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El entrerriano

El entrerriano is a Tango written by Rosendo Mendizabal and recorded by Osvaldo Pugliese in 1968. Osvaldo Pugliese has recorded El entrerriano as an instrumental Tango.
“El Entrerriano,” or “The Man from Entre Ríos,” evokes the spirit and soul of Argentina’s lush landscapes. This piece embodies the rhythm of the Pampas, capturing the essence of a man whose roots are deeply intertwined with his homeland. Through its melodies, it tells the story of resilience and rustic elegance, a tribute to the heart of rural Argentina.

Tango

Style

Osvaldo Pugliese

Orchestra

Instrumental

Singer

Homero Exposito

Author

Rosendo Mendizabal

Composer

1968/11/1

Date

Instrumental
Instrumental
Osvaldo Pugliese
Osvaldo Pugliese

Discover Other Orchestras

Florindo Sassone – Esclavo de tu piel – 1960/6/21
Florindo Sassone – Canción de cuna – 1947/5/19
Florindo Sassone – El amor no sirve para nada – 1968/8/30
Florindo Sassone – Un jardín en Italia – 1974/1/1
Florindo Sassone – Buenos Aires de antaño – 1952/2/12
Quinteto Don Pancho (Francisco Canaro) – Duelo criollo – 1939/3/30
Quinteto Don Pancho (Francisco Canaro) – El irresistible – 1939/5/22
Quinteto Don Pancho (Francisco Canaro) – El flete – 1939/3/30
Quinteto Don Pancho (Francisco Canaro) – La viruta – 1938/12/13
Quinteto Don Pancho (Francisco Canaro) – Nobleza de arrabal – 1940/4/18
Pedro Laurenz – Amurado – 1940/7/29
Pedro Laurenz – Vieja amiga – 1938/5/12
Pedro Laurenz – Que nunca me falte – 1943/9/22
Pedro Laurenz – Amurado – 1952/9/25
Pedro Laurenz – Yo quiero cantar un tango – 1943/11/16
Carlos Gardel – Tus violetas – 1925/1/1
Carlos Gardel – Buey manso – 1930/12/1
Carlos Gardel – Del infierno adelante – 1925/1/1
Carlos Gardel – Calor de hogar – 1929/12/11
Carlos Gardel – Bajo Belgrano – 1926/12/17

Recommended

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.

El entrerriano recorded by other Orchestras

El entrerriano recorded by other Orchestras

1968/11/1 – Munequita – Osvaldo Pugliese
1968/10/30 – Porque yo quiero – Alfredo De Angelis
1968/10/20 – Zurdo – Armando Pontier
1968/11/28 – Apenas Marielena – Anibal Troilo
1968/11/28 – Cielo de cometas – Anibal Troilo
El entrerriano – 1952/5/14 – Francisco Canaro – Instrumental
El entrerriano – 1944/6/26 – Anibal Troilo – Instrumental
El entrerriano – (unknown date) – Anibal Troilo – Instrumental
El entrerriano – 1954/4/29 – Juan D-Arienzo – Instrumental
El entrerriano – 1946/8/26 – Juan D-Arienzo – Instrumental
El entrerriano – 1963/12/4 – Juan D-Arienzo – Instrumental
El entrerriano – 1968/11/1 – Osvaldo Pugliese – Instrumental
El entrerriano – 1927/3/23 – Osvaldo Fresedo – Instrumental
El entrerriano – 1944/4/26 – Osvaldo Fresedo – Instrumental
El entrerriano – 1979/10/31 – Osvaldo Fresedo – Instrumental
El entrerriano – 1941/1/14 – Rodolfo Biagi – Instrumental
El entrerriano – 1946/1/7 – Alfredo De Angelis –
El entrerriano – 1957/3/29 – Hector Varela – Instrumental
El entrerriano – 1957/1/1 – Astor Piazzolla – Instrumental
El entrerriano – 1940/8/29 – Cuarteto Tipico Roberto Firpo – Instrumental
El entrerriano – 1952/9/17 – Francini-Pontier – Instrumental
El entrerriano – 1957/8/9 – Armando Pontier – Instrumental
El entrerriano – 211/12/1 – Horacio Salgan – Instrumental
El entrerriano – 1963/1/1 – Horacio Salgan – Instrumental
El entrerriano – 1927/7/11 – Orquesta Tipica Victor – Instrumental
El entrerriano – 1927/2/24 – Francisco Canaro – Instrumental
El entrerriano – 1929/4/22 – Francisco Canaro – Instrumental
El entrerriano – 1959/4/15 – Quinteto Pirincho (Francisco Canaro) – Instrumental
El entrerriano – 1961/12/1 – Quinteto Pirincho (Francisco Canaro) – Instrumental

Letra del Tango El entrerriano

Sabrán que soy el Entrerriano,
que soy
milonguero y provinciano,
que soy también
un poquito compadrito
y aguanto el tren
de los guapos con tajitos.
Y en el vaivén
de algún tango de fandango,
como el querer
voy metiéndome hasta el mango,
que pa’l baile y pa’l amor
sabrán que soy
siempre el mejor.

¿Ven, no ven lo que es bailar así,
llevándola juntito a mí
como apretando el corazón?…
¿Ven, no ven lo que es llevarse bien
en las cortadas del querer
y en la milonga del amor?…

Todo corazón para el amor
me dio la vida
y alguna herida
de vez en vez,
para saber lo peor.
Todo corazón para bailar
haciendo cortes
y al Sur y al Norte
sulen gritar
que el Entrerriano es el gotán.

English lyrics of the Tango "El entrerriano"

They’ll know I’m the Entrerriano,
that I am
a milonguero and a local,
that I am also
a bit of a tough guy
and I hold my ground
against the tough ones with little notches.
And in the sway
of some tango fandango,
like love,
I dive in deep,
for dancing and for love
they’ll know that I am
always the best.

Do you see, can’t you see how to dance like this,
holding her close to me
as if pressing the heart?…
Do you see, can’t you see how to get along
in the shortcuts of love
and in the milonga of love?…

All heart for love
life gave me
and some wounds
now and then,
to know the worst.
All heart to dance
making cuts
and to the South and to the North
they often shout
that the Entrerriano is the master of tango.

El entrerriano by Homero Exposito

El entrerriano is a Tango written by Homero Exposito and composed by Rosendo Mendizabal.


Story behind the Tango El entrerriano

“El entrerriano,” translating to “The one from Entre Ríos” (a province in Argentina), is a tango rooted in the identity and pride of being from the Argentine provinces, contrasting with the metropolitan allure of Buenos Aires. The lyrics narrate the self-assured proclamation of a man who identifies deeply with his provincial roots while embracing the art of the tango, known for its urban association. He carries not only the regional personality but also its traditions and the distinct style of tango known within his local culture.


Symbolism of El entrerriano

The tango uses powerful symbolism to connect deeply with cultural identity and personal pride. Phrases like “milonguero y provinciano” and “un poquito compadrito” highlight the intertwining of local pride and the broader tango culture. The mention of “llevándola juntito a mí como apretando el corazón” symbolizes the close, intimate embrace of the tango dance, akin to holding one’s heart – a metaphor for the sheer passion and emotion involved. Additionally, “Todo corazón para el amor” emphasizes that his entire being is dedicated to love and the expression thereof through dance.


El entrerriano in historic Context

Created during 1968 in Argentina, “El entrerriano” emerges during a turbulent era marked by political and social unrest. The song could be seen as a retreat into cultural pride and traditional values, offering a reprieve from the chaos. The tango acts as a vehicle for expressing resilience and enduring cultural identity, with the protagonist proudly affirming his roots and prowess in both life’s loves and challenges. This period also saw a revival in folk and traditional music, serving as forms of both escapism and political commentary.


Homero Exposito

Homero Exposito was a prominent Argentine lyricist famous for his profound and intricate contributions to the world of Tango music. Together with his brother, Virgilio, he created many classics that remain integral to the tango repertoire.