Artist	Song
Juan D'Arienzo	A puno limpio
Juan D'Arienzo	El tarta
Juan D'Arienzo	Ganzua
Juan D'Arienzo	Adios Chantecler
Juan D'Arienzo	Meta fierro
Juan D'Arienzo	Paciencia
Juan D'Arienzo	Que importa!
Juan D'Arienzo	Dos guitas
Juan D'Arienzo	El hipo
Juan D'Arienzo	El penado catorce
Juan D'Arienzo	El raje
Juan D'Arienzo	Clavel
Juan D'Arienzo	Che negrito
Juan D'Arienzo	Cabeza de novia
Juan D'Arienzo	Canchero
Juan D'Arienzo	Estampa de varon
Juan D'Arienzo	Farabute
Juan D'Arienzo	El raje
Juan D'Arienzo	Indiferencia
Juan D'Arienzo	La cicatriz

Comment:

Tango lovers despise D'Arienzo. He is considered as a sort of tango demagogue. But D'Arienzo made possible that tango renaissance called "la decada del cuarenta" (the 40s), a decade which represents for tango something like, mutatis mutandis, what the Gold Century meant for Spanish literature.
Of course neither tango started in 1940. Nor the tango players in 1940 are more important than those in 1910 or 1920 (as Cervantes was not more important than Berceo or king Alfonso). Sometimes people deny, with a criterion half aestheticist half aestheticizing, Canaro, Contursi, Azucena Maizani, Luis Roldan, the pioneers, those who placed, rightly or wrongly, the foundation on which the complex structure of tango has been built. Piazzolla has some time complained that always the music of the dead is played... For God's sake! It's like complaining because children in school read Miguel Cane or Jose Hernandez.
D'Arienzo, at the end of his career, dug the camp style; of course, without knowing it and without even thinking of it. People saw him making faces in front of the musicians and the singers; they saw him with fondness, there was something of nostalgia and something of mockery. Of course, the orchestra beat was leading the dancers' feet. And the dancers' feet still follow the beat when D'Arienzo's records are played back and his figure keeps on raising a great fondness. He deserves it for what he did for tango.

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