e was born in Buenos Aires, in the neighborhood of Villa Luro, exactly on White Street between Bragado and Tapalqué Streets. He was, no doubt, a singular character of the pure Buenos Aires type. As for his artistry, he started doing what he liked: playing guitar and singing. He was a bohemian ready to play wherever he was requested and then he did not care to be a professional.

It is hard to find what he did in his early years of performer. Around 1940 he formed a trio with two other important guitar players that were also singers: Juan José Riverol, composer of two classic tangos: “N.P.” and “Cantor de mi barrio”. The latter was, furthermore, son of Domingo, one of the Carlos Gardel’s guitarists. And Ángel Robledo who had been member of the José Canet’s guitar group in the 50s and also of the Roberto Grela’s outfit. He had also accompanied the female singer Nelly Omar for a long time.

This trio, with their guitars and voices, cut an interesting recording with the orchestra led by Sebastián Piana: the milonga “Jazmín Simón” for the Victor label in 1942. Later they split for a time and teamed up again in 1947 but without Robledo who was replaced by Alfredo Lucero Palacios.

They appeared as background voices in the Miguel Caló orchestra when Raúl Iriarte was the leading singer. Much later they repeated their choir appearance for an only recording in 1953. This time without singer for the Caló’s waltz with lyrics by Reinaldo Yiso: “El abandono”. The trio was active in the early 50s and later was dismembered.

Going back in time, in the late 1942 Alfredo Gobbi returned from Montevideo where, for a time, he had played in the orchestra fronted by Pintín Castellanos. He had the chance to play at the Sans Souci cabaret for a season. In order to comply with the contract he had to summon musicians and singers. So he included two outstanding bandoneon players in the aggregation: Edelmiro D'Amario aka (Toto) and Mario Demarco; the singers Pablo Lozano and Ángel Cabral were also included but they appeared shortly. By that time Cabral was already carrying out his musical creation.

Throughout his career he composed over 200 songs. Among his most outstanding numbers we can mention: “Que nadie sepa mi sufrir”, "Bárbara" and “Plegaria” (Peruvian waltzes); “Errante vagabundo”, “Desagradecida” and “Desamorada” (waltzes); “Su nombre era Margot”, “El clavelito”, “No, no llores más”, “Amor de chiquilina” —which he signed as Ángel Amato in collaboration with Erma Suárez—, “Yo soy milonga” —with Juan José Riverol—, “Y con eso dónde voy”, “Un cielo para los dos”, “Fueron tres palabras” —in collaboration with Ernesto Rossi— and “Que sea lo que Dios quiera” (tangos).

But among all the above mentioned, there is a memorable number that was a landmark and became an international hit: the Peruvian waltz “Que nadie sepa mi sufrir”. The event took place in 1953 when the French female singer Edith Piaf appeared at the Teatro Ópera of Buenos Aires. This unforgettable interpreter heard the waltz and took it to her country. In Paris she summoned the songwriter Michel Rivgauche who changed its lyrics and its title. So “La foule” was born. Its meaning in French is “the crowd”. The modification turned out a smash hit since the premiere itself.

The piece was then included in the songbooks of notable musicians and singers. Just to mention a few of them: Frank Pourcel, Raphael, Nati Mistral, Julio Iglesias. In our country it was also very successful but with its original title: “Que nadie sepa mi sufrir”. It was sung and recorded by: Alberto Castillo with his orchestra, Carlos Dante with Alfredo De Angelis (1953), Alberto Marino with guitar group (1954), the Tito Landó-Alfredo Del Río duo with Alfredo Gobbi (1955), Ángel Cárdenas (2000), among many others.

The song resulted in an important financial benefit for the composer. With its international rights he bought a house in Mercedes, province of Buenos Aires, where he used to invite his friends to sing and play guitar and enjoy nice barbecue parties. We know this because once Cabral himself told us about it.