After collaborating on a successful show in the summer of 1987, they decided to record together and released their first studio album as a duo, Somos mucho más que dos, in 1988.

The album features a wide array of collaborators, including Pedro Aznar, Fito Páez, Andrés Calamaro, Tweety González, Pappo, Charly Alberti and María Gabriela Epumer.

The duo promoted the album on television, most notably in Susana Giménez' talk show and Juan Alberto Badía's program Imagen de Radio, where Carballo publicly came out and confirmed that Mihanovich and her had been a couple.

[4] They began their careers in the early 1980s as part of a new wave of musical acts that performed in a circuit of small bars and pubs centered in Buenos Aires,[1][5] which also included artists like Horacio Fontova, Alejandro Lerner, La Torre, Rubén Rada and Julia Zenko.

[6] As the power of the last civic-military dictatorship waned in those years, the city experienced a cultural blomossing in bars, café-concerts and small theaters, driven by a youth-led counterculture.

[1] In late 1981, Mihanovich released the single "Puerto Pollensa", a song written by singer and actress Marilina Ross, who had recently returned to Argentina after being forced into exile with the onset of the dictatorship in 1976.

[5] That year, the outbreak of the Falklands War led the military government to ban music in English on radio stations, which greatly benefited local Spanish-language musicians, including Mihanovich.

[5][6] Mihanovich's album included a track written by Carballo, "Es la vida que me alcanza", which was a great boost for her career.

[1] The latter's debut studio album, Me vuelvo cada día más loca, was also released in 1982 and was an immediate success, going gold before hitting the stores.

[1][5] Although never explicitly, "Puerto Pollensa" tells the story of a romantic encounter between two women,[12] and became an enduring gay anthem,[13][10] especially among the lesbian community,[14][15] released at a time when the secrecy of non-heterosexual relationships was a source of shared codes and interpretations of cultural products.

[16][17] In 1983, after the dictatorship had collapsed and democratic elections were held, lesbian and gay life in Argentina flourished, with the opening of many bars and clubs that took advantage of the liberalization.

[5] In the summer of 1987, Carballo joined Mihanovich and writer Ludovica Squirru in a poetry-musical show that was very successful,[5] titled Sandra, Celeste y yo.

[5][6] This meant a stylistic change in both of their careers, as Carballo had previously explored genres like blues, punk and jazz rock, while Mihanovich was known for soft ballads.

[1][5] The duo approached producer Jorge Álvarez, who was the artistic director of RCA Records at the time, who initially distrusted that they could combine their styles.

[6] In 1988, RCA released Mihanovich and Carballo's debut studio album as a duo, Somos mucho más que dos, to great commercial success.

[21] It featured a wide array of collaborators, including Pedro Aznar, Fito Páez, Andrés Calamaro, Tweety González, Pappo, Charly Alberti and María Gabriela Epumer.

"[24] The title track speaks openly of a romantic relationship between two women, with the lyrics: "There is nothing special / About two women holding hands / What's special comes later / When they do it under the tablecloth" (Spanish: "Nada tienen de especial / Dos mujeres que se dan la mano / Lo especial viene después / Cuando lo hacen debajo del mantel"); and "A love to conceal / Although in dreams there is nowhere to hide it / They disguise it as friendship / When they go out for a walk in the city" (Spanish: "Un amor por ocultar / Aunque en sueños no hay donde esconderlo / Lo disfrazan de amistad / Cuando salen a pasear por la ciudad").

[10] "Karmático" has been related to Carballo's brief approach to the feminist movement in the 1980s, featuring the closing lyrics: "If this is a world of men / Don't expect to see me adequate" (Spanish: "Si este es un mundo de hombres / No esperen verme adecuada").

[25] Going with the album's theme of lesbian love, it is a medium shot of both singers naked to the chest and embracing, with Carballo's lips close to Mihanovich's face, suggesting a kiss.

[2][1] The duo famously performed the title track in Susana Giménez' talk show,[31][32] where they got very close to each other to share a microphone after one of them suddenly stopped working, while singing a song that explicitly dealt with love between women.

[33] Martín Graziano of La Nación described this performance as "one of the great moments of Argentine popular culture,"[31] while Adrián Melo of Página/12 felt that Mihanovich and Carballo were "so subversive that it was moving.

"[34] When the duo promoted the album on Juan Alberto Badía's program Imagen de Radio, Carballo spoke openly about being a homosexual for the first time and confessed her love for Mihanovich.

[3][26][35] Jiménez considered this coming out to be a landmark for Argentine lesbians and noted its impact: "[Carballo's] confession was unprecedented in the memory of a country still inexperienced in fairly basic matters.

On the other hand, Carvallo, the friend of all the underground hippies, the Argentine Janis Joplin, the blues girl who is well-known for her psychedelic guitar playing.

[38] Nevertheless, seeing that the media focused excessively on their relationship, Carballo and Mihanovich decided not to talk about their sexual orientation again, moving away from the idea of belonging to a political movement.

[1][4] Despite the fact that Carballo confirmed that they had been a couple in Imagen de Radio,[6] and that it was an open secret,[30][34] Mihanovich never publicly acknowledged her homosexuality until 2012, when she announced that she had formed a family with another woman.

[23][24] In his 2004 book on the history of homosexuality in Argentina, writer Osvaldo Bazán felt that regardless of whether the singers disclosed their sexual orientation or not, they were a "contribution of enormous courage in years when police raids were still common.

[23] Writing for Uruguayan newspaper Brecha, Inés Acosta reflected on the album's artwork: "I try to imagine what it was like to produce such a political photograph in the 1990s, so challenging in times of secrecy, when lesbians either didn't exist or did so in a very negative way for the rest of the world.