hen writing about singers, many times we don’t have the backing information but we think we are carrying out a good deed because we don’t forget the men who made the epic of tango with lyrics be a reality in the Buenos Aires music.

As for Carlos Lafuente, we got a first-hand information. I was lucky of getting to know him 35 years ago because we were fellow workers in the Contaduría General de la Nación, where we began a friendship that lasted many years and where I was informed of many anecdotes and facts that were part of his show business career.

He had four siblings, two brothers and two sisters. One of them, Elsa, handed me some biographical data. They lived in the neighborhood of Flores, Avenida Nazca on the block numbered 300.

Carlos had facility to sing and he started at a very young age. He began as professional in the 20s, as a estribillista (refrain singer). His most important performance then was in the Orquesta Típica Victor. He was the singer with the largest number of recordings with that outfit. No less than 33 renditions. His first record was “Justo el 31”, with “Rajá, rajá de acá”, tango by Juan Baüer, on the other side. Another standouts are his recordings of “Nunca tuvo novio”, “Canción de la ribera” and “Cacareando”, a milonga written by Antonio Sureda.

Likewise he appeared with the orchestra known as Los Provincianos with which he cut several recordings, among others: the tangos “Sabalaje”, written by Nicolás Primiani and Casanova, “Montevideo”, by Fontaina and Víctor Soliño and the Romeo’s waltz “Un placer”. He also had an extensive recording activity with the Adolfo Carabelli’s orchestra. With Carlos Marcucci’s outfit he cut only one number, the tango “Tinieblas” penned by Vardaro and Velich. Furthermore, he was vocalist of the group led by Antonio Sureda with which he committed to record two numbers.

His performance was outstanding, he was a special kind of voice to sing melodies of all sorts: waltzes, rancheras, folk and Spanish songs. Everything he did was all right. If we count all his recordings they are over two hundred renderings. He as well recorded with guitars and cut 22 sides accompanied on bandoneon by Ciriaco Ortiz.

He appeared on the LR5, LR9 and LS8 radio stations of Buenos Aires. In the late 40s he was gradually withdrawing from show business.

As composer, he wrote with Juan Carlos Marambio Catán the tango “Mosaico arrabalero”, recorded by Catán himself.

If we had to define him in two words we would say that he was a great interpreter of danceable tango and was deeply influenced by Gardel. He always used to tell me that his best rendition was “Flores negras”.

When he was rather old he had a serious traffic accident in Buenos Aires downtown and died in a winter morning at the Hospital Español. His remains are buried at the Chacarita cemetery.

This is, in a simplified version, the career of a great Argentine tango singer who we shall never forget.

Published in Cuadernos de difusión del tango, nº 15.