Sellos Pampa, the MAI master series and
the history of the Odeon and Columbia labels
in Argentina

1. Introduction
2. An illustrated bird's eye view of early Odeon history in Argentina
3. Pampa, Pathé, Parlophone, Columbia... and Odeon
4. The MAI master series - by performer (tango only)
5. The MAI master series - chronologically (mostly tango)
1950 - 1951 - 1952 - 1953 - 1954 - 1955 - 1956 - 1957
Appendix-1: There is more to Pampa than just MAI...

Appendix-2: The Pampa label after 1957

3. Pampa, Pathé, Parlophone, Columbia... and Odeon

Although it is difficult to find more detailed information about the Pampa label (1950-1957), it seems established that it was a subsidiary of Odeon.

MAI2MAI1 The very first Pampa record... (PS-1001, master numbers MAI-2 & MAI-1)


Industria Argentina
Música Argentina e Internacional S.R.L. - Bs Aires

The record label - which will remain in use until 1953 - is characterized by a pastoral scene with Odeon-like rays spreading out upward from the center of the record.

Strangely enough, between 1950 and 1953, some of the recordings that have MAI master series numbers were also edited by other labels, each one with its own pecularities. The only explanation for this sudden proliferation of Odeon-controlled subsidiaries that I have found so far is offered by Pablo Darío Taboada in an article about Enrique Allesio: in the regulated Peronist economy, raw materials for making records were supplied by the state and creating subsidiaries may have been one way to get a larger share.

Distribuidores exclusivos Musica Argentino e Internacional
Industria Argentina

In the UK, Pathé and Odeon were merged into EMI already in 1931 which relates Pathé to Pampa (through Odeon).

It looks as if the production stage (the recording studio where the master numbers were assigned) and logistics (distribution) were shared and separate from the commercial stage (simplified: sticking the label on the record).

From 680 identified MAI-numbers - and notwithstanding a single exception - it appears that the MAI-numbered recordings form indeed one single series, used across labels and genres.

All discographical data - and photos of records found - confirm it: an artist either belonged to Pampa (Edgardo Donato, Juan Cambareri...) or to Pathé (Julio De Caro, Eduardo del Piano, ...)  -  I have no knowledge of recordings that appeared both as Pampa and Pathé.

This cooperation seems to come to an end at the end of 1953.
I have some doubts about later recordings by typical Pathé artists.
Eduardo del Piano, after having recorded for Pathé - edited in the PG-110xx series - made 6 more recordings in 1954-1955 edited on records 5037, 5067, 5069 (no more details available). If these belong to the PS-50xx series (and chronologically this would make sense) they may have been edited as Pampa records. Still waiting for a reliable discographical source - or photos of the records...
Similarly, for the 2 last recordings of Alfredo Attadia from 1954 (Aleteando and Pelusita), I have no discographical details at all, and altough having been described as edited by Pathé (based on earlier work?) this remains to be demonstrated.

Distribuido por Musica Argentino e Internacional
Industria Argentina

Parlophone, just like Pathé, was merged into EMI (UK, 1931) so this should not come as a surprise (although it did for me).
Many Odeon ochestras, like Francisco Canaro and Alfredo de Angelis were edited in the U.K. under the Parlophone label. But never ever before have I seen or heard about tango related Argentinian editions on the Parlophone label. And indeed, in the MAI-series, Argentinian Parlophone editions found so far seem to be typical for folklore (and/or "international") music.

Unlike for Pathé, editions on both Pampa and Parlophone seem to exist - I found at least one example (without any details about their relative chronology). For the kind of music that appeared on the Parlophone label I don't have the necessary discographical background to discuss this further in detail.


Francisco Canaro
Parlophone UK


Pampa  MAI-335


Parlophone  MAI-335

And finally the weirdest of all...

Columbia (or Columbia Odeon as it is often called)

The record label holds references to no less than 3 companies
  • textually, Columbia, also represented by the "magic notes" logo, top left
  • the "mike" logo of CBS (Columbia Broadcasting System), top right
  • textually "Ejecución publica y radiotransmisión reservadas por Industrias Eléctricas y Musicales Odeon", later replaced by "Fabricado por Industrias Eléctricas y Musicales Odeon" (as far as I can judge: from 301022 on, mid 1951)
The history of the Columbia label is a complicated one and sometimes difficult to correlate with what you see on their records. As we have seen before, Columbia and Odeon were merged into EMI already in 1931. But soon EMI had to sell the American Columbia branch because of anti-trust regulations. In 1938 Columbia was acquired by CBS but still held a distribution arrangement with EMI. So to get the full picture, the only thing we have to speculate about (mark the word) is the sharing of recording studios, as suggested by the occurence of the MAI master numbers.

USA top management changes in 1951 brought the cooperation with EMI to an end. It must have taken some time before the consequences of this decision reached Argentina. The history of the MAI master series suggests that this happened at the end of 1952. In that  same period, the Peronist regime went  through a crisis and the reasons for the change may have been more complex, economic austerity measures introduced in that year may also have played a role.

Although many artists got their first opportunity to enter the recording studios thanks to the Pampa label, those that were edited on Columbia were well known icons of the industry: Francisco Canaro (with his Quinteto Pirincho), Osvaldo Fresedo, Charlo, Lucio Demare. Their MAI-recordings were the only ones that were also edited by Odeon.

Remarkably, all 4 of them - and around the same time, end of 1952 - were, so to speak, rushing for the exit door, taking the masters with them, on the way out.

According to Christoph Lanner, in his Canaro discography,  all 12 Columbia records by the Quinteto Pirincho (recorded December 1950 to October 1952) have been edited by Odeon also, a continuously numbered series 55584 to 55595 (the record numbers suggest that this happened at the end of 1952 or later). After 1952, the Quinteto Pirincho continued recording for Odeon (as it had done before this Columbia episode). 55595-B
All recordings made by Lucio Demare (with his orchestra or piano solo) in 1951 and 1952 were edited by Columbia, but the last 2 ones - from January 1953 - were edited by Pampa.
All recordings made by Charlo between 1951 and mid-1952 were edited by Columbia, some of them reedited by Odeon (presumably at a later date, as suggested by the record numbers in the 557xx range). But the last 4 ones - from November 1952 - were edited by Pampa. In 1953, Charlo continues recording for the Odeon label. 55595-B55720-APM-14057-A
The trayectory of Osvaldo Fresedo is the most chaotic of all.
Most, but not all, MAI-recordings made between 1950 and October 1952 were edited on Columbia records, 15 of them. I have no knowledge of Odeon reeditions but cannot exclude them either.

In Lefcovich's "Estudio de la discografía de Osvaldo Fresedo" (Ed. 1993) there are some problems with the data for "Pampero" (MAI-767), as will be shown later. For the next entry "Vida Mia" (MAI-768), Lefcovich doesn't mention a Columbia 301xxx edition (as usual) but Odeon, similarly for the last MAI-series recordings by Fresedo from November (MAI-907 to 910) and December (MAI-941 to 942) of the year 1952.

Where these recordings ONLY edited by Odeon, as suggested by Lefcovich ? And not by Columbia ? This is my conviction, until proof of the contrary (°).

Odeon 55538 holds "Nostalgias" (MAI-907) and "Viejo Malevo" (MAI-908)
Odeon 55567 holds "Lo Han Visto Con Otra" (MAI-909) and "A Todo Trapo" (MAI-910)
These are the 4 November recordings.

Odeon 55560 holds "Adios Muchachos" (MAI-942) and "Vida Mia" (MAI-768)
Odeon 55633 holds "Pampero" (MAI-767) and "Mi Adorable Desconocida" (MAI-941)

The last 2 records mix very different MAI-numbers, which could be an indication for the recovery of left-overs (the 2 December recordings mixed with earlier ones).

Lefcovich's indication "Odeon 55567" for "Mi Adorable Desconocida" is just another error (3rd occurrence for this record number).

From 1953 on, Fresedo continues recording for Odeon, until 1957. In 1959 he returns to Columbia, but this time it is CBS-Columbia.

(°) Roberto G. Miglio in his discography of Héctor Pacheco ("El Tango y Sus Interpretes" - Tomo 1, 1992) lists all these recordings under the "para el sello Columbia"  header, however without discographical details other than the recording date.
What happened at Columbia after its dissociation from Odeon/Pampa and EMI ?

Just a few months later, in April 1953, Columbia Argentina restarts recording tangos, with a new master number series, taking off at Cao-101 (an overview of this series can be found here).
No idea what the "Cao" stands for: Columbia Argentina and something... ? (There were also Co and HCO series).
Some of the first records carry the inscription "Grabado en los Estudios de Radio Splendid" . Should we conclude that Columbia Argentina - after its separation from the Pampa label - was left, at least temporarily, without recording studios of their own? It is highly speculative but it does make fall the pieces nicely together...

The first records were numbered C 150xx (I presume taking up an old Columbia habit to precede record numbers with C for "Central and South American (Spanish)" ). Very soon (from 15.012 on) the C is dropped and the record number format acquires a thousand separator (15.0xx instead of 150xx). Also the record labels reverts to dark lettering on a white background. The records now look very similar to those produced earlier in the MAI-series, of course except for record and master numbers and the fact that Odeon  or Industrias Eléctricas y Musicales  are no longer mentioned.

Columbia (still with "magic notes" and CBS "mike" logos)
Columbia Argentina
Industria Argentina

But changes take time, and this can differ from country to country.
Therefore we can find a Brazilian edition of Cao-150 (recorded 01-10-1953) where Odeon is still mentioned (but not so on the original Argentinian edition).

CB-1040 (Cao 150)
Columbia do Brasil

Indústria brasileira
Fabricado por Indústrias Elétricas e Musicais Fábrica Odeon

4. The MAI series - by performer (tango only)

Came from...
Went to...
Modern CD editions (private collections not included)
I recommend Bernhard's excellent searchable database for locating these musicians in - among others - various Japanese CD collections.
Aida Luz Pampa, 1953-1954
Of her 4 recordings, Patio Mio appears in a few compilation albums: Los Clásicos Argentinos Vol.27, Sentir el Tango TA60 (Voces Femeninas Vol.01), El Bandoneon n°113 (Las Damas del Tango-Vol.2)
Alberto Morán (solista) acomp. Armando Cupo Pampa, 1954-1957
Odeon, 1954 - as a singer in the Pugliese orchestra
Odeon, 1958 - continuing with Armando Cupo
Reliquias: "Alberto Morán - En El Recuerdo", "Alberto Morán - Bailemos", "Jorge Vidal y Alberto Morán - Recordando Sus Éxitos" (some Odeon recordings are included)
Alberto Podestá (solista)
Pampa, 1952-1953
RCA Victor, with Francini-Pontier (1950)
Odeon, with Miguel Caló (1954) Except for the recording with Donato, no known editions
Alfredo Attadia Pathé, 1951-1953
Pampa?, 1954
Odeon, 1949
Reliquias: a single track on Orquestas Olvidadas Vol.1 (which also appears on The Story of Tango, Vol.2) and 2 more on Orquestas Olvidadas Vol.2
Ariel Pedernera Pathé, 1951-1953 14
Music Hall, 1954
No known editions
Armando Baliotti
Pathé, 1951-1952
TK, 1959
Almost completely unedited, one track on The Story of Tango, Vol.2
Carlos Demaría Pampa, 1950-1951 16
Columbia, 1956, director of the orchestra that accompanied Héctor Mauré
Almost completely unedited. A single track on Reliquias - Orquestas Olvidadas Vol.1 (which also appears on The Story of Tango, Vol.2)
Charlo (solista)
Columbia, 1951-1952
Pampa, 1952
Odeon, 1940 (and a single Sondor recording in 1950) Odeon, 1953Some can be found on Sentir el Tango TA22  (Nostalgias), Reliquias (Charlo - Una voz inolvidable) and El Bandoneon n°77 (Nostalgias), in all cases mixed with Odeon recordings
Edgardo Donato Pampa, 1950-1957 64
RCA Victor, 1945
RCA Victor, 1961 The Archivo Odeon volume "Edgardo Donato en la década del 50" (EU-19017) is dedicated to the Pampa recordings. A few more can be found on Reliquias Orquestas Olvidadas Vol.1 (3), Vol.2 (5) and Vol.3 (3). Less than half of the Pampa output is covered.
Eduardo Del Piano Pathé, 1951-1953
Pampa?, 1954-1955
RCA Victor, 1950 - director of the orchestra that accompanied Angel Vargas
Music Hall, 1955A few tracks on Reliquias Orquestas Olvidadas Vol.1 (2), Vol.2 (4) and Vol.3 (2), one of those also on The Story of Tango, Vol.2. The Buenos Aires Tango Club has a volume devoted to him (Eduardo Del Piano Años 50-80, ORQ213)
Emilio Orlando Pampa, 1957
No known editions
Enrique Alessio
Pampa, 1950
Odeon, 1947 - director of the orchestra that accompanied Alberto Castillo
Odeon, 1962
The Buenos Aires Tango Club has a (half-)volume devoted to him (Enrique Alessio / Dante Puricelli, 1950-1953 - ORQ327)
Enrique Mora Pampa, 1950-1956 64
Odeon, 1958
Reliquias: Enrique Mora y su Cuarteto - Tangos del Arrabal, covering only a small part of the recordings of one of the most prolific Pampa musicians. Also a track on The Story of Tango, Vol.2.
Francisco Rotundo
Pampa, 1953-1957 44
Odeon, 1953
Possibly the most completely reedited: on Reliquias  (Sus éxitos con Floreal Ruiz - Sus grandes éxitos con Julio Sosa y Enrique Campos), Euro Records EU19018 (Para Recordarlo),  El Bandoneon n°56 (El Varón del Tango) - in all cases mixed with Odeon recordings. An almost countless "Grandes exitos"-style CDs of Floreal Ruiz, Julio Sosa and Enrique Campos...
Héctor Gagliardi Pampa, 1952-1954 or 1955
No known editions (there have been reeditions on EMI-Odeon LPs but these recited poems didn't seem to fit well in the tango revival wave at the end of the previous century) 
Héctor Varela Pampa, 1950-1954 50
RCA Victor, as a bandoneonist in the D'Arienzo orchestra
Columbia, 1954
The Reliquias volumes 'Su Primera Orquesta'' and 'Noches De Cabaret" contain Pampa editions. The EMI-Odeon's Bailando Tango volume on the other hand contains a mix of Pampa and later Odeon recordings. An almost countless "Grandes exitos"-style CDs of Argentino Ledesma and Rodolfo Lesica...
Jorge Argentino Fernández
Pampa, 1951
Pathé, 1952-1953
Odeon, 1941, as a bandoneonist in the Rodolfo Biagi orchestra Odeon, 195x
No known editions
Jorge Vidal (solista)
Pampa, 1951-1957 62
Odeon, 1950 - as a singer in the Pugliese orchestra Odeon, 1957 - continuing as solista Many reeditions, among them Reliquias (Confidencias - De Metejones y Escolazos - Recordando Exitos and, with Alberto Morán, Recordando Sus Exitos) and a Blue Moon edition (Tres Esperanzas), in all cases mixed with later Odeon recordings.
Juan Cambareri Pampa, 1950-1957 66
Sondor, 1949
TK, 1959
Almost completely unedited, one track on The Story of Tango, Vol.2
Juan Polito
Pampa, 1952-1953
RCA Victor, 1940, as a pianist in the Juan D'Arienzo orchestra RCA Victor, 1957, as a pianist in the Juan D'Arienzo orchestraReliquias: 2 tracks on Orquestas Olvidadas Vol.3, one more on The Story of Tango, Vol.2

Juancito Diaz
Pampa, 1953 (+1954?)
- Music Hall, 1965
No known editions other than Milonga Sentimental on The Story of Tango, Vol.2

Julio De Caro Pathé, 1952-1953
Odeon, 1951
Reliquias "Tangos de Rompe y Raja" and the De Caro volume of "From Argentina to the World", in both cases mixed with earlier Odeon recordings. The Lantower De Caro volume (Vol.36) also has a few tracks, mixed with Odeon and RCA Victor recordings.
Lorenzo Barbero Pampa, 1950-1954 28
Just a few tracks in Reliquias "Orquestas Olvidadas" (all 3 volumes) and one on The Story of Tango, Vol.2.
Lucio Demare (orchestra and piano solo)
Columbia, 1950-1952
Pampa, 1953
Odeon, 1945
Art Fono, 1954
Mostly unedited. One orchestral track (Malena) landed (by accident?) on the Reliquias volume "Sus Primeros Exitos". El Bandoneon n°119 has the 2 Pampa piano solo recordings.
Mario Demarco Pathé, 1951-1953 18
RCA Victor, as a bandoneonist in the Alfredo Gobbi orchestra Odeon, 1954, as a bandoneonist in the Osvaldo Pugliese orchestra
Three tracks on Reliquias "Orquestas Olvidadas" Vol.1 and 2, one of them also on The Story of Tango, Vol.2.
Orq. Símbolo Osmar Maderna, dir. Aquiles Roggero
Pampa, 1952-1957 32
RCA Victor, as musicians in the orchestra of Osmar Maderna
RCA Víctor, 1958
The Buenos Aires Tango Club has a volume devoted to the Pampa recordings (Orq. Símbolo Osmar Maderna Vol.1 1952-56 - ORQ214), continued on Vol.2 (ORQ215) which contains also later RCA Victor and Forever recordings.
Osvaldo Fresedo Columbia, 1950-1952
Odeon, 1952
RCA Victor, 1948
Odeon, 1953
Many (but not all) can be found on Reliquias ("Nostalgia", "De Un Tiempo Que Pasó"), El Bandoneon n°49 ("El Pibe del Paternal") and Vol.25 of the Lantower series, in all cases mixed with other recordings.
Pedro Laurenz Pathé, 1952-1953 8
Odeon, 1947
Microfón, 1966
3 from the 6 Laurenz recordings on the Euro Records volume "Tres Orquestas Milongueras" (EU19012, Archivo Odeon) are Pathé recordings.
Quinteto Pirincho (Francisco Canaro)
Note: only the quinteto - and not the Canaro orchestra - recorded in the MAI series
Columbia, 1950-1952 24
Odeon, 1948
Odeon, 1953
Spread out over the Reliquias volumes "Quinteto Pirincho - Tangos del Tiempo Viejo" Vol.1 (5) and Vol.3 (10) and 1 more on "Las Milongas Más Milongas", in all cases mixed with Odeon recordings.
On El Bandoneón n°3 "Quinteto Pirincho", and in spite of the subtitle "dirección Francisco Canaro, 1938", 7 of the 14 tracks are actually Pampa recordings from the fifties.

Ricardo Pedevilla Pampa, 1950-1953 24
7 tracks on Reliquias "Orquestas Olvidadas" Vol.1 (one of them also on The Story of Tango, Vol.2.) and one more on "Orquestas Olvidadas" Vol.2
Sexteto Hermanos Canaro
(Mario & Juan Canaro)
Pampa, 1953
No known editions
Victor D'Amario Pathé, 1951-1953 20
Almalí, 1980
Almost completely unedited, a single track on Reliquias "Orquestas Olvidadas" Vol.3
Virginia Luque Pampa, 1951-1952 14
RCA Victor, 1959No known editions

Only a few commercially available CDs have been specifically dedicated to Pampa (and related) recordings.
Four compilation CDs (the 3 "Orquestas olvidadas" volumes of Reliquias , an EMI-Odeon series, and the second volume of The Story of Tango, edited by Hemisphere - a world music oriented sublabel of EMI) consist to a large extent of Pampa and Pathé recordings and form a good introduction to some of the less well known orchestras.

Orquestas Olvidadas Vol.1 Orquestas Olvidadas Vol.2
1) La Cumparsita (Antonio Rodio)
2) Chiqué (Eduardo Del Piano - 17-09-1951)  - Pathé
3) El Caburé (Ricardo Pedevilla - 05-12-1951)  - Pampa
4) Mal de Amores (Mario Demarco - 08-08-1952)  - Pathé
5) Sábado Inglés (Edgardo Donato - 25-07-1953)  -
6) Siete Palabras (Ricardo Pedevilla - 05-12-1951)  - Pampa
7) Lorenzo (Jorge Caldara)
8) El Entrerriano (Carlos Demaría - 19-10-1950)  -
9) El Amanecer (Ricardo Pedevilla - 28-11-1950)  - Pampa
10) Fuegos Artificiales (Edgardo Donato - 17-12-1954)  - Pampa
11) La Rayuela (Eduardo Del Piano - 17-09-1951)  - Pathé
12) Organito de la Tarde (Ricardo Pedevilla - 21-11-1950)  -
13) El Negro Pintos (Alfredo Attadia - 14-08-1952)  - Pathé
14) Bienvenida (Mario Demarco - 17-11-1952)  - Pathé
15) El Pollo Ricardo (Ricardo Pedevilla - 03-11-1950)  -
16) El Chupete (Edgardo Donato - 21-06-1956)  - Pampa
17) El Irresistible (Jorge Caldara)
18) El Incendio (Ricardo Pedevilla - 06-10-1953)  -
19) Retintín (Lorenzo Barbero - 24-01-1952)  - Pampa
20) La Cumparsita (Jorge Fernandez, 24-10-1952) - Pathé
1) Fueye (Manuel Buzón - Amadeo Mandarino)
2) Amor Que Se Hace Llanto (José Tinelli - Horacio Acosta)
3) Dónde Estás Corazón (Antonio Rodio - Alberto Serna)
4) Tus Besos Fueron Míos (Alfredo Attadia - Enzo Valentino - 14-08-1952)  - Pathé
5) Será Una Noche (Edgardo Donato - Carlos Almada - 25-06-1952)  -
6) No Me Pregunten Por Qué (Eduardo Del Piano - Héctor de Rosas - 17-09-1951)  - Pathé
7) Patria (Ricardo Pedevilla - Hugo Del Valle - 05-12-1952)  -
8) Mañana Zarpa Un Barco (Mario Demarco - Jorge Sobral - 17-11-1952)  - Pathé
9) El Patio de la Morocha (Edgardo Donato - Carlos Almada - 06-06-1951)  -
10) Rosa de Otoño (Jorge Argentino Fernández - 19-03-1953) - Pathé
11) Buenos Aires (Eduardo Del Piano - Héctor de Rosas - 16-11-1954)  -
12) Mi Serenata (Edgardo Donato - Alberto Podestá & Carlos Almada - 25-06-1952)  - Pampa
13) Rosa celeste (Antonio Rodio - Alberto Serna)
14) Betinotti (Alfredo Attadia - Enzo Valentino - 28-10-1952)  - Pathé
15) Mandria (Eduardo Del Piano - Mario Bustos - 22-04-1954)  - Pampa?
16) Se Va La Vida (Edgardo Donato - Carlos Almada - 16-10-1950)  -
17) Noche de Locura (Lorenzo Barbero - Osvaldo Ribó - 23-07-1954)  - Pampa
18) Remembranza (Eduardo Del Piano - Héctor de Rosas - 26-05-1955)  - Pampa?
19) Preparate Pa'l Domingo (Edgardo Donato - Carlos Almada - 18-01-1952)  - Pampa
20) Tu Olvido (Eduardo Del Piano - Mario Bustos & Héctor de Rosas - 25-04-1952)  - Pathé
Orquestas Olvidadas Vol.3 The Story of Tango, vol.2
1) Milonguita (Enrique Alessio - Jose Berón)
2) Por Las Calles Del Tango (Enrique Alessio - Jose Berón)
3) No Pediste Perdón (Enrique Alessio - Jose Berón)
4) La Cumparsita (Enrique Alessio)
5) Tres Esperanzas (Miguel Nijhensohn - Carlos Budini)
6) Lonjazos (Miguel Nijhensohn - Mario Bonet & Carlos Budini)
7) Un Copetín (Juan Polito - 06-03-1953)  -
8) La Bruja (Juan Polito - Raúl Figueroa - 11-08-1953) - Pampa
9) Jueves (Victor D'Amario - 19-06-1951) - Pathé
10) Doblando El Codo (Eduardo Del Piano - Ruben Grillo - 16-11-1954)  -
11) Ahí Va el Dulce (Eduardo Del Piano - 02-07-1952)  - Pathé
12) Cómo se Pianta la Vida (Edgardo Donato - Carlos Almada - 26-12-1950) -
13) A Media Luz (Edgardo Donato - Carlos Almada - 07-07-1950) - Pampa
14) Julián (Edgardo Donato - 01-12-1950) - Pampa
15) El Torito (Lorenzo Barbero - 24-01-1952)  - Pampa
16) El Caburé (Lorenzo Barbero - 15-03-1954)  - Pampa
17) El Espejo de mi Vida (Lorenzo Barbero - Mario Cordoba - 20-10-1952)  - Pampa
18) Pastelitos Calientes (Lorenzo Barbero - Mario Cordoba - 1952)  - Pampa
19) Fandango (Lorenzo Barbero - Mario Cordoba - 08-05-1953)  - Pampa
20) Bamba (Jorge Caldara)
1) Halcón Negro (Héctor Artola)
2) El Entrerriano (Carlos Demaría - 19-10-1950)  -
3) El Amanecer (Ricardo Pedevilla - 28-11-1950)  - Pampa
4) Jueves (Victor D'Amario - 19-06-1951)  - Pathé
5) Chiqué (Eduardo Del Piano - 17-09-1951)  - Pathé
6) El Africano (Héctor Varela - 15-11-1951)  -
7) La Guitarrita (Armando Baliotti - 10-07-1952)  - Pathé
8) Mal de Amores (Mario Demarco - 08-08-1952)  - Pathé
9) El Negro Pintos (Alfredo Attadia - 14-08-1952)  - Pathé
10) El Llorón (Juan Cambareri - 22-11-1950)  -
11) La Payanca (Enrique Mora - 01-10-1952)  - Pampa
12) El Internado (Juan Polito - 10-10-1952)  - Pampa
13) Cenizas (Orq. Símbolo Osmar Maderna - 12-01-1953)  - Pampa
14) El Caburé (Lorenzo Barbero - 15-03-1954)  - Pampa
15) Milonga Sentimental (Juancito Diaz - 21-07-1954) - Pampa


Sellos - Pampa
(First 08-2012, 09-09-2012)


site stats