Orquesta Típica Miguel CalóThe Orchestra of the starsMiguel Caló28.10.1907 +24.05.1972 StatusDiscoverer of great talents, perfect dance music Number of recordings:384 To buyAs almost always, the best recordings by far are to be found at www.tangotunes.com. |
Al compás del corazónRaúl Berón (1942) |
Stilrhythmical, elegant, melodic, like chamber music Typicalharmonical, balanced, lyrical singers, final chord broken up into individual notes, short virtuoso solos |
Biggest hitsAl compás del corazón (1942), Que falte que me haces (1962) |
Important SingersAlberto Podestá (1924 – 2015) Raúl Berón (1920 – 1982) Jorge Ortiz (1912 – 1989) Raúl Iriarte (1916 – 1982) |
Important musiciansPiano/Arrangement: Osmar Maderna Violin: Raúl Kaplún, Enrique Francini Bandoneon: Armando Pontier, Domingo Federico |
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IntroductionCaló makes both dancers and listeners happy: a precise, compás, balanced, not overloaded arrangements, virtuoso solos, wonderful voices. The only shortcoming: Much of it has already been played too often.
Miguel Caló himself was a solid musician and successful businessman, but above all, he had a very good hand in selecting and promoting young, brilliant musicians who had often only recently ventured from the provinces to the bustling Buenos Aires. By 1940, he had assembled a talent pool that was second to none. Almost all the musicians founded their own orchestras a few years later. With a total of around 250 compositions, often written in collaboration with their buddy and ingenious tango poet Homero Expósito, as well as their virtuoso playing, they contributed to the peak of tango culture at the beginning of the 1940s.
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No vale la pena - 1934 - Carlos DanteThe first recording of Calós 1934 for Odeon
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PorteñisimoMaja Petrović & Marko Miljević - Polen, 2016
Mi nataíNoelia Hurtado and Carlitos Espinoza - Berlin - 2018
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The long road to becoming an orchestra directorCaló, the eldest of 16 siblings in a musical family of Italian descent, played the violin at an early age - against his father's wishes. After his father discovered his son's passion, he destroyed the violin, but Caló begged his godfather for a bandoneon when he was fifteen. The talented pibe (little one) soon impressed with his new instrument as an accompanist for silent films in the neighbouring cinema and was able to support the bitterly poor family with 250 pesos per month. His entry into the big world of tango came when Osvaldo Fresedo discovered him in 1926. Caló's own orchestras were of shorter duration. Most formations of the early 1930s were not stable for long. We find Caló in various ensembles. In 1929 he toured Spain, and in 1931 he accompanied Fresedo to the USA. Between 1937 and 1940, Caló then recruited the musicians who would go down in history as the Orquesta de las estrellas until its dissolution in 1944. Caló succeeded in nurturing his talents and giving their creativity free rein - and at the same time always, in the tradition of his early patron Osvaldo Fresedo, enforced his idea of harmony and good taste. But most of the numbers of the new orchestra after 1944 are also of great sensitivity and subtlety. Although Osmar Maderna left the orchestra in 1944 because of a dispute, Caló generously supported his former musicians to go their own way with new formations.
And he managed to stay in the business for the next few decades, gathering fantastic musicians around him. Miguel Nijensohn, who already arranged for Caló in the thirties, succeeded Osmar Marderna on the piano from 1945 to 1957. Among many others, we find fantastic bandoneon players such as Ismael Spitalnik, Félix Lipesker, Julián Plaza, Victor Lavallén or José Libertella as well as the violinists Antonio Rodio or Aquiles Roggero. Almost all of them also founded their own orchestras.
At the beginning of the 1960s, Caló even managed a comeback with the 'Estrellas' of the 1940s. Not only Caló's composition Que falta que me hacés (1962), one of the very great tangos, is proof of the enduring class of these musicians, but also the great, sublime instrumental classics of these years such as Porteñisimo, Sans souci, Tierra querida or Entre dos (1969). This orchestra of 1962 included five bandoneons and five violins. |
The Caló-SoundIn a unique way, rather traditional elements like a regular compás merge with great musicality in this orchestra. Well thought-out arrangements with filigree solos and sensitive melody lines of the sensitive singers, whose timbre and phrasing are somewhat oriented towards Carlos Gardel's singing, are joined by great rhythmic clarity.
Outstanding arrangersResponsible for this very balanced sound were the arrangers, first Miguel Nijensohn, then Argentino Galván, but above all, since 1939, the young pianist Osmar Maderna.
His precise arrangements repeatedly give the virtuoso musicians space for short, memorable, melodic solos, in which Maderna himself in particular, but also the violinists Raúl Kaplún and Enrique Francini as well as the bandoneonists Armando Pontier and Domingo Federico, let their skills shine. Underneath this, often during the solos, short syncopated rhythmic patterns resound, whereby even lyrical passages or the very soft vocal parts are surrounded by lively phrasing and a certain energy. Many of the musicians in the orchestra composed and arranged and then led the rehearsals themselves. By giving his musicians so much freedom, Caló himself probably contributed to the fact that they left him after a few years and founded their own orchestras. |
Margot
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ValsesPedacito de cielo (1942), Bajo un cielo de estrellas (1941), Jugando ... jugando (1946) or El vals soñador (1942) – the latter with a vibraphone solo, also a sign that the music of the orchestra is in the tradition of Osvaldo Fresedo, have, as is usual in the genre, positive titles and lyrics. The instrumentation is almost chamber-music-like, avoiding hecticness and expressiveness and allows the dancers, also because of the velvety voices of Pedostá and Berón, to float through the ronda like on clouds. Pure romance! |
Pedacito de cieloSilvina and Murat, Hamburg, 2022 |
Milonga antigua - Raúl BerónMaria Filali - Gianpiero Galdi - 2022 |
MilongaThe rather free rhythmic phrasing, which is typical for Caló's singers, enlivens tangos and valses, but as a result the milongas sometimes lack precision and clarity. Some milongas like Azabache (1942) are actually candombes or have a rhythm based on the candombe, as it was fashionable shortly after 1940. DJs choose Calós milongas only with care and with consideration for the dancers and the mood. |
TangoThe recordings made between 1941 and 1944 are almost entirely convincing; after 1945, some of the arrangements are more demanding and rhythmically less clear. From the amount of lovely tangos, I can only refer to a few of the many hits: Instrumental:Saludos (1944), Tierra querida (1944), Inspiración (1943), Sans souci (1944) Alberto Podestá:Only a handful of recordings were made with Podestá, but for dancers they are defenitely among the best. Enchanting melodies unfold over a clear, sometimes pithy, but overall variable rhythmic foundation. The arrangements are balanced and harmonious, never obtrusive. Most of the recordings are available in very good quality. Yo soy el tango (1941), Dos fracasos (1941), Percal (1943), Si tú quisieras (1943) Raúl Berón:Berón's voice fits perfectly with this orchestra. His early recordings like Lejos de Buenos Aires (1942), Trasnochando (1942), Tarareando (1942) or Cuatro compases (1942) and many others have been regularly heard at milongas since the renaissance of tango culture in the late eighties. Jorge Ortíz:Ya sale el tren (1942), Barrio de tango (1943), Pa’ que seguir (1943), A las siete en el café (1943) Sänger Raúl Iriarte:Trenzas (1945), Fruta amarga (1945) oder Gimme el viento (1943)
In 2016 www.Tangotunes.com offered all recordings of Caló from 1941 to 1950 in outstanding quality. |
Jamas retornas - 1942 - BerónMurat Erdemsel - Michell Lamb - Catania/Sizilien 2022Dos fracasos - 1941 - PodestaJaimes Friedgen & Rebecca Shulman - Portland 2023One of my favourite tangos, everything is perfect: enough compás, lots of variety great sound, such beautiful melodies, Francini's violin as a countermelody, an absolutely balanced arrangement. This tango justifies that the genre is a world cultural heritage today.– Marión, Iriarte, 1943Noelia Hurtado and Carlitos Espinoza, 2017, Rumänien |
Excurs: The hostel La AlegríaMany of the young stars of the Caló Orchestra had just arrived in Buenos Aires from the provinces, and for many the hostel La Alegría was their first home. This was a special place. The hostel's father, Humberto Cerino, loved the tango. He preferred to make his house available to young musicians, who stayed in shared rooms and practised together day and night. In addition to the musicians' many bandoneons and violins, the house itself housed three pianos. Cerino generously granted the often financially burnt-out musicians credit until their next engagement, while his wife preferred to satisfy the hunger of the young gang with lentil soup. Guests from the Caló orchestra included Enrique Mario Francini, Armando Pontier, the pianist Hector Stamponi, the arranger Argentino Galván, while the lyricist and bohemian Homero Expósito was a regular guest of his friends. An important meeting place, it is reported, was a café across the street, which shone above all because of the beauty of the lady who played the shellacs on the Victrola. |
Osmar Maderna (26.02.1918 – 28.04.1951)Even before 1939, Caló had good arrangers, but it was only under the direction of the brilliant pianist Osmar Maderna, who was bursting with ideas, that the Caló sound matured. He created balanced, tasteful instrumentations for the young virtuosos. Coming from the provincial town of Pehuaju, he tried his luck in Buenos Aires at the age of 20 and was discovered by Caló as one of the young talents with whom Radio Belgrano filled its many broadcasting slots. Maderna combines a clear compás, without the brute energy and dirtiness typical of D'Arienzo, with a regular change of instrumentation, but avoids the symphonic and sometimes somewhat academic, as can be heard after 1944 in Troilo or Salgán, for example. He gives perfect space for the grandiose musicians of the orchestra, the sound is transparent, some melodies catch the ear like pop songs, often the sound reminds a little of a chamber orchestra. Caló was a solid musician with great taste, but above all a successful businessman who had put his bandoneon aside in 1939. It was Maderna who directed the orchestra from the piano. With lively bass playing in his left hand, he created a subtle groove. (His so-called marcato abierto is characterised by the fact that he also uses higher registers of the piano in the left hand, so that the sound becomes more transparent). In addition, pearly right-hand solos slip between the phrases like musical cement, filling the gaps in the restrainedly orchestrated arrangements without being obtrusive.
Maderna founded his own orchestra in 1945, with which he delighted many fans until the tragic crash of his private plane in 1951. His virtuoso piano playing sometimes pushed itself into the foreground, but he also achieved numerous hits such as Plomo (1947) with the singer Orlando Verri. Of his many compositions, the Caló tango Jamás retornarás (1943) was certainly the most successful.
Incidentally, the super hit Merceditas, which is so popular today, was not recorded until 1958, long after Maderna's death. The orchestra was only called Orquesta Simbolo Osmar Maderna and was conducted by Aquiles Roggero. |
Plomo (1947)Fantasia en tiempo de tangoEl vuelo del moscardon - 1946Merceditas (1958)Damian Mechura & Anastasia Mikhaylova, |
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UnoOrquestra Armando Pontier, Roberto Goyeneche, 1969
Donde estas, corazónArmando Pontier – Oscar FerrarriRaul Beron canta Cafetin - Orquesta Francini Pontier - 1948This movie clip shows all musicians, the lovely Berón and dancing couples.
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Raúl Kaplun (11.11.1910 – 23.01.1990)Raúl Kaplún played first violin from 1934 to 1942. But it was Argentino Galván's arrangements that contained solos that exploited Kaplún's outstanding technique. This duo was groundbreaking. With them the virtuoso violin playing in the tango reached a previously unknown level. Kaplún moved to Lucio Demare's orchestra in 1942, where he shaped the sound of the almost jazzy, sharp violin riffs. It was not until 1950 that he made eight musically impressive recordings with his own orchestra. Armando Pontier 29.08.2017 – 25.12.1983Pontier came to Caló in 1939 together with Enrique Francini, to whom he had a lifelong friendship, who had discovered them both at a matinée. The outstanding bandoneon player left behind 95 compositions. Especially in collaboration with Aníbal Troilo, but also with the great lyricists of the era such as Homero Expósito or José María Contursi, he created classics such as Trenzas (1945, with Expósito), Tabaco (1944, with Contursi) or Milongueando en el 40 (1941). Pontier first worked with his friend Francini, later he led his own orchestra until well into the seventies, in which many great voices of the forties sang, such as Alberto Podestá, Roberto Rufino, Jorge Duran, Alberto Marino or Roberto Goyeneche, but also with his very own voice, Oscar Ferrari. The style of Pontier's pieces is usually a little more experimental, and the sound of the releases is unfortunately often very bad. |
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Enrique Francini (14.01.1916 – 27.08.1978)Like Armando Pontier, Hector Stamponi, Raúl Berón or the tango poet Homero Expósito, Francini came from the provincial town of Zárate. For many, he is one of the most important tango violinists. Together with Raúl Kaplún, whom he replaced as first violin in 1942, it was his singing strings that shone in mostly short phrases of four bars. With his friend Armando Pontier, he founded his own, somewhat more progressive orchestra in 1945 with the singers Raúl Berón, Alberto Podestá and Roberto Rufino, which lasted successfully for ten years and made 120 recordings. Listen to the strong interpretation of Inspiración (1955) with a wonderful solo by Francini. In the years that followed, Francini toiled with Astor Piazzolla's offbeat arrangements of his Octet, among others. He continued to work hard on his technique, so that from 1958 he also found his place in the symphony orchestra of the Teatro Colón in Buenos Aires. From 1960, he was a member of Horacio Salgán's ingenious Quinteto Real and once again went on tour to Japan with Armando Pontier. His compositions include great classics such as the tango Junto a tu corazón (1942) or the vals Padecito de cielo (1942). Francini literally played until the end of his life: During a performance at the tango club Caño 14, which was popular in the 70s, he suffered a heart attack in 1978 and died while intoning the classic Nostalgias. Besides the legendary Remolino (1947) and beautiful tangos like Uno y uno, Como tu and Camouflage (Beron, 1947/48), dancers may be interested in the powerful instrumental tango Renunciamento or the beautifully kitschy vals Caricias perdidas, sung by Mario Lagos. |
Remolino/Raúl Berón (1946)Olga & Sergiy, Quito, Ecuador - 2019, Seoul, Korea
Melodía oriental/Roberto Rufino (1957)Juan David y Paulina, Quito, Ecuador - 2020Caricias perdidas - 1954 - Mario LagosMaria Filali y Gianpiero Galdi - J_Club PN, 2016Orquesta Francini-Pontier en Japón (1975) |
Un pasage de mi vida - Carlos Vidal (1945)Leyenda gaucha (1952)Alex Krupnikov - Ekaterina LebedevaMuy suave - 1954 - is very popular for shows.Barbara Carpino - Claudio ForteCualquier cosa/Enzo Valentino (1951)Maria Filali & Gianpiero Galdi - 2017, Montreal, Kanada |
Domingo Federico (04.06.1916 – 06.04.2000)Domingo had taught himself to play the bandoneon as a schoolboy, began to study medicine, but then attended the bandoneon conservatory of Pedro Maffia and Sebastián Piana. His enthusiasm as well as his successes were so great that he abandoned his studies and devoted himself entirely to the tango. He soon had success as a composer, arranger as well as director of a girls' orchestra that was grouped around his successful sister. In 1941, he was accepted into Caló's orchestra. In his luggage he had the composition that brought Raúl Berón and with it the orchestra its breakthrough: Al Compás del corazón (1941). Domingo was the first to set up on his own in 1943; his father, who had taught him the first musical basics, played the bass in Federico's orchestra, which lasted for the next decades. In fact, it is the somewhat monotonous bass that is so typical of the Federico sound. But perhaps that is also why dancers unfortunately experience the early, expressive recordings with singer Carlos Vidal far too rarely. They lack the rhythmic finesse of their contemporaries. Listen to Yo (1944), Un pasage de mi vida, Senda florida or Yuyo verde (1944). His compositions Saludos or Al compás del corazón are also strong, although Caló's versions are simply better. Federico left 105 compositions, including hits by Caló such as Yo soy el tango (1941) or Percal (1943). Popular tangos from the 1950s are Charlemos (1956/Dante Rossi), Y todavia t quiero (1956/Mario Bustos) or the instrumentals Leyanda gaucho (1951) or the oriental-influenced El marajá (1951). Federico continued to shape the world of tango with tireless energy over the next decades, leading his own orchestra in Rosario, the country's second-largest city, founding a training orchestra, appearing on radio and television, and performing regularly in Japan together with Francisco Canaro. Domingo Federico arround the year 2000: |
Alberto Podestá 22.09.1924 – 09.12.2015Alejandro Washington Alé was his real name. He began his career as a child star on the provincial radio station LV5 Radio Los Andes. At the age of fifteen, he sought his fortune in Buenos Aires. In 1939 and was discovered by Caló's brother Roberto when he was already planning to turn his back on Buenos Aires because he was completely broke. As Carlos Di Sarli offered a multiple of the fee, the 19-year-old joined Di Sarli for two years in 1942 and received his artist's name from him, which he kept for the rest of his life. After an intermezzo in 1943 with Pedro Laurenz - he made groundbreaking recordings such as Recién, Nada, Todo or Alma de bohémia - he returned to Caló in 1944 and supported Francini and Pontier's orchestra the very next year. Listen to the wonderful Remolino (1945). Podestá was a professional with incredible stamina. In Francini and Pontier's orchestra, he sometimes sang in the café in the afternoon from 5 p.m. to 7 p.m., in the evening on the radio, and then was the only singer in the orchestra still on stage in a cabaret at night. Alberto Podestá remained faithful to the tango throughout his life. He can be heard on around 500 recordings and was one of the few musicians who experienced the renaissance of the tango since the 1980s and, until his death in 2015. Alberto Podestá in an interview with Alex Krebs from Portland in 2012.Los ejes de mi carreta | Alberto Podestá - Las Bordonas - 2012 |
Yo soy el tango Alberto PodestáYo soy el tango, Roxana Suarez and Sebastian Achaval –Lisbon 2019 |
AZABACHE - Raúl Berón - 1942
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Raúl Berón 30.3.1920 – 28.06.1982Berón's father wanted to become famous. Comparable to the Jackson Five in the 70s or the Kelly Family in the 90s, he formed the band 'Los Provincianitos' with his five children and tried his luck in Buenos Aires from 1924. The family members performed in various formations on the radio and all made careers.
The singer Elba Berón made it all the way to the 'White House', Raúl sang folklore with his brother until Pontier discovered the 19-year-old, who could not sing tango until then. The radio directors initially rejected the young singer with the unaccustomed velvety, soft voice, who probably also lacked refinement. Caló was already looking for a replacement, but Berón's first record Al Compás del corazón (1942) was such a hit that the directors now congratulated Caló on his new singer. They made 28 recordings together, which are among the greatest treasures of tango.
Raul Berón was also lucky in that he was able to make his actually softer voice audible through the amplification systems that were just emerging.
Until the 1960s, the still popular singer was the front man in the orchestras of Lucio Demare, Francini and Pontier and for many years with Aníbal Troilo. Raúl was active until the end of his life; even on the day of his death on 28.06.1982, he would have been on stage in the evening at the Café de los Angelitos. |
Source: La Milonga di Alvin
| Datum | Titel | Sänger | Genre | Komponist | Autor | Matriz | Nr. | Label |
| 1932 | Amarguras | Román Prince | Vals | Miguel Nijensohn y Jaime de los Hoyos | 1001 | Splendid | ||
| 1932 | Milonga porteña | Román Prince | Tango | Luis Brighenti | Mario Cesar Gomila | 1001 | Splendid | |
| 05/10/34 | Tú eres para mí | Carlos Dante | Tango | Armando Balioti | Armando Balioti | 7835 | 8350 | Odeon |
| 05/10/34 | No vale la pena | Carlos Dante | Tango | Antonio Helú | Antonio Helú | 7836 | 8350 | Odeon |
| 26/11/34 | Coplas de esperanza | Carlos Dante | Pasodoble | Miguel Nijensohn | Manuel Ferradás Campos | 7940 | 8351-B | Odeon |
| 26/11/34 | Mentiras piadosas | Carlos Dante | Tango | Miguel Nijensohn | Carlos Marín | 7941 | 8351-A | Odeon |
| 25/03/35 | Los años pasan | Carlos Dante | Tango | Armando Balioti | Carlos Giampetruzzi | 8040 | 8352 | Odeon |
| 25/03/35 | Allá en el cielo | Carlos Dante | Tango | Miguel Caló | Miguel Caló | 8041 | 8352 | Odeon |
| 05/04/35 | Puesta de sol | Carlos Dante | Ranchera | Francisco De Rose | Enrique Gaudino | 8060 | 8353 | Odeon |
| 05/04/35 | Serpentinas de esperanza | Carlos Dante | Tango | José Canet | Afner Gatti | 8061 | 8353 | Odeon |
| 10/06/35 | Es una santa mamá | Carlos Dante | Tango | Miguel Caló | Celedonio Flores | 8175 | 8354 | Odeon |
| 10/06/35 | Suena el acordeón | Carlos Dante | Tango | Juan Cruz Mateo | Mario Battistella | 8176 | 8354 | Odeon |
| 28/09/35 | Si volviera jesús | Carlos Dante | Tango | Joaquín Mora | Dante A. Linyera | 8339 | 8355 | Odeon |
| 28/09/35 | Voluntad | Carlos Dante | Tango | Enrique Delfino | Manuel Perales | 8340 | 8355 | Odeon |
| 17/12/35 | Alma mía | Carlos Dante y hermanas Morel | Tango | Domingo Cuestas | Mario César Gomila | 8458 | 8356-A | Odeon |
| 17/12/35 | Declaración | Carlos Dante | Ranchera | Miguel Caló | Armando Tagini | 8459 | 8356-B | Odeon |
| 14/03/36 | Malvaloca | Carlos Dante | Pasodoble | Ernesto “Titi” Rossi | Justo Ricardo Thompson | 8480 | 8358-A | Odeon |
| 14/03/36 | Soy milonguero | Carlos Dante | Tango | Miguel Caló | Mario César Gomila | 8481 | 8357 | Odeon |
| 14/03/36 | Los leñadores | Carlos Dante | Ranchera | Pedro Maffia | Homero Manzi | 8482 | 8357 | Odeon |
| 14/03/36 | Caballo de calesita | Carlos Dante | Tango | Miguel Nijensohn | Carlos Marín | 8483 | 8358-B | Odeon |
| 13/07/36 | Las campanas | Alberto Morel | Tango | Armando Acquarone | Juan Velich | 8630 | 8359 | Odeon |
| 13/07/36 | Bailar soñar | Alberto Morel | Vals | Enrico Malatesta | Louis Raymond | 8631 | 8359 | Odeon |
| 23/10/36 | La pequeña Shirley | Alberto Morel | Foxtrot | Miguel Caló | Mario Cesar Gomila | 8807 | 8360-B | Odeon |
| 23/10/36 | Nostalgias | Alberto Morel | Tango | Juan Carlos Cobián | Enrique Cadícamo | 8808 | 8360-A | Odeon |
| 21/12/38 | Luces del puerto | Roberto Caló | Foxtrot | Kenneth Williams | Ramón Novarro | 9762 | 8361 | Odeon |
| 21/12/38 | Dulce amargura | Roberto Caló | Tango | Virgilio San Clemente | Héctor Alperi-Jorge Torres | 9763 | 8361 | Odeon |
| 12/03/41 | Yo soy el tango | Alberto Podestá | Tango | Domingo Federico | Homero Expósito | 11087 | 8362-B | Odeon |
| 12/03/41 | Bajo un cielo de estrellas | Alberto Podestá | Vals | Enrique Francini | José María Contursi | 11088 | 8362-A | Odeon |
| 31/07/41 | Dos fracasos | Alberto Podestá | Tango | Miguel Caló | Homero Expósito | 11344 | 8363-A | Odeon |
| 31/07/41 | Me casé con un sargento | Alberto Podestá | Corrido-Polca | Miguel Caló | Aristeo Salgueiro | 11345 | 8363-B | Odeon |
| 29/04/42 | El vals soñador | Raúl Berón | Vals | Armando Pontier | Oscar Rubens | 11963 | 8364-B | Odeon |
| 29/04/42 | Al compás del corazón | Raúl Berón | Tango | Domingo Federico | Homero Expósito | 11964 | 8364-A | Odeon |
| 30/06/42 | Qué te importa que te llore | Raúl Berón | Tango | Miguel Caló | Miguel Caló | 12066 | 8365-B | Odeon |
| 30/06/42 | Trasnochando | Raúl Berón | Tango | Armando Balioti | Santiago Adamini | 12067 | 8365-A | Odeon |
| 29/07/42 | Tarareando | Raúl Berón | Tango | Juan José Guichandut | Juan Jose Guichandut | 12134 | 8366-B | Odeon |
| 29/07/42 | Lejos de Buenos Aires | Raúl Berón | Tango | Alberto Suárez Villanueva | Oscar Rubens | 12135 | 8366-A | Odeon |
| 02/09/42 | Pedacito de cielo | Alberto Podestá | Vals | Enrique Francini | Homero Expósito | 12191 | 8367-B | Odeon |
| 02/09/42 | Tristezas de la calle Corrientes | Raúl Berón | Tango | Domingo Federico | Homero Expósito | 12192 | 8367-A | Odeon |
| 09/09/42 | Milonga que peina canas | Raúl Berón | Milonga | Alberto Gómez | Alberto Gómez | 12203 | 8370-B | Odeon |
| 09/09/42 | Margarita Gauthier | Raúl Berón | Tango | Joaquín Mora | Julio Jorge Nelson | 12204 | 8370-A | Odeon |
| 29/09/42 | Azabache | Raúl Berón | Milonga | Enrique Francini | Homero Expósito | 12263 | 8368-A | Odeon |
| 29/09/42 | Corazón, no le hagas caso | Raúl Berón | Tango | Armando Pontier | Carlos Bahr | 12264 | 8368-B | Odeon |
| 09/10/42 | Un crimen | Raúl Berón | Tango | Luis Rubistein | Luis Rubistein | 12289 | 8369-A | Odeon |
| 09/10/42 | Jamás retornarás | Raúl Berón | Tango | Osmar Maderna | Osmar Maderna | 12290 | 8369-B | Odeon |
| 01/12/42 | Cuatro compases | Raúl Berón | Tango | Atilio Bruni | Oscar Rubens | 12420 | 8371-A | Odeon |
| 01/12/42 | Milonga antigua | Raúl Berón | Milonga | Carlos Parodi | Rafael Pignataro | 12421 | 8371-B | Odeon |
| 19/01/43 | Barrio de tango | Jorge Ortiz | Tango | Aníbal Troilo | Homero Manzi | 12493 | 8372-A | Odeon |
| 19/01/43 | Pa’ que seguir | Jorge Ortiz | Tango | Francisco Fiorentino | Pedro Lloret | 12494 | 8372-B | Odeon |
| 20/01/43 | Inspiración | Instrumental | Tango | Peregrino Paulos | Luis Rubistein | 12497 | 8373-B | Odeon |
| 20/01/43 | A las siete en el café | Jorge Ortiz | Tango | Armando Balioti | Santiago Adamini | 12498 | 8373-A | Odeon |
| 25/02/43 | Percal | Alberto Podestá | Tango | Domingo Federico | Homero Expósito | 12604 | 8374-A | Odeon |
| 25/02/43 | Ya sale el tren | Jorge Ortiz | Tango | Luis Rubistein | Luis Rubistein | 12605 | 8374-B | Odeon |
| 18/03/43 | Si tu quisieras | Alberto Podestá | Tango | Francisco Pracánico | Luis Rubistein | 12651 | 8375-A | Odeon |
| 18/03/43 | A Martín Fierro | Instrumental | Tango | Francisco Federico | 12652 | 8375-B | Odeon | |
| 17/05/43 | De barro | Jorge Ortiz | Tango | Sebastián Piana | Homero Manzi | 12776 | 8376-A | Odeon |
| 17/05/43 | Es en vano llorar | Raúl Iriarte | Tango | Alberto Suárez Villanueva | Oscar Rubens | 12777 | 8376-B | Odeon |
| 21/05/43 | Mi cantar | Jorge Ortiz | Tango | Héctor Stamponi | Homero Expósito | 12789 | 8377-B | Odeon |
| 21/05/43 | Cuando tallan los recuerdos | Raúl Iriarte | Tango | Rafael Rossi | Enrique Cadícamo | 12790 | 8377-A | Odeon |
| 10/06/43 | Pobre negra | Jorge Ortiz | Milonga | Héctor Stamponi | Homero Expósito | 12843 | 8378-A | Odeon |
| 10/06/43 | Cuento azul | Raúl Iriarte | Tango | Miguel Caló | Julio Jorge Nelson | 12844 | 8378-B | Odeon |
| 10/08/43 | Mañana iré temprano | Raúl Iriarte | Tango | Enrique Francini | Carlos Bahr | 13008 | 8379-A | Odeon |
| 10/08/43 | La mala (La maleva) | Instrumental | Tango | Antonio Buglione | Mario Pardo | 13009 | 8380-B | Odeon |
| 10/08/43 | Tango y copas (Otro tango) | Raúl Iriarte | Tango | Héctor Artola | Carlos Bahr | 13010 | 8379-B | Odeon |
| 16/09/43 | Cada día te extraño más | Raúl Iriarte | Tango | Armando Pontier | Carlos Bahr | 13119 | 8380-A | Odeon |
| 28/09/43 | Verdemar | Raúl Iriarte | Tango | Carlos Di Sarli | José María Contursi | 13190 | 8381-A | Odeon |
| 19/10/43 | Luna de plata | Raúl Iriarte | Vals | Osmar Maderna | Miguel Caló | 13282 | 8384-B | Odeon |
| 23/11/43 | A mi llaman Juan Tango | Raúl Iriarte | Tango | Tito Ribero | Carlos Waiss | 13288 | 8382-B | Odeon |
| 29/11/43 | Gime el viento | Raúl Iriarte | Tango | Atilio Bruni | Oscar Rubens | 13403 | 8382-A | Odeon |
| 27/12/43 | Elegante papirusa | Instrumental | Tango | Tito Roccatagliatta | 13485 | 8383-A | Odeon | |
| 27/12/43 | Marión | Raúl Iriarte | Tango | Luis Rubistein | Luis Rubistein | 13486 | 8383-B | Odeon |
| 10/01/44 | Después | Raúl Iriarte | Tango | Hugo Gutiérrez | Homero Manzi | 13506 | 8384-A | Odeon |
| 28/01/44 | Orquestas de mi ciudad | Raúl Iriarte | Tango | Francisco Fiorentino | Erasmo Silva Cabrera | 13550 | 8385-A | Odeon |
| 28/01/44 | Si yo pudiera comprender | Raúl Iriarte | Tango | Miguel Caló | Oscar Rubens | 13551 | 8385-B | Odeon |
| 09/03/44 | Nada | Raúl Iriarte | Tango | José Dames | Horacio Sanguinetti | 13630 | 8386-A | Odeon |
| 09/03/44 | El desafío | Raul Iriarte | Milonga | René Ruiz | Gualberto Márquez | 13631 | 8386-B | Odeon |
| 19/04/44 | Bohardilla | Raúl Iriarte | Tango | Rodolfo Blasi | Horacio Sanguinetti | 13708 | 8387-A | Odeon |
| 19/04/44 | La vi llegar | Raúl Iriarte | Tango | Enrique Francini | Julián Centeya | 13709 | 8387-B | Odeon |
| 27/04/44 | La abandoné y no sabía | Raúl Berón | Tango | José Canet | José Canet | 13727 | 8388-A | Odeon |
| 08/05/44 | Entre sueños | Raúl Berón | Tango | Anselmo Aieta | Francisco García Jimenez | 13768 | 8388-B | Odeon |
| 14/06/44 | Tabaco | Raúl Iriarte | Tango | Armando Pontier | José María Contursi | 13871 | 8389-A | Odeon |
| 22/06/44 | Mulata | Raúl Berón | Milonga | Roberto Nievas Blanco | Roberto Nievas Blanco | 13892 | 8389-B | Odeon |
| 07/07/44 | Sans souci | Instrumental | Tango | Enrique Delfino | 13929 | 8390-A | Odeon | |
| 10/07/44 | En tus ojos de cielo | Raúl Berón | Tango | Osmar Maderna | Luis Rubistein | 16558 | 8390-B | Odeon |
| 16/08/44 | Domingo a la noche | Raúl Berón | Tango | Juan José Guichandut | Oscar Rubens | 14034 | 8391-A | Odeon |
| 23/08/44 | Saludos | Instrumental | Tango | Domingo Federico | 14043 | 8391-B | Odeon | |
| 28/08/44 | Jugando…jugando | Raúl Berón | Vals | Miguel Caló | Oscar Rubens | 14055 | 8392-A | Odeon |
| 28/08/44 | Mi tango es triste | Raúl Iriarte | Tango | Aníbal Troilo | José María Contursi | 14056 | 8392-B | Odeon |
| 24/10/44 | Fantasma | Raúl Iriarte | Tango | Enrique Delfino | Cátulo Castillo | 14180 | 8393-B | Odeon |
| 24/10/44 | De seis a siete | Raúl Iriarte | Tango | José Canet | José Canet | 14181 | 8393-A | Odeon |
| 07/11/44 | Me duele el corazón | Raúl Iriarte y Los Trovadores del Perú | Vals | C. Yeguit | L. Mendoza | 14199 | 8394-B | Odeon |
| 07/11/44 | Madalit | Raúl Iriarte | Tango | Enrique Delfino | Agustín Horacio Delamónica | 14200 | 8394-A | Odeon |
| 14/12/44 | Mi natai | Luis Tolosa | Tango | Félix Lipesker | Félix Lipesker | 14311 | 8395-A | Odeon |
| 14/12/44 | La de los ojos tristes | Luis Tolosa | Tango | Edgardo Donato | Héctor Marcó | 14312 | 8395-B | Odeon |
| 19/01/45 | Igual que una sombra | Raúl Iriarte | Tango | Osvaldo Pugliese | Enrique Cadícamo | 14407 | 8396-A | Odeon |
| 19/01/45 | Tierra querida | Instrumental | Tango | Julio De Caro | Luis Díaz | 11408 | 8396-B | Odeon |
| 20/02/45 | Lluvia de Abril | Raúl Iriarte | Tango | Enrique Francini | Julián Centeya | 14447 | 8398-A | Odeon |
| 20/02/45 | La noche que te fuiste | Raúl Iriarte | Tango | Osmar Maderna | José María Contursi | 14448 | 8397-A | Odeon |
| 20/02/45 | Trenzas | Raúl Iriarte | Tango | Armando Pontier | Homero Expósito | 14449 | 8397-B | Odeon |
| 08/03/45 | Garras | Raúl Iriarte | Tango | Aníbal Troilo | José María Contursi | 14472 | 8399-A | Odeon |
| 09/03/45 | Bien criolla y bien porteña | Raúl Iriarte-Luis Tolosa | Milonga | Armando Pontier | Homero Expósito | 14469 | 8398-B | Odeon |
| 20/04/45 | Yo | Raúl Iriarte | Tango | Juan José Guichandut | Juan José Guichandut | 14567 | 8399-B | Odeon |
| 22/05/45 | Sol | Luis Tolosa | Tango | Miguel Nijensohn | José María Suñe | 14634 | 30001-B | Odeon |
| 22/05/45 | Fruta amarga | Raúl Iriarte | Tango | Hugo Gutiérrez | Homero Manzi | 14635 | 30001-A | Odeon |
| 05/06/45 | Por la cuesta arriba | Raúl Iriarte | Tango | Argentino Galván | Carlos Bahr | 14661 | 30002-B | Odeon |
| 05/06/45 | Seis días | Raúl Iriarte | Tango | Manuel Sucher | Carlos Bahr | 14662 | 30002-A | Odeon |
| 05/07/45 | Soledad la de barracas | Raúl Iriarte | Tango | Roberto Garza | Carlos Bahr | 14745 | 30003-A | Odeon |
| 05/07/45 | No te olvides de mi corazón | Raúl Iriarte | Vals | Don Fabián | Don Fabián | 14746 | 30003-B | Odeon |
| 07/08/45 | Quedó en venir a las nueve | Roberto Arrieta | Tango | Juan Polito | Luis Caruso | 14836 | 30004-B | Odeon |
| 07/08/45 | Cimarrón de ausencia | Roberto Arrieta | Milonga | Juan Larenza | Marsilio Robles | 14837 | 30004-A | Odeon |
| 14/09/45 | Tedio | Roberto Arrieta | Tango | Miguel Bucino | Miguel Bucino | 14911 | 30005-A | Odeon |
| 14/09/45 | Valsesito | Roberto Arrieta | Vals | Miguel Caló | Carlos Bahr | 14912 | 30005-B | Odeon |
| 08/10/45 | Enrique Delfino | Raúl Iriarte | Tango | Roberto Nievas Blanco | Oscar Rubens | 11963 | 30006-B | Odeon |
| 02/11/45 | Cosas de tango | Raúl Iriarte | Tango | Tito Ribero | Rodolfo Taboada | 15060 | 30006-A | Odeon |
| 08/11/45 | Amor y tango | Raúl Iriarte | Tango | José Basso | Carlos Bahr | 15076 | 30007-A | Odeon |
| 15/11/45 | Margo | Raúl Iriarte | Tango | Armando Pontier | Homero Expósito | 15104 | 30008-A | Odeon |
| 15/11/45 | Una tarde cualquiera | Roberto Arrieta | Tango | Roberto Puccio | Rodolfo Taboada | 15105 | 30007-B | Odeon |
| 15/11/45 | El mismo dolor | Raúl Iriarte | Vals | Enrique Francini | Carlos Bahr | 15106 | 30008-B | Odeon |
| 27/12/45 | Pudo ser una vida | Roberto Arrieta | Tango | Elías Randal | Carlos Bahr | 15227 | 30010-A | Odeon |
| 27/12/45 | Canción desesperada | Raúl Iriarte | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | 15228 | 30009-B | Odeon |
| 29/12/45 | Corazón si la vieras | Roberto Arrieta | Tango | Pedro Héctor Pandolfi | Cátulo Castillo | 15235 | 30010-B | Odeon |
| 29/12/45 | Mañana no estarás | Raúl Iriarte | Tango | Ariel Gessaghi | Horacio Sanguinetti | 15236 | 30009-A | Odeon |
| 08/03/46 | Me llamo Anselmo Contreras | Raúl Iriarte | Tango | Miguel Nijensohn | Cátulo Castillo | 15346 | 30012-B | Odeon |
| 08/03/46 | Qué me van a hablar de amor | Roberto Arrieta | Tango | Héctor Stamponi | Homero Expósito | 15347 | 30012-A | Odeon |
| 15/03/46 | Trapitos | Raúl Iriarte-Roberto Arrieta | Milonga | José Canet | José Canet | 15368 | 30011-B | Odeon |
| 15/03/46 | Loco turbión | Raúl Iriarte-Roberto Arrieta | Tango | Vicente Spina | Roberto Miró | 15369 | 30011-A | Odeon |
| 04/04/46 | Que cosas tiene la vida | Roberto Arrieta | Tango | Enrique Juan Munné | Roberto Lambertucci | 15415 | 30013-A | Odeon |
| 04/04/46 | El cuatrero | Instrumental | Tango | Agustín Bardi | 15416 | 30013-B | Odeon | |
| 03/12/46 | Flor de lino | Raúl Iriarte | Vals | Héctor Stamponi | Homero Expósito | 16047 | 30015-B | Odeon |
| 03/12/46 | Inútil | Roberto Arrieta | Tango | Tito Ribero | Reinaldo Yiso | 16048 | 30014-B | Odeon |
| 12/12/46 | Tarde gris | Raúl Iriarte | Tango | Juan Bautista Guido | Luis Rubistein | 16095 | 30014-A | Odeon |
| 12/12/46 | En secreto | Roberto Arrieta | Tango | Vicente Demarco | Alfredo Faustino Roldán | 16096 | 30015-A | Odeon |
| 21/01/47 | Rebeldía | Raúl Iriarte | Tango | Roberto Nievas Blanco | Roberto Nievas Blanco | 16234 | 30016-B | Odeon |
| 21/01/47 | Extraña | Raúl Iriarte | Tango | Miguel Caló | Oscar Rubens | 16235 | 30016-A | Odeon |
| 25/04/47 | Cambalache | Roberto Arrieta | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | 16417 | 30017-A | Odeon |
| 25/04/47 | Sin comprender | Roberto Arrieta | Tango | Miguel Nijensohn | Carlos Bahr | 16418 | 30017-B | Odeon |
| 09/05/47 | El plebeyo | Raul Berón – Raul Iriarte | Vals | Felipe Pinglo | Felipe Pinglo | 16449 | 30018-B | Odeon |
| 09/05/47 | Los despojos | Raúl Iriarte | Tango | José Dames | Horacio Sanguinetti | 16450 | 30018-A | Odeon |
| 26/06/47 | Plomo | Raúl Iriarte | Tango | Luis Rubistein | Luis Rubistein | 16557 | 30019-A | Odeon |
| 26/06/47 | El penado catorce | Raúl Iriarte | Tango | A.Magaldi-P.Noda | Carlos Pesce | 16558 | 30019-B | Odeon |
| 22/10/47 | La negra quiere bailar | Roberto Arrieta | Milonga | José Ranieri | Carlos Bahr | 16760 | 30020-B | Odeon |
| 22/10/47 | Oyeme | Raul Iriarte | Tango | Enrique Francini | Homero Expósito | 16761 | 30020-A | Odeon |
| 05/01/48 | A la gran muñeca | Roberto Arrieta | Tango | Jesús Ventura | Miguel Osés | 16832 | 30021 | Odeon |
| 05/01/48 | Carriego | Roberto Arrieta | Tango | Roberto Nievas Blanco | Julio Jorge Nelson | 16833 | 30021 | Odeon |
| 27/04/48 | Pimienta | Instrumental | Tango | Osvaldo Fresedo | 16897 | 30022-B | Odeon | |
| 27/04/48 | No te perdono más | Roberto Arrieta | Tango | Rodolfo Sciammarella | Rodolfo Sciammarella | 16898 | 30022-A | Odeon |
| 09/06/48 | Pobre mi madre querida | Roberto Arrieta | Vals | José Betinotti | José Betinotti | 16941 | 30023-A | Odeon |
| 09/06/48 | La guiñada | Instrumental | Tango | Agustín Bardi | 16942 | 30023-B | Odeon | |
| 09/08/48 | Nostalgias | Roberto Arrieta | Tango | Juan Carlos Cobián | Enrique Cadícamo | 17028 | 30024-A | Odeon |
| 09/08/48 | Echale sal | Instrumental | Tango | Miguel Caló | 17029 | 30024-B | Odeon | |
| 23/09/48 | Nunca más | Roberto Arrieta | Tango | Francisco Lomuto | Oscar Lomuto | 17085 | 30025-A | Odeon |
| 23/09/48 | Corazón de papel | Roberto Arrieta | Tango | Cátulo Castillo | Alberto Franco | 17088 | 30025-B | Odeon |
| 15/12/48 | Tanto | Mario Cané | Tango | Elías Randal | Carlos Bahr | 17166 | 30026-A | Odeon |
| 15/12/48 | Unión cívica | Instrumental | Tango | Domingo Santa Cruz | 17167 | 30026-B | Odeon | |
| 20/07/49 | La casa vacía | Roberto Rufino | Tango | Arturo Gallucci | Reinaldo Yiso | 17356 | 30027-B | Odeon |
| 20/07/49 | Tú | Raúl Berón | Tango | José Dames | José María Contursi | 17357 | 30027-A | Odeon |
| 29/12/49 | La guitarrita | Instrumental | Tango | Eduardo Arolas | Gabriel Clausi | 17548 | 30028-B | Odeon |
| 29/12/49 | Mi flor de noche | Roberto Rufino | Tango | Silvio Marinucci | Lito Bayardo | 17549 | 30028-A | Odeon |
| 16/03/50 | Mi moro | Raúl Berón | Tango | Carlos Gardel | Cátulo Castillo | 17587 | 30029-B | Odeon |
| 16/03/50 | Ché Bandoneón | Ricardo Blanco | Tango | Aníbal Troilo | Homero Manzi | 17588 | 30029-A | Odeon |
| 06/06/50 | Charamusca | Instrumental | Tango | Francisco Canaro | 17669 | 55119-B | Odeon | |
| 06/06/50 | El divorcio | Raúl Berón | Milonga | Luis Adesso | Raúl Hormaza | 17670 | 55119-A | Odeon |
| 08/09/50 | El pillete | Instrumental | Tango | Graciano De Leone | 17788 | 55160-B | Odeon | |
| 08/09/50 | Los mareados | Ricardo Blanco | Tango | Juan Carlos Cobián | Enrique Cadícamo | 17789 | 55160-A | Odeon |
| 27/10/50 | Precio | Juan Carlos Fabri | Tango | Manuel Sucher | Carlos Bahr | 17852 | 55172-A | Odeon |
| 27/10/50 | Disco rayado | Instrumental | Tango | Miguel Caló | 17853 | 55172-B | Odeon | |
| 18/12/50 | La trampera | Instrumental | Milonga | Aníbal Troilo | 17948 | 55212 | Odeon | |
| 18/12/50 | Murmullos | Ricardo Blanco | Tango | Froilán Aguilar | Juan Carlos Patrón | 17949 | 55212 | Odeon |
| 23/05/51 | Portero suba y diga | Carlos Barbé | Tango | Eduardo de Labar (h) | Luis César Amadori | 18026 | 55245 | Odeon |
| 23/05/51 | Pasional | Juan Carlos Fabri | Tango | Jorge Caldara | Mario Soto | 18027 | 55245 | Odeon |
| 31/07/51 | Una fija (Glorias de ayer) | Instrumental | Tango | Angel Villoldo | Antonio Polito | 18134 | 55305 | Odeon |
| 31/07/51 | Primero yo! | Carlos Barbé | Tango | Rafael Rossi | José Rial | 18135 | 55305 | Odeon |
| 27/11/51 | Caminito | Juan Carlos Fabri | Tango | Juan de Dios Filiberto | Gabino Coria Peñaloza | 18279 | 55340 | Odeon |
| 27/11/51 | No son siete son catorce | Carlos Barbé | Milonga | Armando Balioti | Luis Díaz | 18280 | 55448 | Odeon |
| 27/11/51 | La última cita | Instrumental | Tango | Agustín Bardi | Francisco García Jimenez | 18281 | 55448 | Odeon |
| 27/11/51 | El chamuyo | Instrumental | Tango | Francisco Canaro | 18282 | 55340 | Odeon | |
| 03/10/52 | Cuando me entrés a fallar | Carlos Barbé | Tango | José María Aguilar | Celedonio Flores | 18625 | 55479 | Odeon |
| 03/10/52 | Manos adoradas | Juan Carlos Fabri | Vals | Roberto Rufino | Horacio Sanguinetti | 18626 | 55479 | Odeon |
| 26/01/53 | Soy feo pero vistoso | Carlos Barbé | Milonga | Miguel Caló | Juan José Correia | 18795 | 55599 | Odeon |
| 26/01/53 | Déjame hablar | Carlos Barbé | Tango | Arturo Gallucci | Abel Aznar | 18796 | 55599 | Odeon |
| 08/04/53 | Vengo a verla | Carlos Barbé | Tango | Miguel Nijensohn | Roberto Miró | 18856 | 55637 | Odeon |
| 08/04/53 | Por una cabeza | Carlos Barbé | Tango | Carlos Gardel | Alfredo Le Pera | 18857 | 55637 | Odeon |
| 07/09/53 | El abandono | Trío Palacio-Riverol-Cabral | Vals | Miguel Caló | Reinaldo Yiso | 19108 | 55787 | Odeon |
| 07/09/53 | Tomá estas monedas | Miguel Martino | Tango | Juan D’Arienzo | Carlos Bahr | 19109 | 55787 | Odeon |
| 05/03/54 | Oración rante | Alberto Podestá | Tango | Roberto Chanel | Aldo Queirolo | 19390 | 55896 | Odeon |
| 05/03/54 | En fa menor | Instrumental | Tango | Roberto Caló y Osvaldo Tarantino | 19391 | 55896 | Odeon | |
| 05/05/54 | Un infierno | Alberto Podestá | Tango | Francisco Rotundo | Reinaldo Yiso | 19473 | 55937 | Odeon |
| 05/05/54 | El bazar de los juguetes | Alberto Podestá | Tango | Roberto Rufino | Reinaldo Yiso | 19474 | 55937 | Odeon |
| 15/06/54 | La cantina | Alberto Podestá | Tango | Aníbal Troilo | Cátulo Castillo | 19524 | 55963 | Odeon |
| 15/06/54 | Como le digo a la vieja | Alberto Podestá | Tango | Miguel Caló | Reinaldo Yiso | 19525 | 55965-B | Odeon |
| 23/06/54 | Boca Juniors | Roberto Arrieta | Tango | Rodolfo Sciammarella | Rodolfo Sciammarella | 19536 | 55965-A | Odeon |
| 23/06/54 | Noche de locura | Alberto Podestá | Tango | Manuel Sucher | Carlos Bahr | 19537 | 55963 | Odeon |
| 13/10/54 | Sueña | Alberto Podestá | Vals | Emile Noblot | Max Francois | 19765 | 51628 | Odeon |
| 13/10/54 | Los cosos de al lao | Carlos Almagro | Tango | Marcos Larrosa | Marcos Larrosa | 19766 | 51628 | Odeon |
| 04/05/55 | Por unos ojos negros | Carlos Almagro | Tango | José Dames | Horacio Sanguinetti | 20138 | 51730 | Odeon |
| 04/05/55 | La barquilla | Carlos Almagro y trío Los Halcones | Vals | Miguel Nijensohn | Carmen Sirianni | 20139 | 51730 | Odeon |
| 07/06/55 | Bien jaileife | Carlos Almagro | Tango | Vicente Demarco | Silvio Marinucci | 20220 | 51752 | Odeon |
| 07/06/55 | Sensiblero | Instrumental | Tango | Julián Plaza | 20221 | 51752 | Odeon | |
| 06/04/56 | Desorientado | Carlos Roldán | Tango | Miguel Caló | Marvil Elizardo Martínez Vilas) | 20891 | 51921 | Odeon |
| 06/04/56 | Madre | Chola Luna | Tango | Francisco Pracánico | Verminio Servetto | 20892 | 51921 | Odeon |
| 23/07/56 | Lo que vos te merecés | Alfredo Dalton | Tango | Carlos Olmedo | Abel Aznar | 21156 | 51979 | Odeon |
| 23/07/56 | Gloria | Chola Luna | Tango | Humberto Canaro | Armando Tagini | 21157 | 51979 | Odeon |
| 19/10/56 | Café para dos | Alfredo Dalton | Tango | Francisco Canaro | Francisco Canaro | 21440 | 52056 | Odeon |
| 19/10/56 | Mi promesa | Alfredo Dalton | Tango | Alfredo De Angelis | José Rótulo | 21441 | 52056 | Odeon |
| 21/12/56 | Quedémonos aquí | Roberto Mancini | Tango | Héctor Stamponi | Homero Expósito | 21720 | 52094 | Odeon |
| 21/12/56 | La perinola | Roberto Mancini-Alfredo Dalton | Vals | Angel Condercuri | Marvil Elizardo Martínez Vilas) | 21721 | 52094 | Odeon |
| 18/06/57 | Mientra viva | Raúl Garcés | Tango | Lucio Demare | Eugenio Majul | 22213 | 52188 | Odeon |
| 18/06/57 | Cuánta angustia | Roberto Arrieta | Tango | Julián Plaza | Manuel Barros | 22214 | 52188 | Odeon |
| 11/07/57 | Por qué seguir | Roberto Mancini | Tango | Elías Randal | Oscar Rubens | 22270 | 52201 | Odeon |
| 11/07/57 | Milonga milonguera | Instrumental | Milonga | Miguel Caló | 22271 | 52201 | Odeon | |
| 15/04/58 | Por quererla así | Hugo San Luis | Tango | Carlos Olmedo | Marcelino Hernández | 22990 | 52340 | Odeon |
| 15/04/58 | Encadenados | Raúl Ledesma | Arr. En tango | Carlos Arturo Briz | Carlos Arturo Briz | 22991 | 52340 | Odeon |
| 11/07/58 | Un tango para la historia | Raúl Ledesma | Tango | Cristobal Herreros | Cristobal Herreros | 23190 | 52383 | Odeon |
| 11/07/58 | Frenético | Raúl Ledesma | Tango | Fernando Tell | Guillermo Guillén | 23191 | 52383 | Odeon |
| 17/09/58 | Cuando Rondan los recuerdos | Raúl Ledesma | Tango | Tito Ferrari | Alberto Coria | 23476 | 52411 | Odeon |
| 17/09/58 | Madre de los cabellos de plata | Raúl Ledesma | Tango | Alejo Montoro | Juan Solano Pedrero | 23477 | 52411 | Odeon |
| 1959 | Hoja muerta | Instrumental | Arr. En tango | Ary Barroso | 12142 | LDM-8143 | Odeon | |
| 1959 | Olvídame (Risque) | Instrumental | Arr. En tango | Ary Barroso | Horacio Sanguinetti | 12143 | LDM-8143 | Odeon |
| 1959 | Serenata | Instrumental | Tango | Rodolfo Sciammarella | Luis César Amadori | 12144 | LDM-8143 | Odeon |
| 1959 | Acuarela del Brasil | Instrumental | Arr. En tango | Ary Barroso | 12145 | LDM-8143 | Odeon | |
| 1959 | Yo sé | Instrumental | Arr. En tango | Maysa Matarazzo | 12146 | LDM-8143 | Odeon | |
| 1959 | La voz del morro | Instrumental | Arr. En tango | Zé Keti | Zé Keti | 12147 | LDM-8143 | Odeon |
| 1959 | Concepción (Conceicao) | Instrumental | Valdemar de Abreu (Dunga) | Jair Amorim | 12148 | LDM-8143 | Odeon | |
| 1959 | Marina | Instrumental | Arr. En tango | Dorival Caymmi | 12149 | LDM-8143 | Odeon | |
| 1959 | Recuerdo de Bahía | Instrumental | Arr. En tango | Dorival Caymmi | 12150 | LDM-8143 | Odeon | |
| 1959 | Hechizo de la villa | Instrumental | Arr. En tango | Vadico | Noel Rosa | 12151 | LDM-8143 | Odeon |
| 1959 | Llueve afuera | Instrumental | Arr. En tango | Tito Maddi | 12152 | LDM-8143 | Odeon | |
| 1959 | Laura | Instrumental | Arr. En tango | Joao De Barro | Alcyr Pires Vermelho | 12153 | LDM-8143 | Odeon |
| 15/09/61 | Volvió una noche | Instrumental | Tango | Carlos Gardel | Alfredo Le Pera | 26904 | 52752 | Odeon |
| 15/09/61 | Nocturna | Instrumental | Milonga | Julián Plaza | 26905 | 52752 | Odeon | |
| 10/10/61 | Quiero huir de mí | Roberto Luque y trío Los Condores | Vals | Manuel Sucher | Roberto Cantoral | 27021 | 52736 | Odeon |
| 10/10/61 | Unica | Roberto Luque | Tango | Roberto Pérez Prechi | Eugenio Majul | 27022 | 52736 | Odeon |
| 1962 | Amo a París | Instrumental | Arr. En tango | Cole Porter | CHI-5232 | DTOA-1433 | Odeon | |
| 1962 | Reminiscencias | Roberto Luque | Vals | Luis Aguirre Pinto | Luis Aguirre Pinto | CHI-5233 | DTOA-1433 | Odeon |
| 1962 | Vanidad | Roberto Luque | Arr. En tango | Armando González Malbrán | Armando González Malbrán | CHI-5248 | DTOA-1433 | Odeon |
| 1962 | Cambalache | Roberto Luque | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | CHI-5249 | DTOA-1433 | Odeon |
| 1962 | Oración de labriego | Instrumental | Vals | Felipe Pinglo | 340 | 45-8143 | Odeon | |
| 1962 | Rosa té | Juan Carlos Roldán | Vals | Germán Zegarra | Max Arroyo | 370 | 45-8143 | Odeon |
| 21/08/62 | Yo pequé | Roberto Luque | Tango | Miguel Angel Pepe | Alberto Coria | 28202 | DTOA-1409 | Odeon |
| 21/08/62 | Luna de Tartagal | Roberto Luque | Arr. En tango | José Ignacio Rodríguez | José Ignacio Rodríguez | 28203 | DTOA-1409 | Odeon |
| 16/04/63 | El mismo final | Alberto Podestá | Tango | Armando Pontier | Federico Silva | 28900 | LDI-545 | Odeon |
| 16/04/63 | En la calle | Raúl Berón | Tango | Domingo Federico | Roddy Koy | 28901 | LDI-545 | Odeon |
| 19/04/63 | Que falta que me hacés | Alberto Podestá | Tango | Armando Pontier | Federico Silva | 28910 | LDI-545 | Odeon |
| 19/04/63 | Brazo de oro | Instrumental | Tango | José Basso | 28911 | LDI-545 | Odeon | |
| 23/04/63 | Bebiendo contigo | Alberto Podestá | Tango | Enrique Francini | Carlos Bahr | 28920 | LDI-545 | Odeon |
| 23/04/63 | Soy milonguero | Raúl Berón | Tango | Miguel Caló | Mario César Gomila | 28921 | LDI-545 | Odeon |
| 07/05/63 | Pa’ lo que te va a durar | Raúl Berón | Tango | Guillermo Barbieri | Celedonio Flores | 28963 | LDI-545 | Odeon |
| 07/05/63 | Madre hay una sola | Raúl Berón | Tango | Agustín Bardi | José de la Vega | 28964 | LDI-545 | Odeon |
| 17/05/63 | Carta para Renée | Alberto Podestá | Tango | Manuel Sucher | Marvil Elizardo Martínez Vilas) | 29003 | LDI-545 | Odeon |
| 24/05/63 | Para Osmar Maderna | Instrumental | Tango | Orlando Trípodi | 29144 | LDI-545 | Odeon | |
| 24/05/63 | Para el recuerdo (A Fiore) | Instrumental | Tango | Manuel Sucher | 29145 | LDI-545 | Odeon | |
| 07/06/63 | A las estrellas | Instrumental | Tango | Armando Balioti | 21199 | LDI-545 | Odeon | |
| 19/11/63 | Tengo | Roberto Luque | Tango | Robetto Pérez Prechi | Eugenio Majul | 29629 | DTOA-2083 | Odeon |
| 19/11/63 | Dos fracasos | Luis Correa | Tango | Miguel Caló | Homero Expósito | 29630 | DTOA-2083 | Odeon |
| 04/12/63 | Aconsejando | Roberto Luque | Tango | Fortunata Levantón Rodiño | J.A. Piaggio | 29701 | DTOA-2083 | Odeon |
| 04/12/63 | A mucha honra | Luis Correa | Tango | Américo Pinella | Ernesto Cardenal | 29702 | DTOA-2083 | Odeon |
| 13/03/64 | Yira yira | Ranko Fujisawa | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | 29825 | Odeon | |
| 13/03/64 | Adiós pampa mía | Ranko Fujisawa | Tango | Francisco Canaro | Ivo Pelay | 29826 | Odeon | |
| 17/03/64 | Caminito | Ranko Fujisawa | Tango | Juan de Dios Filiberto | Gabino Coria Peñaloza | 29833 | Odeon | |
| 17/03/64 | Mama yo quiero un novio | Ranko Fujisawa | Tango | Ramón Collazo | Roberto Fontaina | 29834 | Odeon | |
| 31/03/64 | Noche de plataforma | Ranko Fujisawa | Tango | Tsuki | 29933 | Odeon | ||
| 31/03/64 | Que falta que me hacés | Ranko Fujisawa | Tango | Armando Pontier | Federico Silva | 29934 | Odeon | |
| 07/04/64 | El choclo (Discépolo) | Instrumental | Tango | Angel Villoldo | Enrique Santos Discépolo | 29958 | DTOA-2097 | Odeon |
| 07/04/64 | Nadine | Instrumental | Tango | Orlando Trípodi | 29959 | DTOA-2097 | Odeon | |
| 14/04/64 | Luna del viejo castillo | Instrumental | Arr. En tango | Rentaro Taki | 29990 | Inédito | Odeon | |
| 14/04/64 | Sans souci | Instrumental | Tango | Enrique Delfino | 29990 | SDMO-55591 | Odeon | |
| 24/04/64 | A media luz | Instrumental | Tango | Edgardo Donato | Carlos Lenzi | DTOA-2097 | Odeon | |
| 24/04/64 | La cumparsita | Instrumental | Tango | Gerardo Matos Rodríguez | Gerardo Matos Rodríguez | 30047 | DTOA-2097 | Odeon |
| 1965 | Melodía de arrabal | Raúl Del Mar-Héctor Gagliardi | Tango | Carlos Gardel | Alfredo Le Pera | |||
| 1965 | La última copa | Raúl Del Mar-Héctor Gagliardi | Tango | Francisco Canaro | Juan Andrés Caruso | |||
| 1965 | A media luz | Raúl Del Mar-Héctor Gagliardi | Tango | Edgardo Donato | Carlos Lenzi | |||
| 1965 | Al compás del corazón | Raúl Del Mar-Héctor Gagliardi | Tango | Domingo Federico | Homero Expósito | |||
| 1965 | Donde estás corazón | Raúl Del Mar-Héctor Gagliardi | Tango | Luis Martínez Serrano | Luis Martínez Serrano | |||
| 1965 | Lo han visto con otra | Raúl Del Mar-Héctor Gagliardi | Tango | Horacio Pettorossi | Horacio Pettorossi | |||
| 1965 | Malena | Raúl Del Mar-Héctor Gagliardi | Tango | Lucio Demare | Homero Manzi | |||
| 1965 | Mano a mano | Raúl Del Mar-Héctor Gagliardi | Tango | Carlos Gardel | Celedonio Flores | |||
| 1965 | Nada | Raúl Del Mar-Héctor Gagliardi | Tango | José Dames | Horacio Sanguinetti | |||
| 1965 | Percal | Raúl Del Mar-Héctor Gagliardi | Tango | Domingo Federico | Homero Expósito | |||
| 01/05/65 | A media luz | Lucho Gatica | Tango | Edgardo Donato | Carlos Lenzi | LDM-8166 | Odeon | |
| 02/05/65 | Adiós pampa mía | Lucho Gatica | Tango | Francisco Canaro | Ivo Pelay | LDM-8166 | Odeon | |
| 03/05/65 | Al compás del corazón | Lucho Gatica | Tango | Domingo Federico | Homero Expósito | LDM-8166 | Odeon | |
| 04/05/65 | Alma de bohemio | Lucho Gatica | Tango | Roberto Firpo | Juan Andrés Caruso | LDM-8166 | Odeon | |
| 05/05/65 | Cada día te extraño más | Lucho Gatica | Tango | Armando Pontier | Carlos Bahr | LDM-8166 | Odeon | |
| 06/05/65 | Caminito | Lucho Gatica | Tango | Juan de Dios Filiberto | Gabino Coria Peñaloza | LDM-8166 | Odeon | |
| 07/05/65 | La copa del olvido | Lucho Gatica | Tango | Enrique Delfino | Alberto Vacarezza | LDM-8166 | Odeon | |
| 08/05/65 | Mano a mano | Lucho Gatica | Tango | Carlos Gardel | Celedonio Flores | LDM-8166 | Odeon | |
| 09/05/65 | Mañana iré temprano | Lucho Gatica | Tango | Enrique Francini | Carlos Bahr | LDM-8166 | Odeon | |
| 10/05/65 | Percal | Lucho Gatica | Tango | Domingo Federico | Homero Expósito | LDM-8166 | Odeon | |
| 11/05/65 | Sin palabras | Lucho Gatica | Tango | Mariano Mores | Enrique Santos Discépolo | LDM-8166 | Odeon | |
| 12/05/65 | Uno | Lucho Gatica | Tango | Mariano Mores | Enrique Santos Discépolo | LDM-8166 | Odeon | |
| 13/05/65 | Ahora no me conocés | Marga Fontana | Tango | Armando Balioti | Carlos Giampetruzzi | LDB-67 | Odeon | |
| 14/05/65 | Confesión | Marga Fontana | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | LDB-67 | Odeon | |
| 15/05/65 | En esta tarde gris | Marga Fontana | Tango | Mariano Mores | José María Contursi | LDB-67 | Odeon | |
| 16/05/65 | Gricel | Marga Fontana | Tango | Mariano Mores | José María Contursi | LDB-67 | Odeon | |
| 17/05/65 | Mi Buenos Aires querido | Marga Fontana | Tango | Carlos Gardel | Alfredo Le Pera | LDB-67 | Odeon | |
| 18/05/65 | Volver | Marga Fontana | Tango | Carlos Gardel | Alfredo Le Pera | LDB-67 | Odeon | |
| 19/08/65 | Malena | Roberto Luque | Tango | Lucio Demare | Homero Manzi | LDB-67 | Odeon | |
| 21/08/65 | Antes del adiós | Roberto Luque | Tango | Roberto Nievas Blanco | Eugenio Majul | LDB-67 | Odeon | |
| 22/08/65 | Que falta que me hacés | Roberto Luque | Tango | Armando Pontier | Federico Silva | LDB-67 | Odeon | |
| 23/08/65 | Soñar y nada más | Roberto Luque | Vals | Francisco Canaro | Ivo Pelay | LDB-67 | Odeon | |
| 25/08/65 | Vuelves hoy | Roberto Luque | Tango | Orlando Trípodi | Eugenio Majul | LDB-67 | Odeon | |
| 02/09/65 | Uno | Instrumental | Tango | Mariano Mores | Enrique Santos Discépolo | LDB-67 | Odeon | |
| 02/06/66 | Solitaria | Miguel Montero | Vals | Miguel Caló | Leopoldo Díaz Vélez | 32423 | SDMO-55591 | Odeon |
| 02/06/66 | No fue ninguno de los dos | Miguel Montero | Tango | Roberto Vallejos | Leopoldo Díaz Vélez | 32424 | SDMO-55591 | Odeon |
| 05/09/66 | Elegante papirusa | Instrumental | Tango | Tito Roccatagliatta | 32739 | LDB-114 | Odeon | |
| 08/09/66 | Marión | Roberto Rufino | Tango | Luis Rubistein | Luis Rubistein | 32740 | LDB-114 | Odeon |
| 20/09/66 | Nido gaucho | Roberto Rufino | Tango | Carlos Di Sarli | Héctor Marcó | 32791 | LDB-114 | Odeon |
| 27/09/66 | Verdemar | Roberto Rufino | Tango | Carlos Di Sarli | José María Contursi | 32813 | LDB-114 | Odeon |
| 27/09/66 | Tal vez (Adiós en flor) | Roberto Rufino | Tango | Juan Schellemberg | José Arenas | 32813(?) | LDB-114 | Odeon |
| 27/09/66 | Fatalmente nada | Roberto Rufino | Tango | Manuel Sucher | Alberto Mastra | 32814 | LDB-114 | Odeon |
| 29/09/66 | Yuyo verde | Roberto Rufino | Tango | Domingo Federico | Homero Expósito | 32792 | LDB-114 | Odeon |
| 03/10/66 | Duelo criolla | Roberto Rufino | Tango | Juan Rezzano | Lito Bayardo | 32824 | LDB-114 | Odeon |
| 03/10/66 | Canción de rango (Pa’ que se callen) | Roberto Rufino | Tango | Raúl Kaplun | José María Suñe | 32825 | LDB-114 | Odeon |
| 27/10/66 | Y te necesito tanto | Roberto Rufino | Tango | Aquiles Roggero | Reinaldo Yiso | 32937 | LDB-114 | Odeon |
| 27/10/66 | Para siempre | Roberto Rufino | Tango | Armando Pontier | Federico Silva | 32938 | LDB-114 | Odeon |
| 17/11/66 | El mundo de los dos | Roberto Rufino | Tango | Roberto Rufino | Samuel Pribluda | 33018 | LDB-114 | Odeon |
| 17/11/66 | Racconto | Roberto Rufino | Tango | Carlos García | Margarita Durán | 33019 | LDB-114 | Odeon |
| 15/05/67 | Cafetín de Buenos Aires | Alberto Marino | Tango | Mariano Mores | Enrique Santos Discépolo | 33451 | LDB-126 | Odeon |
| 15/05/67 | Tu piel de jazmín | Alberto Marino | Tango | Mariano Mores | José María Contursi | 33452 | LDB-126 | Odeon |
| 23/05/67 | Adiós pampa mía | Alberto Marino | Tango | Francisco Canaro | Ivo Pelay | 33470 | LDB-126 | Odeon |
| 23/05/67 | Cuando caigan las hojas | Alberto Marino | Tango | Emilio Balcarce | Italo Curio | 33471 | LDB-126 | Odeon |
| 29/05/67 | Mi tango es triste (Tango triste) | Alberto Marino | Tango | Aníbal Troilo | José María Contursi | 33482 | LDB-126 | Odeon |
| 29/05/67 | Cilicio | Alberto Marino | Tango | Alberto Marino | Italo Curio | 33483 | LDB-126 | Odeon |
| 05/06/67 | Adiós | Alberto Marino | Tango | Mariano Mores | Pierre Cour | 33499 | LDB-126 | Odeon |
| 05/06/67 | He vuelto muchachos | Alberto Marino | Tango | Julio Cesar Sanders | José María Suñe | 33500 | LDB-126 | Odeon |
| 12/06/67 | Porteñisimo | Instrumental | Tango | Miguel Caló | 33519 | LDB-126 | Odeon | |
| 12/06/67 | Entre dos | Instrumental | Tango | Orlando Trípodi | 33520 | LDB-126 | Odeon | |
| 26/06/67 | Snobismo | Instrumental | Tango | Juan Carlos Cobián | 33572 | LDB-126 | Odeon | |
| 26/06/67 | El chupete | Instrumental | Tango | Ricardo Gaudenzio | Antonio Polito | 33573 | LDB-126 | Odeon |
| 12/09/67 | Garras | Raúl Ledesma | Tango | Aníbal Troilo | José María Contursi | 33851 | LDB-175 | Odeon |
| 12/09/67 | Así era ella muchachos | Raul Ledesma | Tango | Angel Di Rosa | José E. Cabodevilla | 33852 | LDB-175 | Odeon |
| 12/09/67 | Sabor a Buenos Aires | Raúl Ledesma | Tango | Miguel Caló | Carlos Mastronardi | 33853 | LDB-175 | Odeon |
| 12/09/67 | Aquel viejo tango | Raul Ledesma | Tango | Antonio Arcieri | Roberto Giménez | 33854 | LDB-175 | Odeon |
| 28/03/69 | Notas para el cielo | Instrumental | Tango | Orlando Trípodi | 35501 | LDB-175 | Odeon | |
| 28/03/69 | Tierra querida | Instrumental | Tango | Julio De Caro | Luis Díaz | 35502 | LDB-175 | Odeon |
| 28/03/69 | Aquel lugar querido | Instrumental | Tango | Miguel Caló | 33518 | LDB-175 | Odeon | |
| 28/03/69 | El amanecer | Instrumental | Tango | Roberto Firpo | 35519 | LDB-175 | Odeon | |
| 15/05/69 | En fa menor | Instrumental | Tango | Roberto Caló y Osvaldo Tarantino | 35749 | LDB-175 | Odeon | |
| 15/05/69 | A Villoldo | Instrumental | Tango | Armando Lacava | 35750 | LDB-175 | Odeon | |
| 27/05/69 | Canción desesperada | Instrumental | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | 35823 | LDB-175 | Odeon |
| 27/05/69 | Rondando tu esquina | Instrumental | Tango | Charlo | Enrique Cadícamo | 35824 | LDB-175 | Odeon |
| 1972 | Así se baila hoy | Alberto Podestá | Tango | Marcos Vera | Ernesto Cardenal | 50023 | Embassy | |
| 1972 | Cobrate y dame el vuelto | Alberto Podestá | Milonga | Miguel Caló | Enrique Dizeo | 50023 | Embassy | |
| 1972 | Corazón yo creo en vos | Alberto Podestá | Tango | Miguel Caló | Leopoldo Díaz Vélez | 50023 | Embassy | |
| 1972 | La luz de la pensión | Alberto Podestá | Tango | Aquiles Roggero | Héctor Negro | 50023 | Embassy | |
| 1972 | Lo pensé así | Instrumental | Tango | Miguel Nijensohn | 50023 | Embassy | ||
| 1972 | Mientras vuelva el amor | Alberto Podestá | Tango | José Dames | Leopoldo Díaz Vélez | 50023 | Embassy | |
| 1972 | Nadine | Instrumental | Tango | Orlando Trípodi | 50023 | Embassy | ||
| 1972 | Señor que no me mira | Alberto Podestá | Tango | Orlando Trípodi | Mario Benedetti | 50023 | Embassy | |
| 1972 | Sobre un mar de azoteas | Alberto Podestá | Tango | Miguel Nijensohn | Cátulo Castillo | 50023 | Embassy | |
| 1972 | Soy porteñisima | Instrumental | Milonga | Aquiles Roggero | 50023 | Embassy | ||
| 1972 | Un alma buena | Alberto Podestá | Tango | Aquiles Aguilar | José María Contursi | 50023 | Embassy | |
| 1972 | Unamos nuestras vidas | Alberto Podestá | Vals | Juan Caló | Alberto Cosentino | 50023 | Embassy | |
| 1972 | A mi me gusta, ¿a usted? | Instrumental | Tango | Miguel Caló | 70001 | Embassy | ||
| 1972 | Con personalidad | Instrumental | Tango | Miguel Caló | 70001 | Embassy | ||
| 1972 | De levita y con bastón | Instrumental | Tango | Miguel Nijensohn | 70001 | Embassy | ||
| 1972 | La mentirosa | Raúl Iriarte | Tango | Anselmo Aieta | Francisco García Jimenez | 70001 | Embassy | |
| 1972 | Mis flores negras | Raúl Iriarte-Roberto Arrieta | Pasillo | Félix Scolatti Almeyda | Julio Florez | 70001 | Embassy | |
| 1972 | Nubes de humo (Fume compadre) | Raúl Iriarte | Tango | Manuel Jovés | Manuel Romero | 70001 | Embassy | |
| 1972 | Que te lo diga Dios | Roberto Arrieta | Tango | Miguel Caló | Roberto Arrieta | 70001 | Embassy | |
| 1972 | Soy melodioso | Instrumental | Tango | Miguel Caló | 70001 | Embassy | ||
| 1972 | Todos vuelven | Raul Iriarte-Roberto Arrieta | Vals | César Miró | César Miró | 70001 | Embassy | |
| 1972 | Tres Esperanzas | Roberto Arrieta | Tango | Enrique Santos Discépolo | Enrique Santos Discépolo | 70001 | Embassy | |
| 1972 | Un lugar para los dos | Raúl Iriarte | Tango | Miguel Caló | Leopoldo Díaz Vélez | 70001 | Embassy | |
| 1972 | Yo también soñé | Roberto Arrieta | Tango | Francisco Canaro | Luis César Amadori | 70001 | Embassy |
| Versioni Radiofoniche (Tomas radiales) | ||||
| Data | Titolo | Cantante | Genere | Radio |
| 1963 | Bien criolla y bien porteña | Alberto Podestá-Raúl Berón | Milonga | LR1 Radio El Mundo |
| 1963 | El vals soñador | Alberto Podestá | Vals | LR1 Radio El Mundo |
| 1963 | Elegante papirusa | Instrumental | Tango | LR1 Radio El Mundo |
| 1963 | En La Calle | Raúl Berón | Tango | LR1 Radio El Mundo |
| 1963 | Esquinero | Instrumental | Tango | LR1 Radio El Mundo |
| 1963 | La maleva | Instrumental | Tango | LR1 Radio El Mundo |
| 1963 | Lejos de Buenos Aires | Raul Beron | Tango | LR1 Radio El Mundo |
| 1963 | Mañana ire temprano | Alberto Podestá-Raúl Berón | Tango | LR1 Radio El Mundo |
| 1963 | Margo | Alberto Podestá | Tango | LR1 Radio El Mundo |
| 1963 | Saludos | Instrumental | Tango | LR1 Radio El Mundo |
| Domingo a la noche | Carlos Almagro | Tango | ||
| 1964 | El ultimo café | Héctor De Rosas | Tango | LR3 Radio Belgrano |
| 1964 | Nadine | Instrumental | Tango | LR3 Radio Belgrano |
| 1964 | Te pregunto | Héctor De Rosas | Tango | LR3 Radio Belgrano |
| 1964 | Tengo | Roberto Luque | Tango | LR3 Radio Belgrano |
| Que falta que me hacés | Raul del Mar – Hector Gagliardi | Tango | ||
| 1966 | La abandoné y no sabía | Raúl Ledesma | Tango | LR1 Glostora Tango Club |
| 1966 | La Cumparsita | Instrumental | Tango | LR1 Glostora Tango Club |
| 1966 | Nada | Raúl Ledesma | Tango | LR1 Glostora Tango Club |
| 1966 | Para siempre | Roberto Rufino | Tango | LR1 Glostora Tango Club |
| 1966 | Que falta que me hacés | Raúl Ledesma | Tango | LR1 Glostora Tango Club |
| 1966 | Y te necesito tanto | Roberto Rufino | Tango | LR1 Glostora Tango Club |