Fabrice Knecht Tango DJ
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These Tangos, Valses, and Milongas were recorded around the same time. Take a look to discover what else this orchestra—or others—may have recorded during the same week or even on the exact same day.
Chiclana is a Tango written by Mario César Gomila and composed by Julio De Caro.
“Chiclana” captures the nostalgic return to a beloved neighborhood, recalling fond memories imbued with the essence of youth and treasured experiences. The lyricist reflects on the familiar sounds, the streets, and the significant figures of the locale that shaped his emotions and perceptions. This tango serves as a bridge connecting past experiences with the present emotions, where every note of the bandoneon and every silhouette ignites a deep-seated yearning for reconnection with old haunts.
The use of “Viejo Chiclana” and “barrio querido” in the lyrics symbolizes more than just a geographic location; it represents a cornerstone of personal history and identity. The “rumor malevo” of the bandoneón and the “taconear” of the compadrón evoke a rough, boisterous atmosphere synonymous with the Tango’s origins. Florencio Sánchez and Milonguita are symbolic figures representing artistic and emotional essences of the neighborhood, further deepening the song’s connection to its roots and its cultural heritage.
Released in 1971, during a period marked by social and political upheaval in Argentina, “Chiclana” by Mario César Gomila serves as a form of cultural preservation and a nostalgic retracing to simpler times amidst the complexities. This era saw significant shifts in the Argentine society, and the yearning for ‘the old days’ captured in the lyrics may reflect a communal longing for stability and familiarity. The historical context adds weight to the emotions conveyed, presenting the Tango as a resilient echo of its era and a testament to the enduring spirit of its community.
Mario César Gomila was a prominent figure in Argentine literature, notably remembered for his contributions to the heritage of Tango lyricism.