Enrique Campos

Real name Enrique Inocencio Troncone

Life 10 March 1913 – 13 March 1970

Occupation

Instrument

Place of birth Montevideo, Montevideo Department

Country of birth Uruguay

Citizenship

TodoTango: Link

Enrique Campos (born Inocencio Enrique Troncone, Montevideo, Uruguay, 10 March 1913 – Buenos Aires, Argentina, 13 March 1970) was a distinguished tango singer, particularly remembered for his tenure with the Ricardo Tanturi's Orquesta Típica Los Indios, where he succeeded Alberto Castillo. With a melodious, phrased vocal style and a discreet yet emotional delivery, Campos became one of the most beloved Uruguayan figures in tango.

Early Life and Beginnings

Born in the Palermo neighborhood of Montevideo, he endured a difficult childhood marked by orphanhood. His artistic debut took place on 6 January 1936 at the Cine Helvético in Colonia Suiza, accompanied by guitarists Alfredo Solís and Carlos Méndez. Three months later, he performed on radio CX18’s Caramelos Surtidos, under the pseudonym Eduardo Ruiz, given to him by producer Eduardo Depauli.

Campos gained recognition with appearances on Uruguayan radio and starred in the national film Radio Candelario (1939). In early 1940, he toured southern Brazil and later joined the Pintín Castellanos orchestra, co-led by Alfredo Gobbi and Armando Blasco, performing at venues like Palacio de la Cerveza, Tabarís, and Radio Monumental in Montevideo.

Laurenz-Casella and Move to Argentina

In the early 1940s, Campos (still as Eduardo Ruiz) sang for the Laurenz-Casella orchestra, which included noted musicians such as Donato Racciatti, Félix Láurenz, Pedro Casella, Sebastián Garreta, and Julio Tobías. During this time, he performed at the Café Ateneo, on radio, and in numerous balls.

Looking to further his career, he moved to Buenos Aires. Initially considering a position with Antonio Rodio, he was instead swiftly recruited by Ricardo Tanturi, who needed a replacement for Alberto Castillo. Tanturi suggested a name change to avoid confusion with other singers and randomly picked “Enrique Campos” from a phone book — a name that would define his legacy.

Golden Period with Ricardo Tanturi (1943–1946)

Campos debuted on Radio El Mundo in 1943 with Tanturi’s orchestra and immediately started recording. His first session, on 4 August 1943, included Muchachos comienza la ronda and the waltz Al pasar. Over the next three years, he recorded 51 tracks, among them:

Bien criolla y bien porteña (milonga)

Me besó y se fue (vals)

Tu vieja ventana (vals)

With a distinctive, melancholic tone and clear phrasing, Campos' style contrasted sharply with Castillo’s extroverted delivery. This era is widely regarded as the pinnacle of his career.

Later Orchestras and Solo Work

In March 1946, Campos married and withdrew from Tanturi’s orchestra the following month, opting for a quieter life as a soloist with guitar accompaniment.

In March 1947, he joined the Francisco Rotundo orchestra. He later co-led an orchestra with Alfredo Calabró, recording one record (released by Sondor in Montevideo). In 1950, he briefly partnered with Juan Carlos Miranda, but returned to Rotundo's group to replace Ricardo Roldán, singing alongside Floreal Ruiz.

On 10 August 1951, he recorded Llorando la carta; later that year he recorded El viejo vals as a duet with Floreal Ruiz. In October 1952, he joined Roberto Caló’s orchestra, performing with talents such as Osvaldo Tarantino, Leo Lípesker, and Ernesto Franco. Two years later, he returned for a final time to Rotundo's orchestra, now including Ricardo Argentino and later Alfredo Del Río.

From 1957, Campos explored smaller ensembles, forming a quintet with Dante De Simone and later collaborating with Elena Maida under arrangements by Dante Smurra.

Final Years and Sporadic Activity

In the 1960s, Campos shifted focus to his flower shop in the Belgrano neighborhood of Buenos Aires. Still, he made occasional returns: in 1962, he performed on Canal 4 Montevideo with Toto Edelmiro D'Amario, in 1965 on Radio El Mundo, and in 1969, he recorded for the Magenta label. These later years saw more nostalgic, sometimes kitsch touches—like replacing footballer Emilio Baldonedo with Maradona in El sueño del pibe.

He remained active until his final appearances at El Farolito in Villa Crespo and as a juror for the La Falda Tango Contest.

Musical Works

Campos was also a composer, often working with Jorge Moreira. His output includes:

Tangos: Esclavas y reinas, Dale Artime, Aunque me llame papá, Buenos Aires del 40, Del potrero, TITAF-T-0021050, TITAF-T-0003570, Conformate con ser buena

Valses: TITAF-T-0005705, Por qué no estás tú

Candombe: Dale negra

He also recorded A mi padre (waltz by Héctor Marcó) and La abandoné y no sabía (tango by José Canet).

Personal Life and Legacy

Campos was passionate about football, playing in his youth and later supporting his son Ricardo Enrique Troncone, a professional footballer. He was remembered in Medellín and by peers such as Osvaldo 'Chiche' Sosa.

Remembered affectionately as “el cantor de Tanturi”, he passed away on 13 March 1970, just after his 57th birthday. His recordings — marked by perfect intonation and emotionally nuanced phrasing — continue to secure his place among tango’s greatest voices.

Sources

Todotango.com – Enrique Campos (Horacio Loriente)

Wikipedia ES – Enrique Campos (cantor)

El Diario – ¿Quién no recuerda a este cantor distinto?

Cápsulas – Enrique Campos: Una vida de tango y fútbol (John Cardona Arteaga)

Orchestras

No known group memberships.

Recordings

No recordings found.

Opus

Title	Genre	Alt. title
A Natalio Pescia	Tango
Al fin de cuentas	Tango
Aunque me llame papa	Tango
Buenos Aires del cuarenta	Tango	Buenos Aires del 40
Para el final	Tango
Pero quisiera encontrarte	Tango
Rey del tango	Tango
Soy muchacho de arrabal	Tango