There are times when NorteñoBlog’s rudimentary knowledge of Spanish becomes an obstacle. One such time is today, as I try to figure out the great new single by Los Gfez, “Hasta Tu Dedo Gordito” (Remex). (Pick to Click!) The subject of this song is plain from all the gratuitous bosom shots in the video: it’s about tu cuerpo and what Martin Panuco would like to do to it. The question comes when we try to determine the identity of the title dedo. At heart a third grade boy, I’ve used my context clues to determine that esta mujer’s dedo gordito is located somewhere below her ombligo; that Panuco is traveling from ombligo to dedo gordito with his lengua; and that somewhere in this scenario, there is a pomo (“knob”) he wants to raise. (“Cien por ciento”! Nothing less will do!) I can only conclude that this dedo gordito is la mujer’s big toe. I implore you not to google images of dedos gorditos unless you get off on toe injuries. No judging. I should mention that the quartet Los Gfez, last seen joining Diego Herrera on a likable Mexican hit, start their search for the mystery dedo fast and, through the magic of time changes, find a way to get faster. Good luck, guys! Send postcards!
Since NorteñoBlog was quiet last week and since this week is all singles, we’ve got a second Pick to Click: Laura Denisse’s good humored banda swinger “Sigo Enamorada” (Fonovisa). Denisse has a big clear voice in the vein of Linda Ronstadt, and she’s been singing a mix of banda and pop since she was a kid in the ’90s. This song, about continuing to love, is her major label debut. The banda arrangement is delightfully spare and snappy — Denisse spends much of the first verse singing over a bed of percussion and tuba, with minimal horn interjections. The big brass riff is simply a series of repeated notes, but the players articulate and syncopate like swaggering jazz cowboys.
Ely Quintero has been releasing her own banda and norteño music for several years now. Her new one, “La Pantera Rosa” (Ely), is only on Youtube as a series of preview snippets; as a lickety split quartet tune, it seems promising. As I catch up with her terrific previous singles, Quintero reminds me of one of the Terrazas sisters from Los Horóscopos, whichever has the brasher attitude.
Speaking of brash attitudes, the fast and furious Alfredo Ríos El Komander goes slow and serious for “Me Interesa” (Twiins), another half-assed single after “Fuga Pa’ Maza.” Only where “Fuga” was half-assed in a gloriously drunken whirlyball way, this ballad is half-assed in a sad slumped-over-the-bar way. I’m half-assedly searching for a parallel from the canon — maybe it’s the “Drinks After Work” to “Fuga”‘s “Red Solo Cup”? Suggestions welcome.
La Trakalosa de Monterrey has thrilled us with Faustian bargains and depressive wrist slitters. Now with Tatiana they are going Broadway, or something. Despite its nonstop barrage of words, “Ser Un Niño Esta Genial” (Remex) sounds like something that skipped off a Luis Coronel album, winking and pointing little finger guns at everyone in the room. The guys in La Trakalosa used to be adictos a la tristeza; now they’re hooked on Zoloft.
Banda Troyana does the small-band-strumming vs. big-brass-assault thing with entertainingly driving results in “¿Y Cómo Crees?” (Azteca). By the end of the song you pity the poor sap ripping through all those spectacular trombone fills — he’s going red and his tongue’s getting tired.