be her gray hair!
Blessed  be her love!

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

Mariposita   Leave a comment

Small butterfly (1941)
LYRICS by: Francisco García Jiménez
MUSIC by: Anselmo Aieta
TRANSLATION by: Alberto Paz
Last updated on: 5/12/12
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Sing along with ARIEL ARDIT

Un bandoneón
con su resuello tristón.
La noche en el cristal
de la copa y del bar
y del tiempo que pasó…
Mi corazón
con su borracha emoción.
Y en otra voz, la voz
de la historia vulgar,
dice mi vulgar dolor…

muchachita de mi barrio,
te busco por el centro,
te busco y no te encuentro,
siguiendo este calvario
con la cruz del mismo error.
Te busco porque acaso nos
iríamos del brazo…

Vos te equivocaste con tu arrullo
de sedas palpitantes,
y yo con mi barullo
de sueños delirantes,
en un mundo engañador.
¡Volvamos a lo de antes!
¡Dame el brazo y vámonos!

Ni vos ni yo
sabemos cuál se perdió.
Ni dónde el bien, ni el mal,
tuvo un día final
y otro día comenzó…
Yo bebo más
porque esta noche vendrás.
Mi corazón te ve;
pero habrá que beber mucho…
¡pero mucho más!…

A bandoneon
with its sad breath.
The night on the glass
of the cup and the bar
and of the time that passed…
My heart
with its drunken emotion.
And in another voice, the voice
of the common history,
says my vulgar pain …

Little butterfly,
girl from my neighborhood,
I look for you around down town,
I look and I don’t find you,
following this ordeal
with the cross of the same error.
I look for you because perhaps we
would go arm in arm…

You were wrong with your lullaby
of fluttering silk,
and I, with my racket
of delirious dreams,
in a deceitful world.
Let’s go back to before!
Give me your arm and go!

Neither you nor I
know which one was lost.
Nor where the good or evil,
had a final day
and another day began …
I drink more
because tonight you will come.
My heart sees you;
but it’ll have to drink a lot …
But much more! …

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

El choclo   Leave a comment

The ear of corn (1903)
LYRICS by: Juan Carlos Marambio Catan (1930) and Enrique Santos Discepolo (1946
MUSIC by: Angel Villoldo
TRANSLATION by: Alberto Paz
Last updated on: 3/27/12
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Sing along with ELBA VERON with SEXTETO MAYOR


On November 3, 1905, the upper class clientele of the exclusive Restaurante Americano gathered as ususal listen to pianist Jose Luis Roncallo and his classical orchestra play. A few days earlier, Angel Villoldo had shown to Roncallo the melody of a Tango he had just composed. It was by far the best Villoldo had written but Roncallo fretted at the idea of playing a Tango for the “creme-de-la creme” of Buenos Aires society dining at the Restaurante Americano.
Yet, the sound of the unnamed tune was so compelling that Roncallo decided to sneak it by disguised as a “danza criolla”, a Creole dance. And so, he did on that balmy evening of November 3, 1905. The name had been decided by Villoldo, who named it El choclo, the ear of corn, because “I loved it from the very first note, and for me the ear of corn is the tastiest ingredient of the ‘puchero’, a meat and vegetables stew …” The “puchero” reference reflected Villoldo’s hope that the success of the Tango would bring food to his table. To earn a living was commonly referred to as earning the “puchero.”
An appropriate name for an undercover Tango being premiere at a restaurant.Juan Carlos Marambio Catan wrote the 1930 lyrics at the request of Villoldo’s sister and heir Irene Villoldo de Corona.Enrique Santos Disceopolo wrote a new set of lyrics in 1946 at the request of Libertad Lamarque who wished to sing the tango in the movie Gran Casino directed by Luis Buñuel. In order to do so, Discepolo had to reach a laborious agreement with Marambio Catan.In his version, Discepolo makes excellent use of lunfardo lexicon.Bailongo: lunfardo for a place where people dance, i.e. a milonga
Bacan: lunfardo for a wealthy man or one who pretends to be wealthy. A man who keeps a woman. A pimp who owns a woman. A concubine of a prostitute.
Cana: lunfardo for the police, a policeman or the jail.
Canyengue: lunfardo word with several meanings. It refers to somebody or something from the slums, i.e. low class. It also describes a gathering where people from the slums dance. Finally, it is a rhytmic effect created by Leopoldo Thompson by hitting the string of the contrabass with the hand or the arch of the bow.
Carancanfunfa: in the lingo of the compadritos, the dance of tango with interruptions (cortes) and also those who dance it that way in a very skillful manner.
Gavion: lunfardo for a libertine man who seduces women. A Don Juan that charms the women. A seducer, a mocker.
Grelas: lunfardo for woman.
Mishiadura: lunfardo for poverty.
Mina: lunfardo for woman.
Paicas: a lunfardo word for girl.
Pebeta: lunfardo for young woman or girl.
Reo: lunfardo for hobo, unemployed, given to partying and reticent to work. Typical of people of lower class status. Also, it is used as humble, poor.
Shusheta: lunfardo for a person who takes excessive care of his posture and attire. Also it is used to describe a police informant, a person who accuses in secret, a snitch. A fop, a dandy.
Con este tango que es burlon y compadrito
se ato dos alas la ambicion de mi suburbio;
con este tango nacio el tango y como un grito
salio del sordido barrial buscando el cielo;
conjuro extraño de un amor hecho cadencia
que abrio caminos sin mas luz que la esperanza,
mezcla de rabia de dolor, de fe, de ausencia
llorando en la inocencia de un ritmo jugueton.

Por tu milagro de notas agoreras,
nacieron sin pensarlo, las paicas y las grelas,
luna en los charcos, canyengue en las caderas,
y un ansia fiera en la manera de querer…
Al evocarte, tango querido,
siento que tiemblan las baldosas de un bailongo
y oigo el rezongo de mi pasado…
Hoy que no tengo mas a mi madre,
siento que llega en punta’e pie para besarme
cuando tu canto nace al son de un bandoneon…

Carancanfunfa se hizo al mar con tu bandera
y en un ‘perno” mezclo a Paris con Puente Alsina.
Fuiste compadre del gavion y de la mina
y hasta comadre del bacan y la pebeta.
Por vos shusheta, cana, reo y mishiadura
se hicieron voces al nacer con tu destino…
Misa de faldas, querosen, tajo y cuchillo,
que ardio en los conventillos y ardio en mi corazon!

With this tango, mocking and show off,
tied two wings the ambition of my slum;
with this tango tango was born and like a shout
left the sordid bog looking for heaven;
strange spell of a love turned cadence
that opened paths with no more light than hope,
mixture of rage, pain, faith, absence
crying in the inocence of playful rhythm.

From the miracle of your ominous notes,
were born without a thought, the paicas and the grelas,
moon on the puddles, canyengue on the hips,
and a fiery desire in the way to love…
Evoking you, tango beloved…..
I feel the shaking of the tiles of a bailongo
and I hear the grumbling of my past…
Now that I don’t have my mother anymore,
I feel her coming in tiptoes to kiss me
when your chant is born to the sound of a bandoneon.

Carancanfunfa crossed the sea with your flag
and in a Pernod mixed Paris and Puente Alsina.
You were buddy of the gavion and the mina
and even crony of the bacan and the pebeta.
Because of you, shusheta, cana, reo and mishiadura
became voices that were born with your destiny…
Mass of skirts, kerosen, slash and knife,
that burned in the tenements and it burned in my heart!

Vieja milonga que en mi horas de tristeza,
traes a mi mente tu recuerdo cariñoso
y, encadenandome a tus notas dulcemente,
siento que el alma se me encoje poco a poco;
recuerdo triste de un pasado que en mi vida
dejo una pagina de sangre escrita a mano
y que se he llevado como cruz de mi martirio
aunque mi carga infame me llene de dolor.

Hoy que los años han blanqueado ya mis sienes,
que en mi pecho solo anida la tristeza
como una luz que ilumina en el sendero
llegan tus notas de melodica belleza.
Tango querido, viejo tango que me embargas
con la cadencia de tu musica sentida
quiero morir bajo el arrullo de tus quejas,
cantando mi querellas, llorando mi dolor
recuerdo aquella epoca, tan linda que se fue.

Old milonga that on my hours of sadness
brings to my mind an affectionate reminiscence
and chaining me to your notes sweetly,
I feel my soul shrinking little by little.
sad memory of a past that in my life
I leave a page of handwritten blood
and that I have carried my cross of martyrdom as
but my burden infamous fill me with pain.

Now that the years have whitened and my temples,
that nest in my chest just sadness
as a light that illuminates the path
your notes arrive melodic beauty.
Tango dear, old tango that overwhelms me
with the rhythm of your music felt
I want to die under the cooing of your moaning,
singing my complaints, crying my pain
I remember that time, so nice that has gone.

Copyright (c) Planet Tango 1998-2012 All Rights Reserved

Y todavia te quiero   Leave a comment

And I still love you (1956)
LYRICS by: Abel Aznar
MUSIC by: Luciano Leocata
TRANSLATION by: Carlos Sampelayo
Last updated on: 3/16/12
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Sing along with JORGE FALCON

Cada vez que te tengo en mis brazos,
que miro tus ojos, que escucho tu voz,
y que pienso en mi vida en pedazos
el pago de todo lo que hago por vos,
me pregunto: ¿ por qué no termino
con tanta amargura, con tanto dolor?…
Si a tu lado no tengo destino…
¿Por qué no me arranco del pecho este amor?

¿Por qué…
si mentís una vez,
si mentís otra vez
y volvés a mentir?…
¿Por qué…
yo te vuelvo a abrazar,
yo te vuelvo a besar
aunque me hagas sufrir?
Yo sé
que es tu amor una herida,
que es la cruz de mi vida,
y mi perdición…
¿Por qué
me atormento por vos
y mi angustia por vos
es peor cada vez?…
¿Y por qué,
con el alma en pedazos,
me abrazo a tus brazos,
si no me querés?

Yo no puedo vivir como vivo…
Lo sé, lo comprendo con toda razón,
si a tu lado tan sólo recibo
la amarga caricia de tu compasión…
Sin embargo… ¿Por qué yo no grito
que es toda mentira, mentira tu amor
y por qué de tu amor necesito,
si en él sólo encuentro martirio y dolor?

Every time that I hold you in my arms
I look at your eyes, I hear your voice
and I think about my life into pieces,
the payment for all I do for you.
I wonder “Why not finish
so much bitterness, so much pain?”
If next to you I have no future
why don’t I rip this love from my chest?

Why …
if you lie once,
if you lie another time
and you lie again…?
Why …
I embrace you again,
I kiss you again
even when you make me suffer?
I know
that your love is a wound,
it is the cross of my life
and my ruin.
I’m tormented for you
and my anxiety for you
worsen each time? …
with the heart in pieces,
I cling to your arms,
if you don’t love me?

I can’t live like I live…
I know, I understand rightly
if with you all I get.
the bitter caress of your compassion …
But … Why I don’t cry
it’s all lies, your love is a lie
and why I need your love,
if in it I only find martyrdom and pain?

Copyright (c) Planet Tango 1998-2012 All Rights Reserved