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.
Dale dale caballito is a Tango written by Carlos Bahr and composed by Fulvio Salamanca.
“Dale dale caballito,” which translates to “Go, go little horse” in English, is a vibrant expression of encouragement directed towards a racehorse. The narrator passionately urges the horse to win, not merely for the sake of gambling losses, but rather as a deep expression of pride and personal investment. The lyrics symbolize a broader cultural affection for perseverance and the desire to excel, embodying a narrative where loss is acceptable in the pursuit of honor and trust in one’s choice.
The repeated phrase “Dale, dale caballito” is not only a literal cheer for a racing horse but also serves as a metaphor for striving against odds and pushing beyond apparent limits. The items mentioned—rastra, espuelas nazarenas, and the vieja manta pampa— are intrinsic elements of gaucho culture, symbolizing traditional Argentine values of resilience and rugged individualism. The “facón cabo ‘e plata” and the “mate de asta,” gifts of love and craftsmanship, represent personal treasures and cultural heritage that the speaker is willing to risk in a testament to his faith in the horse.
Recorded in 1947, a period marked by significant political and social changes in Argentina, “Dale dale caballito” reflects the traditional aspects of Argentine life that persist amidst modernization. This era saw a rise in the popularity of Tango music as a form of national identity. The themes of personal sacrifice, cultural pride, and the struggles of the underdog resonate deeply within a society navigating the complexities of post-war identity and economic recovery.
Carlos Bahr was an influential tango lyricist known for his evocative language and ability to capture the essence of Argentine sentiments and landscapes within his work.