Commented playlist: 2019-02-11 at Joe

There was a show at this instance of the regular Monday milonga, and as a result, more people than usual showed up.

Despite my original intent, no 1960's music made it into my set. I alternated primarily between 1940s, 1950s and 2010s.

The the beginning, I played a slow chill-out stuff to set the mood while the Cuban dance class that preceded the milonga dispersed.

  • El violín de becho | El Muro Tango, Juan Villareal
  • Vuelvo Al Sur | Tango Spleen Orquesta
  • Tanti Anni Prima | Quinteto Ángel

To my surprise, some of the few people present jumped on the dance floor for this, and I made a mental note to try this approch next time.

First hour went like this, starting with 1950s Di Sarli:

  • Rodríguez Peña (2ª Versión) | Carlos Di Sarli

  • Don Jose Maria | Carlos Di Sarli

  • El caburé | Carlos Di Sarli

  • El distinguido ciudadano | Carlos Di Sarli
    --CORTINA--

  • Amarras | Juan D'Arienzo, Héctor Mauré

  • Compadrón | Juan D'Arienzo, Héctor Mauré

  • Claudinette | Juan D'Arienzo, Héctor Mauré

  • Mirame en la cara | Juan D'Arienzo, Héctor Mauré
    --CORTINA--

  • Très jolie | Muy lindo | Francisco Canaro

  • Dolores | Francisco Canaro

  • Aclamación | Francisco Canaro
    --CORTINA--

  • Fondín de Pedro Mendoza | Ricardo Tanturi, Juan Carlos Godoy

  • Decís que no te quiero | Ricardo Tanturi, Juan Carlos Godoy

  • No la nombres corazón | Ricardo Tanturi, Juan Carlos Godoy

  • Salimos a bailar | Ricardo Tanturi, Juan Carlos Godoy
    --CORTINA--

  • Re fa si | Rodolfo Biagi

  • Di di | Didí | Rodolfo Biagi

  • El entrerriano | Rodolfo Biagi

  • Quejas de bandoneón | Rodolfo Biagi
    --CORTINA--

  • Milonga compadre | Pedro Láurenz, Juan Carlos Casas

  • Chatero de aquel entonces | Pedro Láurenz

  • La vida es una milonga | Pedro Láurenz

Two learnings here:

  • The 1950s Tanturi tanda worked wonders. Wonderful stuff.
  • The Láurenz milongas were too fast at this stage. Also, neither very bright nor punchy. I'll have to re-think this.

First half of the 2nd set before the show

  • Tanto | Eduardo Del Piano, Ángel Vargas

  • Perdón viejita | Eduardo Del Piano, Ángel Vargas

  • La mariposa | Eduardo Del Piano, Ángel Vargas

  • Se llamaba Eduardo Arolas | Eduardo Del Piano, Ángel Vargas
    --CORTINA--

  • Guapeando | Cuarteto Tanguero

  • Cordón de oro | Cuarteto Tanguero

  • Cachirulo | Cuarteto Tanguero

  • Milongueando en el cuarenta | Milongueando en el '40 | Cuarteto Tanguero
    --CORTINA--

  • Esquinas porteñas | Ángel D'Agostino, Rubén Cané

  • Ella | Ángel D'Agostino, Tino García

  • Que nadie sepa mi sufrir | Ángel F. Condercuri
    --SHOW--

I have just discovered Vargas with Del Piano, and it's amazing. I find the orchestra to be quite close to D'Agostino, however I may very well think that because Vargas pretty much defined D'Agostino.

The mixed vals tanda did not work - Castillo did not mesh at all.

After the show, it was time for some heavy beats, followed by romantic relief and awesome new milongas:

  • Pata ancha | Osvaldo Pugliese

  • Seguíme si podés | Osvaldo Pugliese

  • A Roberto Peppe | Osvaldo Pugliese

  • La rayuela | Osvaldo Pugliese
    --CORTINA--

  • Duerme mi amor | Orquesta Romantica Milonguera, Roberto Minondi

  • Quizas, quizas, quizas | Orquesta Romantica Milonguera, Marisol Martinez

  • Perfidia | Orquesta Romantica Milonguera, Roberto Minondi

  • Besame mucho | Orquesta Romantica Milonguera, Marisol Martinez
    --CORTINA--

  • Milonga de mis tiempos | Collectif Roulotte Tango

  • Reliquias porteñas | Tango Spleen Orquesta

  • El Barrio Del Tambor | Orquesta Silbando

For ending the night, I chose Mr Di Sarli again:

  • Nido gaucho (2nd version) | Carlos Di Sarli, Mario Pomar
  • Flor de Amigo | Carlos Di Sarli, Mario Pomar
  • Castañuelas | Carlos Di Sarli, Mario Pomar
  • Corazón | Carlos Di Sarli, Mario Pomar

I tried alternating vocal and instrumental tandas, and found the result pleasing. While I am not convinced it's the right approach for any occasion, I found that the instrumentals provided a chance to get some rest from often very charged vocal performances.