Pianist, leader and composer.
(November 2, 1910… Read Full Bio ↴Nickname: El colorado
Pianist, leader and composer.
(November 2, 1910 - March 31, 1992)
He was born at the locality of Adrogué (south of grand Buenos Aires) and since early childhood he started to study sight-reading and harmony. His early gigs were accompanying the singer Juan Giliberti, who used to announce his shows with advertisements that said that Gardel himself had appointed him as his musical heir.
Soon he switched to Anselmo Aieta's orchestra replacing the pianist Juan Polito. A curious information: in that line-up Juan D'Arienzo played violin.
Together with the bandoneonist Ernesto de la Cruz, he accompanied the singer Félix Gutiérrez, a successful refrain singer in several orchestras of the period. Briefly, around 1934, he joined the orchestra of Graciano de Leone. Later he teamed-up with Daniel Álvarez and even later, he joined Los Mendocinos orchestra led by Francisco Lauro.
Only after 1940 he put together his own orchestra, debuting on March 20, 1941 at the café Marzotto on Corrientes street, with the vocalist Héctor Morea, the only one of his singers who did not succeed in having a recording date.
He played on radio El Mundo, with the voices of the above-mentioned Morea and the new member, Floreal Ruiz. So we arrived at the “Glostora Tango Club”, a mythical radio program which was daily broadcasted a little before the most popular theater serial on radio: “Los Pérez García”.
So, De Angelis achieved fame and popularity and it was not strange that the Odeon label included him with its artists, where he recorded 486 numbers, from July 23, 1943 to January 21, 1977.
De Angelis was distinguished by choosing very good singers, such as: Floreal Ruiz, Carlos Dante, Julio Martel, Oscar Larroca, Juan Carlos Godoy, Roberto Florio, Roberto Mancini, Lalo Martel, among others.
Carlos Dante's case is quite special because he had already been a consecrated refrain singer and joined the orchestra in his plenitude, becoming its best singer, its distinct seal.
In the forties Alfredo De Angelis was the promoter of the vocal duets. Revising his discography the team Dante-Martel stands out in first place with their “pearls” "Pregonera", "Remolino" and "Pastora", among others. The Dante-Larroca duo comes after, and later Juan Carlos Godoy with Lalo Martel and Roberto Mancini.
He composed "El taladro", as homage to the Banfield soccer club, "Pregonera", "Pastora" (both with lyrics by José Rótulo), "Qué lento corre el tren" (lyrics by Carmelo Volpe) and that melodic wonder that is "Remolino" (with Rótulo as well).
De Angelis neither had Troilo's transcendence nor Pugliese's, but he was an honest leader that sought refuge in the traditional tango which was easily understood by the people. The evidence is in the amount of records that he recorded and that resulted in an impressive commercial success.
El Apache Argentino
Alfredo De Angelis Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Pasale el hielo a la guacha
Pasale el hielo a la guacha
Fuuuaaa
Y otra vez
El apache ness
To, to, to, to
Todas las guachas para abajo
To, to, todas las guachas para abajo
Abajo mmm abajo mmm
Todas las guachas para abajo
Todas las guachas para abajo
To, to, todas las guachas para abajo
Abajo mmm abajo mmm
Hoy sale gira con las guachas
Las, las que llegan a casa sin bombacha
Hoy sale gira con las solteras
Y si pinta arranco con cualquiera
Dale que se pone
Todas las guachas para abajo
Todas las guachas para abajo
To, to, to, to
Todas las guachas para abajo
Todas las guachas para abajo
To, to, todas las guachas para abajo
Abajo mmm abajo mmm
Mirala a esa guacha
Me encanta esa guacha
Mmm como mueve las cachas
Mirala a esa guacha
Me encanta esa guacha
Mmm como mueve las cachas
To, to, to, to
Todas las guachas para abajo
Todas las guachas para abajo
Todas las guachas para abajo
Abajo mmm abajo mmm
The lyrics to Alfredo De Angelis's song El Apache Argentino depict a scene of a night out with women, where the singer is inviting everyone to have a good time. The chorus repeatedly instructs the women to "go down" and dance low to the ground, emphasizing a certain level of sexuality and sensuality. The phrase "pasale el hielo a la guacha" can be translated to "give the ice to the woman," which implies the need to cool down the heat in the room, perhaps due to the passionate nature of the dancing.
The verse also mentions going out with both married and single women, suggesting a certain level of rebellion and disregard for societal norms. The repeated mention of specific women and their body movements further emphasizes the sexual nature of the song, which was likely intended for a more adult audience.
Overall, the lyrics to El Apache Argentino depict a night of dancing, fun, and sexuality, with a focus on the women present and their movements.
Line by Line Meaning
Estas caliente?
Are you feeling hot?
Pasale el hielo a la guacha
Pass the ice to the girl
Fuuuaaa
Whoooa
Y otra vez
And once again
El apache ness
The Apache Ness
Todas las guachas para abajo
All the girls down
To, to, todas las guachas para abajo
To, to, all the girls down
Abajo mmm abajo mmm
Down mmm down mmm
Hoy sale gira con las guachas
Going out today with the girls
Las, las que llegan a casa sin bombacha
Those who go home without panties
Hoy sale gira con las solteras
Going out today with the single ladies
Y si pinta arranco con cualquiera
And if it feels right, I'll start with anyone
Dale que se pone
Come on, let's get going
Mirala a esa guacha
Look at that girl
Me encanta esa guacha
I love that girl
Mmm como mueve las cachas
Mmm, how she moves her hips
Writer(s): AROSTEGUI
Contributed by Nathan N. Suggest a correction in the comments below.