Fabrice Knecht Tango DJ

Los mareados

Los mareados is a Tango written by Juan Carlos Cobian and recorded by José Basso in 1952. The Tango Los mareados is written by Juan Carlos Cobian, José Basso has recorded Los mareados with the singer Oscar Ferrari.
“Los mareados,” translated as “The Dizzy Ones,” carries the essence of a tango that sways with emotional turbulence. It’s a dance of nostalgia and heartache, where each note twirls in memories blurred by wine and whispered regrets. This piece captures the poignant vertigo of love lost, leaving one spiraling in the haze of longing.

Tango

Style

José Basso

Orchestra

Oscar Ferrari

Singer

Enrique Cadicamo

Author

Juan Carlos Cobian

Composer

1952/12/11

Date

Oscar Ferrari
Oscar Ferrari
José Basso
José Basso

Discover Other Orchestras

Juan D’Arienzo – Formidable – 1962/9/10
Juan D’Arienzo – Desconocidos – 1965/9/2
Juan D’Arienzo – Peringundín – 1953/9/18
Juan D’Arienzo – Pico blanco – 1939/1/4
Juan D’Arienzo – Joaquina – 1935/12/12
Pedro Laurenz – Improvisando – 1940/7/29
Pedro Laurenz – Milonga de mis amores – 1968/12/1
Pedro Laurenz – Milonga de mi flor – 1940/6/28
Pedro Laurenz – Me estan sobrando las penas – 1944/8/7
Pedro Laurenz – Amurado – 1947/1/16
Cuarteto Típico Roberto Firpo – El entrerriano – 1940/8/29
Cuarteto Típico Roberto Firpo – El horizonte – 1938/5/23
Cuarteto Típico Roberto Firpo – Sueño florido – 1939/4/5
Cuarteto Típico Roberto Firpo – Siempre te recuerdo (2) – 1950/3/6
Cuarteto Típico Roberto Firpo – Milonga del 38 – 1938/5/23
José Garcia – Fea – 1942/1/23
José Garcia – Felicita – 1942/11/4
José Garcia – Tristeza marina – 1943/5/15
José Garcia – Junto a tu corazón – 1942/7/27
José Garcia – Si escucharas mis amores – 1944/8/9

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.

Los mareados recorded by other Orchestras

Los mareados recorded by other Orchestras

1952/12/11 – Cuando me entres a fallar – Jose Basso
1952/12/11 – Once y uno – Jose Basso
1952/12/11 – Para vivir asi – Jose Basso
1952/12/12 – La viruta – Carlos di Sarli
1952/12/12 – Marianito – Carlos di Sarli
Los mareados – 1942/6/15 – Anibal Troilo – Francisco Fiorentino
Los mareados – 1968/9/11 – Cuarteto Anibal TROILO – Instrumental
Los mareados – 1985/12/26 – Osvaldo Pugliese – Instrumental
Los mareados – 1985/12/26 – Osvaldo Pugliese – Instrumental
Los mareados – 1950/9/8 – Miguel Calo – Ricardo Blanco
Los mareados – 1957/1/1 – Lucio Demare – Instrumental
Los mareados – 1981/1/1 – Alfredo De Angelis – Marcelo Biondini
Los mareados – 1952/12/11 – Jose Basso – Oscar Ferrari
Los mareados – 1957/1/1 – Astor Piazzolla – Instrumental
Los mareados – 1951/3/29 – Osmar Maderna – Adolfo Rivas
Los mareados – 1971/1/1 – Horacio Salgan – Instrumental
Los mareados – 1952/5/30 – Horacio Salgan – Instrumental

Lyrics Translation of the Tango Los mareados

This is the translation of the Tango “Los mareados” from Spanish to English. The English lyrics of the Tango “Los mareados” have been done with AI.

Los mareados recorded by José Basso


Los mareados is an instrumental Tango composed by Juan Carlos Cobian.



Interpretation of Los mareados

“Los mareados,” when translated to English, means “The Dizzy Ones” or “The Drunken Ones.” As an instrumental piece, it captures the feelings of disorientation and emotional upheaval that can accompany such a state. The music might start with gentle, swaying rhythms reminiscent of a slow spin, creating an atmosphere of uncertainty and nostalgia. As the piece progresses, the orchestra could invoke a more intense and swirling sensation, reflecting the inner turmoil and bittersweet memories that can surface in moments of both literal and metaphorical dizziness.



José Basso and Los mareados

José Basso’s interpretation of “Los mareados” could bring a unique touch to Juan Carlos Cobian’s composition. With Basso’s signature style, the orchestra might emphasize the dramatic and passionate nuances of the music, making the listener feel as if they are part of a story playing out on the dance floor of a dimly lit Buenos Aires café. The arrangement might highlight the interplay between the bandoneón and the piano, showcasing the emotive power of tango while staying true to the spirit of Cobian’s creation.