Behold, 40 songs from one of the most magnificent Argentine bands: Los Santos, who with their angelic vocal harmonies conquered many countries in the '50s and '60s.

You will be delighted by the magic of the bolero "Ay ay ay", the delicacy of the R&B "Un telegrama", the restlessness of the rock "Comunicando", and the humor of the ska "Número equivocado".

The landscape of the R&B "Detrás del horizonte", the impulse of the twist "Dame, dame", the placidity of the waltz "Verano de amor", and the captivation of the tango "Esta noche de luna".

The evocation of the R&B "En el boulevard", the hurry of the pasodoble "Mágica luna", the refulgence of the vals criollo "Con locura", and the shamelessness of the jazz "Uno para todas".

MusicaArgentina — 2026

Behold the greatest of all the rankings of songs of Ibero-American rock: the Top 500 by the Al Borde magazine. In this video you will see its 153 Argentine songs.

Achieving the top spots: León Gieco and his universal anthem for peace, Los Auténticos Decadentes embracing the life of a musician, and Almendra adoring its girl.

Andrés Calamaro and his sentimental lament with a soul flavor, Los Gatos with their song that changed the course of history, and Virus with its subtle and pagan new wave ballad.

Miguel Mateos/ZAS and the crossroads of rockstar or president, Charly García being the hotel torment, and Soda Stereo at the highest peak of Ibero-American rock.

MusicaArgentina — 2026

Next up is the greatest of the rankings of Argentine rock songs that were defined by user votes: the Top 125 by Listas 20 Minutos.

Among the most voted: Ciro y Los Persas encouraging dancing despite the hardships, Los Abuelos de la Nada with the Argentine feeling, and Intoxicados appreciating a friend.

Divididos and their folkloric fusion, Luis Alberto Spinetta pleading to live with a love, and Patricio Rey y sus Redonditos de Ricota in a slow twist criticizing pop.

Callejeros embracing the forbidden, Pappo with his country ballad that became his farewell, and Soda Stereo as the clear champions by filling the top spots.

MusicaArgentina — 2026

Here you have another one of the most-known rankings of Argentine rock songs, this one also regularly appears in debates: it's the Top 100 by Rock.com.ar.

Through the top spots: Miguel Mateos/ZAS demanding more courage from the country, Attaque 77 with its melodic Ramones-style punk, and Manal portraying urban decay.

Sumo and its new wave ballad dedicated to a zone in Buenos Aires, Pescado Rabioso affirming that tomorrow is always better, and Vox Dei revealing the wisdom of biblical passages.

Pappo's Blues criticizing the routine of the common man, La Renga and its anthem for the maladjusted from always, and Charly García confident that the revolution is near.

MusicaArgentina — 2026

I spent some time looking into the past of Christopher Owens and the origins of one of the most visceral indie tracks of the 2000s: "Vomit" by Girls.

Before founding the band, Owens grew up completely isolated inside the Children of God, one of the most suffocating and manipulative religious cults in America. In this video essay, I wanted to explore how that broken childhood and the brutal urban loneliness of early 2000s San Francisco shaped a track that doesn't portray love as a romantic salvation, but rather as an organic rejection—a desperate need to purge accumulated trauma before reaching a final, breathtaking wall-of-sound catharsis.

I put a lot of work into analyzing the lyrics and the background of this masterpiece. If you appreciate deep-dive music discussions, I'd love to hear your thoughts on it!

https://youtu.be/Ha22zwiMRZk

On one occasion, the Rolling Stone magazine decided to do something different: they compiled a Top 10, but this time it wasn't of songs, but of music videos of Argentine rock.

Among those chosen were: Él Mató A Un Policía Motorizado in a gloomy theme, Las Pelotas in a critique of imperialism, and Los Visitantes in a primitive vibe.

Attaque77 with a slow-cooked punk ballad, El Otro Yo clamoring to seek the essential, and Los Fabulosos Cadillacs with a heartwarming candombe for the family.

Charly García somewhat conflicted when the aesthetic was changing, and Patricio Rey y sus Redonditos de Ricota narrating about a night where all hell broke loose.

MusicaArgentina — 2026

Argentine rock is celebrating its 70 years in this 2026, and what better way than a Top 40 to discover what were its best songs in its beginnings in the '50s.

Among the highlighted are Los Mariscales with a pioneering fusion of tango and rock, Luis Aguilé with his charming air, and Elder Barber with her subtle female voice.

Billy Cafaro in the stardom of modern music, Edith Scandro combining her soprano voice with rock, and Los Santos glittering with their precious harmonies.

Éber Lobato and Alberto Anchart inaugurating the films of Argentine rock, Los Cinco Latinos as the main band, and Eddie Pequenino as the first rocker of the country.

MusicaArgentina — 2026

In November 2020, MusicaArgentina published this Hot 100 of the most played Argentine rock songs up to that point, a sequel to the Top 40 of the previous month.

Crowned were: Soda Stereo and its ballad of softly love, Leo Dan and his historical recognition as a legend, and Dread Mar-I becoming the great star of the 21st century.

Los Auténticos Decadentes with cumbia and female voices, Los Fabulosos Cadillacs with their nocturnal love reggae, and Andrés Calamaro with soul and whispering in pain.

Enanitos Verdes in a song for a passionate encounter, La Beriso singing its sadness for a loss, and Miranda! with a naughty song for going from friends to couple.

MusicaArgentina — 2026

In October 2020, the MusicaArgentina channel published this Top 40 with what were, up to that moment, the most played Argentine rock songs on YouTube.

Entered here: Virus making people dance with its synthpop, Los Rodríguez conquering both sides of the Atlantic, and La Beriso with a veteran in an anthem to resilience.

Gustavo Cerati concluding that saying goodbye is growing up, Vicentico realizing how the paths of life are really like, and Los Cafres with a cheerful love song.

Vilma Palma e Vampiros with their pop rock with feminine touches, Coti and two female popstars with the optimism of the 2000s, and Rata Blanca with its seductive ballad.

MusicaArgentina — 2026

Delight yourselves with this compilation of Argentine rock songs from its beginnings in 1956 to contemporary times (2020), featuring iconic names and varied sounds.

This volume 3 brings: Los Fabulosos Cadillacs with the Latin spirit, Gustavo Cerati tearing himself apart with jealousy, and Indio Solari nostalgic and remembering experiences.

Vox Dei going back to the beginning when everything was nothing, Los Pericos bringing the Jamaican vibe to the summit, and Billy Cafaro inaugurating the era of youth idols.

Ciro y Los Persas with Julieta Rada in a song of reconciliation, PorSuiGieco and its lament in the dictatorship in 1976, and La Renga razing all with its thunderous sound.

MusicaArgentina — 2026

Coming in, this compilation of Argentine rock songs from its beginning in 1956 to contemporary times (2020), with emblematic artists and a variety of sounds.

In this volume 1: Dread Mar-I conquering all records, Eddie Pequenino on the first page of Argentine rock, and Soda Stereo at the summit of Latin rock.

Patricio Rey y sus Redonditos de Ricota moving crowds, La Mosca Tsé-Tsé reflecting the climate of the 2001 crisis, and Virus waking up a dormant scene.

Marilina Bertoldi calling to undo the misogynist oppression, Vicentico encouraging during coronavirus, and Coti starting the post-Cromañón era with female contributions.

MusicaArgentina — 2026

Short for ADHD brains like me, Majestic and beautiful.

https://en.wikipedia.org/wiki/Polonaise?wprov=sfti1#Influence_of_Polonaise_in_music:
“
“The [notation](app://en.wikipedia.org/wiki/Dynamics_(music)) alla polacca ([Italian](app://en.wikipedia.org/wiki/Italian_language): polacca means "polonaise") on a [musical score](app://en.wikipedia.org/wiki/Sheet_music) indicates that the piece should be played with the rhythm and character of a polonaise. For example, the third movement of Beethoven's [Triple Concerto op. 56](app://en.wikipedia.org/wiki/TripleConcerto(Beethoven)), marked "Rondo alla polacca," the last movement in Weber's [Clarinet Concerto No. 2](app://en.wikipedia.org/wiki/ClarinetConcerto_No._2(Weber)) is marked "Alla Polacca", his [Horn Concertino](app://en.wikipedia.org/wiki/Concertinofor_Horn_and_Orchestra(Weber)) likewise ends with a polka movement, and the finale of Chopin's [Variations on "Là ci darem la mano"](app://en.wikipedia.org/wiki/Variationson%22L%C3%A0ci_darem_la_mano%22(Chopin)) both feature this notation. In his book Classic Music: Expression, Form, and Style, Leonard G. Ratner cites the fourth movement from Beethoven's [Serenade in D major, Op. 8](app://en.wikipedia.org/wiki/Serenadefor_Violin,_Viola_and_Cello(Beethoven)), marked "Allegretto alla Polacca," as a representative example of the polonaise dance topic (Ratner 1980, pp. 12–13).
[Frédéric Chopin](app://en.wikipedia.org/wiki/Fr%C3%A9d%C3%A9ric_Chopin)'s [polonaises](app://en.wikipedia.org/wiki/Polonaises_(Chopin)) are generally the best known of all polonaises in [classical music](app://en.wikipedia.org/wiki/Classical_music). However, there had been a long tradition of polonaises in Western European music at least a century before Chopin. Händel wrote a famous one, and Wilhelm Fiedemann Bach wrote a number of in major-minor pairs. Other composers who wrote polonaises or pieces in polonaise rhythm include [Johann Sebastian Bach](app://en.wikipedia.org/wiki/Johann_Sebastian_Bach), [George Frideric Handel](app://en.wikipedia.org/wiki/George_Frideric_Handel), [Georg Philipp Telemann](app://en.wikipedia.org/wiki/Georg_Philipp_Telemann), [Joseph Haydn](app://en.wikipedia.org/wiki/Joseph_Haydn), [Wolfgang Amadeus Mozart](app://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart), [Ludwig van Beethoven](app://en.wikipedia.org/wiki/Ludwig_van_Beethoven), [Franz Danzi](app://en.wikipedia.org/wiki/Franz_Danzi), [Bernhard Henrik Crusell](app://en.wikipedia.org/wiki/Bernhard_Henrik_Crusell), [Karol Kurpiński](app://en.wikipedia.org/wiki/Karol_Kurpi%C5%84ski), [Józef Elsner](app://en.wikipedia.org/wiki/J%C3%B3zef_Elsner), [Maria Agata Szymanowska](app://en.wikipedia.org/wiki/Maria_Szymanowska), [Henryk Wieniawski](app://en.wikipedia.org/wiki/Henryk_Wieniawski), [Franz Schubert](app://en.wikipedia.org/wiki/Franz_Schubert), [Carl Maria von Weber](app://en.wikipedia.org/wiki/Carl_Maria_von_Weber), [Clara Schumann](app://en.wikipedia.org/wiki/Clara_Schumann), [Robert Schumann](app://en.wikipedia.org/wiki/Robert_Schumann), [Franz Liszt](app://en.wikipedia.org/wiki/Franz_Liszt), [Johann Kaspar Mertz](app://en.wikipedia.org/wiki/Johann_Kaspar_Mertz), [Moritz Moszkowski](app://en.wikipedia.org/wiki/Moritz_Moszkowski), [Modest Mussorgsky](app://en.wikipedia.org/wiki/Modest_Mussorgsky), [Nicolai Rimsky-Korsakov](app://en.wikipedia.org/wiki/Nicolai_Rimsky-Korsakov), [Pyotr Ilyich Tchaikovsky](app://en.wikipedia.org/wiki/Pyotr_Ilyich_Tchaikovsky) and [Alexander Scriabin](app://en.wikipedia.org/wiki/Alexander_Scriabin).
“