Fabrice Knecht Tango DJ

El flete

El flete is a Tango written by Vicente Greco and recorded by Osvaldo Fresedo in 1966. Osvaldo Fresedo has recorded El flete as an instrumental Tango.
“El Flete,” translated to English as “The Freight,” carries with it a sense of movement and passage. This tango sweeps listeners into a world where each note is a step on a cobblestone street, echoing stories of journeys and transitions. It’s a musical odyssey, where the heart carries its own delicate cargo of memories and dreams.

Tango

Style

Osvaldo Fresedo

Orchestra

Instrumental

Singer

Pascual Contursi, Gerónimo Gradito

Author

Vicente Greco

Composer

1966/4/15

Date

Instrumental
Instrumental
Osvaldo Fresedo
Osvaldo Fresedo

Discover Other Orchestras

José Garcia – Hula la misteriosa – 1943/6/22
José Garcia – Junto a tu corazón – 1942/7/27
José Garcia – El mentiroso – 1942/1/23
José Garcia – Verde luna – 1942/7/27
José Garcia – Adiós adiós corazón – 1942/11/4
Lucio Demare – Torrente – 1944/10/11
Lucio Demare – Divina – 1957/1/1
Lucio Demare – Señores yo soy del centro – 1944/11/14
Lucio Demare – Luna – 1943/12/21
Lucio Demare – Lo mismo que un tango – 1945/3/21
Miguel Caló – Volver – 1965/1/1
Miguel Caló – Milonga milonguera – 1957/7/11
Miguel Caló – Trasnochando – 1942/6/30
Miguel Caló – El pillete – 1950/9/8
Miguel Caló – Sans souci – 1964/4/14
Juan D’Arienzo – La madrugada – 1944/9/21
Juan D’Arienzo – Condesita – 1946/8/26
Juan D’Arienzo – El tigre de Almagro – 1962/10/10
Juan D’Arienzo – Dejame con mis centavos – 1962/9/10
Juan D’Arienzo – Sin balurdo – 1950/9/28

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 flete recorded by other Orchestras

El flete recorded by other Orchestras

1966/4/15 – Amar hasta morir – Osvaldo Fresedo
1966/4/15 – Mi Buenos Aires querido – Osvaldo Fresedo
1966/4/13 – Compadrita mia – Anibal Troilo
1966/4/13 – El ultimo guapo – Anibal Troilo
1966/4/13 – Pichuqueando – Anibal Troilo
El flete – 1936/3/4 – Juan D-Arienzo – Instrumental
El flete – 1966/4/15 – Osvaldo Fresedo – Instrumental
El flete – 1952/6/9 – Hector Varela – Instrumental

Letra del Tango El flete

Se acabaron los pesaos,
patoteros y mentaos
de coraje y decisión.
Se acabaron los malos
de taleros y de palos,
fariñeras y facón.
Se acabaron los de faca
y todos la van de araca
cuando llega la ocasión.
Porque al de más copete
lo catan y le dan flete
pa’ la otra población.

Esos taitas que tenían
la mujer de prepotencia,
la van de pura decencia
y no ganan pa’l bullón.
Nadie se hace el pata ancha
ni su pecho ensancha
de puro compadrón,
porque al de más copete
lo catan y le dan flete
pa’ la otra población.

English lyrics of the Tango "El flete"

The tough guys are over,
bullies and the vaunted
of courage and decision.
The bad ones are done
with coins and with canes,
flour sacks and daggers.
The ones with the knives
all act tough
when the time comes.
Because the haughtiest
get caught and sent off
to another place.

Those men who had
their wives under thumb,
now pretend to be decent
and can’t afford the fuss.
No one poses wide-legged
nor puffs out their chest
from being too boastful,
because the haughtiest
get caught and send off
to another place.

El flete by Pascual Contursi, Gerónimo Gradito

El flete is a Tango written by Pascual Contursi, Gerónimo Gradito and composed by Vicente Greco.


Story behind the Tango El flete

‘El flete’ translates to “The Shipment” in English, exploring the transformation of society in Argentina, particularly in relation to the diminishing presence of notorious figures and bullies who ruled the streets. The lyrics tell of a societal cleanup, where those who once dominated through fear and violence are now being effortlessly controlled or transported away. This piece alludes to a societal evolution from raw, unchecked bravado to a more subdued and ordered existence.


Symbolism of El flete

The repeated line “lo catan y le dan flete pa’ la otra población” symbolizes a fundamental shift. It could be interpreted as the displacement of these domineering figures to prisons or less influential areas, reflecting societal intolerance towards former ways of disorder and aggression. Each reference to the bygone era’s icons— “patoteros”, “taleros”, “fariñeras”, and “facón” (thugs, con men, places of bad reputation, and large knives)—enhances the central theme of change, marking an end to their reign.


El flete in historic Context

In 1966, Argentina was undergoing significant social and political changes which could mirror the shifts mentioned in ‘El flete.’ This era saw the country oscillating between civilian governments and military coups, leading to various societal reforms and upheavals. This tango can be seen as a reflection on the decline of old powers and street justice that once dominated the Argentine barrios, making it historically situated in themes of control and societal restructuring.


Pascual Contursi, Gerónimo Gradito

Pascual Contursi is known as a pivotal figure in transforming Tango from a dance-centric genre to one profound in lyrical depth, introducing narrative ballads into Tango music.