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Flaming Gallos and Dancing Jesuses (Desfile de Éxitos 6/10/17)

el gallero

KOMANDERLoyal readers understand that any new single by Alfredo Ríos “El Komander” makes NorteñoBlog crow with excitement. El Komander is one of the best, most prolific singles artists on the continent and his new radio hit “El Gallero” (#13 airplay) is another feather in his cap. And just so we’re clear: this song is some straight up, undiluted, no-question-what-he’s-singing-about cockfighting bullshit. I’ve combed the text for mitigating factors and found none. It’s not a metaphor. It’s not simply a video featuring the sport, like Alacranes Musical‘s strutting dance classic “Zapateado Encabronado #3”, which the Blog could not in good conscience endorse back in 2014. No, “El Gallero” pecks away at the same magnificently plumed tradition as Vicente Fernandez‘s “La Muerte de un Gallero” — only, where Fernandez told an O Henry-ish short story set in the competitive cockfighting world, Komander’s song is pure identity politics and local pride.

We’ve seen this sort of dynamic before, specifically with narcocorridos: “In one of those ironies that’s defined parent-child musical tastes since forever, [my librarian] Fatima’s dad is a big Chalino Sanchez fan but thinks these new corrideros are a bunch of idiots. Those old school corrideros knew how to tell a real story.” Whereas, the argument goes, new jack corrideros like El Komander simply revel in the decadent trappings of the game.

Where else have we seen this play out? Oh, right — country music. Recall Marty Robbins’ “The Strawberry Roan,” a short bronc busting story I’m on record loving. In a few compact stanzas, Robbins uses obscure terms of rodeic art to immerse listeners in the seedy bronc busting underworld, and his story of Man meeting his equine match turns into an awe-stricken proverb about life’s eternally unexplored vistas:

“I know there are ponies that I cannot ride;
There’s some of them left, they haven’t all died.”

Four decades later Garth Brooks recorded “Rodeo,” which also rattled off obscure terms of art but, like “El Gallero,” was pure identity politics and local (well, professional) pride. You could argue that Brooks helped inspire today’s bro-country movement of good old boys obsessing over how Country they are, and becoming aesthetically impoverished in the process, but what we’re really talking about is different songwriting tools. At their cores, the parallel cases of “Strawberry Roan” vs. “Rodeo” and “La Muerte” vs. “El Gallero” represent differences in perspective. (I mean, “Rodeo” is my least favorite Garth Brooks song, but just on a musical level.) Brooks and Komander both have excellent storytelling songs in their repertoires, but sometimes you just want to sing a damn anthem.

But, right, cockfighting. Sigh. NorteñoBlog cannot in good conscience endorse this middling El Komander single whose video seems to depict a rooster killed in battle. What I CAN endorse is getting onto U.S. radio with a line that translates “My cock is always on fire.” Your move, Kings of Leon.

dinastia mendozaFar as I can tell, “El Gallero” hasn’t raised the hackles of the SPCA or any other group of moralizers. The same cannot be said for the song at #46 on the big chart, “El Pasito Perrón” by the gregarious dance band Grupo Dianastia Mendoza. Continue reading “Flaming Gallos and Dancing Jesuses (Desfile de Éxitos 6/10/17)”

Teoría de la Evolución (Desfile de Éxitos 2/11/17)

This week’s Pick to Click is right up front, so you can listen while you read about some… updates to Billboard magazine’s chart methodologies. Woo hoo! (Trust me, the song’s pretty.)

This week Billboard magazine changed the way it compiles some of its singles charts, including the Hot Latin chart. The magazine started including streaming data from Pandora, and it “rebalanced the ratio among sales, airplay and streaming, accounting for changes in music consumption patterns, i.e., increases in streaming and decreases in sales.” This rebalancing happens every once in a while, but figuring in the Pandora data is new. You might think we’d notice the Pandora effect on the Hot Latin chart, since Latin music is 11% of what gets streamed on Pandora, where 25% of users identify as Hispanic. It’s also worth noting that, in 2016, two thirds of Pandora’s most popular Latin songs were Regional Mexican, and that the list was dominated by hot young studs singing Sierreño: Ariel Camacho, Los Plebes del Rancho, Crecer Germán, and Adriel Favela‘s genre foray “Tomen Nota.” Teen idols taking over!

ulices-chaidez-smolderingBut if you compare this week’s chart with the one from three weeks ago (or with last week’s), not much seems to have changed. Shakira’s “La Bicicleta” abruptly disappeared from its place in the top 10, and Banda MS‘s “Tengo Que Colgar” now appears only on the Regional Mexican Airplay chart. (Good! Whenever I stream that song it makes my phone run slower.) But on the whole, songs that were climbing before have continued their trajectory, some older songs have dropped off, and Regional Mexican still occupies eight of the top 25 spots, a consistent ratio in recent weeks. Hot young Sierreño stud Ulices Chaidez has two songs in the top 25 — but he did last week, too. So maybe this continuity simply means Billboard got its rebalance right, and that its charts reflect music as it’s actually listened to.

While we’re talking chart data, the Top Latin Albums chart also got an update: it switched from a sales-only formula to “a multi-metric methodology, blending pure album sales, track equivalent album (TEA) units, and streaming equivalent album (SEA) units.” (The big album chart, the Billboard 200, has done this for a while now.) This created much more dramatic changes from last week to this week, mostly in favor of artists whose fans skew younger. Continue reading “Teoría de la Evolución (Desfile de Éxitos 2/11/17)”

¡Feliz 2017! (y ¡Lo Mejor de 2016!)

new-years-eve

Well, that was a terrible year, wasn’t it? But as disappointment turns to fear, fear into love, and love to resistance, let’s remember why you came to NorteñoBlog in the first place: accordions and tubas, cumbias and corridos, gritos and gallos, all racing around at breakneck speeds and knocking shit over.

Here are some of the most-clicked items from the blog’s most clicked year. Thanks for reading!

beto-with-fireBeto Cervantes D.E.P.
Juan Gabriel might have been the most iconic musician in Mexico, but for certain music fans — the kind who run internet searches for the details of sordid deaths — Beto Cervantes’ untimely death in September came as a shock. Or maybe not. Roughly one fifth of NorteñoBlog’s 2016 visitors came to read Manuel’s 2015 article on Beto, which covered his previous assassination attempt as well as some of his best songs.

tomen-notaEl Karma Karma Karma Comes Back to You Hard
Speaking of dead corrideros, Ariel Camacho continued to intrigue internet listeners. His own songs and those of his band, Los Plebes del Rancho, racked up enormous numbers of internet streams and had a stubborn presence on Billboard‘s Hot Latin Songs chart for most of the year. NorteñoBlog looked the Sierreño wave in the articles ¡Pisteando! (featuring Chuy Zuñiga), Wristwatch Porn and White Slavery (ft. “Tomen Nota”), and Attack of the Teen Idols. Buncha people also clicked on 2015’s Who Played It Better: Ariel Camacho or These Dudes?

los-inquietos-del-norte-requisito-americano-feat-marco-flores-y-la-numero-1-banda-jerezTrap Is Hyphy and Hyphy Is Trap
Speaking of stubborn, the twin phenomena of hyphy norteño (existence iffy) and the Hyphy record label (going strong!) continued to fascinate. NorteñoBlog covered both in the 2015 article Pronounced “Jai-Fi”: The Rise and Fall of Hyphy Norteño, and happily learned about Martín Patrón‘s hardcore “trap corridos” in the above linked Trap Is Hyphy and Hyphy Is Trap. We also heard from a band of hyphy-not-hyphy progenitors in Marco Flores y Los Inquietos Saluden a Su Madre.

el-americanoTop 5 W.T.F. Corrido Moments!
Speaking of corridos, Omar Ruiz‘s song “El Americano,” re-recorded with the kickass band Fuerza de Tijuana, became an unexpected U.S. radio hit and sent people to Manuel’s above-linked 2015 article, where you can see Ruiz singing the song to its subject, Boston narco George Jung. And, perhaps feeling guilty about all these corrido articles but nonetheless digging the new Tucanes tune, Josh wondered How Do We Hear Violent Corridos?

100 Regional Mexican Compilations Released in 2015
But it wasn’t all corridos! The article above looked at the curious prevalence of Regional Mexican compilation albums, even though such albums seem to be dying in the rest of the music industry. We also looked at the histories of the Mexican radio market in Houston and, in a still-popular 2015 article, Chicago. And if you ever wondered what’s behind the Houston Rodeo’s “Go Tejano Day” — well, here you go.

sergio-floresAlso — and be sure to pour one out for the late George Michael, who inspired the name of this feature — Yo. Quiero. Tu. Saxo.

Desfile de Éxitos 12/24/16

omar_ruiz_el_quesito

Since NorteñoBlog last checked Billboard‘s Latin charts, the magazine has decided to give us all a gift: the website is now posting 20 more spots on its Regional Mexican airplay chart. There you will find such curiosities as:

Marco Antonio Solis crooning about a lying mujer while swathed in a toga of strings and synths (#29);

— a previous Pick to Click from Fuerza de Tijuana, about a former honcho in the Medellín Cartel (#31);

— more chipper puro sax bands than you can shake a slimy mouthpiece at (#23, #30, and #32) — all of them ruled by the saxophone colossus at #18, La Maquinaria Norteña;

— and even more clones of Ariel Camacho. Am I alone in thinking The Clones of Ariel Camacho would make a great Univision variety show? TWENTY SUPER SERIOUS YOUNG REQUINTO PLAYERS SING OF DEATH AND LOST LOVE, Omar Burgos furiously triple-tongues his tuba whenever someone gets voted off, and everyone forgets the names of their second guitarists. Could work. In any case, Nano Machado, Los de la Noria, Los Plebes, and Ulices Chaidez are all representing Sierreño music in the bottom 20, and Chaidez has two additional songs in the overall Hot Latin top 50. This fountain of youth isn’t drying up any time soon.

Also brightening up the bottom 20 is another dude who fooled around with Sierreño earlier in 2016: Adriel Favela, whose “Tomen Nota,” a duet with Los Del Arroyo, was a credible candidate for Wristwatch Porn Video of the Year. Continue reading “Desfile de Éxitos 12/24/16”

Who’s On the Mexican Radio? 5/3/16

bien servida

Welcome to the Mexican charts, where change, as my cosmetic podiatrist likes to say, is afoot. Although it’s been several weeks since NorteñoBlog tuned in to the Mexican radio, the rate of turnover feels much quicker there than in El Norte. For example, check out the norteño and banda songs that have been hanging around the charts the longest:

U.S. Hot Latin:
#19 – “Ya Te Perdí La Fe” by Arrolladora, 26 weeks
#4 – “Solo Con Verte” by Banda MS, 25 weeks
#13 – “Broche de Oro” by Trakalosa, 24 weeks
#14 – “Tomen Nota” by Adriel Favela ft. Los Del Arroyo, 20 weeks
#19 – “DEL Negociante” by Los Plebes del Rancho de Ariel Camacho, 20 weeks

Mexican Popular:
#8 – “Tragos de Alcohol” by El Komander, 14 semanas
#13 – “Préstamela a Mí” by Calibre 50, 14 semanas
#17 – “El Borrachito” by Julión Álvarez, 14 semanas
#7 – “Espero Con Ansias” by Remmy Valenzuela, 13 semanas
#12 – “María” by Pepe Aguilar, 11 semanas

I know what you’re thinking: the Mexican list is way better, and not just because you’re sick of all the U.S. songs after five months! You’re right, but that quality judgment is probably just a coincidence. (And one that doesn’t account for NorteñoBlog’s fave wristwatch porn jam “Tomen Nota.”) You might also be thinking these two charts aren’t equivalent, because Hot Latin measures radio plus streams plus downloads, whereas the Mexican Popular chart only measures radio. Verdadero; but if you check out Billboard‘s radio-only Regional Mexican chart, the U.S. songs have charted for roughly the same amount of time, give or take a week, plus you find Adictiva’s certified 37-weeker “Después de Ti, ¿Quién?”, a real tantric filibuster. Continue reading “Who’s On the Mexican Radio? 5/3/16”

NorteñoBlog’s Top Singles of 2016: Enero – Marzo

el armenta

Please excuse the note of shame in NorteñoBlog’s voice, but 2016 has gotten off to a more… focused start than last year. On the list (and YouTube playlist!) that follows, you’ll find no bands devoted to cumbia, no musicians from outside la patria, and — despite my doubtless inadequate searching — only one woman. (Karla Luna snuck on at the end, with a song that might end up growing on me. And Helen Ochoa‘s album deserves a listen.) What we’ve got here is nine norteño songs and six banda tunes by dudes who are pretty open about their lusts — if not for las mujeres, then for power and fancy wristwatches. But their music is no less compelling, because within those confines live several worlds of possibility.

El Armenta‘s big dumb cumbia (#1), Remmy Valenzuela‘s power ballad (#8), and Banda Pequeños Musical‘s pan flute monstrosity (#15) are all romantic banda songs that find vastly different paths to greatness. Or near greatness. The same thing happens on the norteño side. Though everyone’s working the same genre turf, Adriel Favela‘s guitar-saturated version of a new corrido standard (#3) couldn’t sound further from the Intocable love song (#10) with the distorted electric guitar and the show-offy accordion solo, as precise and memorable as a prime Van Halen break. Regional Mexican music pitches a bigger and more inventive tent than half the U.S. political system. Speaking of which, I sort of feel like El Armenta’s video, in which grotesque rubber-faced men enact an inexplicable ritual while carrying big sticks, gives us a terrifying preview of June’s Republican convention. At least nobody dies from the sticks.

1. El Armenta“El Perro Se Soltó” (Armenta)
Of all the big dumb banda cumbias I’ve heard this year, “El Perro” is the best, with horns and clarinets blaring all over the place and a churning beat that doesn’t quit until the perro in question barks at the end. The sound’s a little clipped in the head-scratcher of a video, which only adds to the Lynchian daytime nightmare feel of the whole endeavor. Continue reading “NorteñoBlog’s Top Singles of 2016: Enero – Marzo”

Odes to Music Executives and Other Criminals

beto tiger

Ladies and gentlemen, our nation is in the grip of a Sierreño fever, and it´s mostly because — on the charts, at least — the dead are walking the earth. Or at least one dead man. For the second week in a row, Billboard‘s Hot Latin top 25 is 20 percent acoustic trio music, the signature Sierreño style of the late Ariel Camacho. His bandmates Los Plebes Del Rancho just released their first album since Sr. Camacho died, and they occupy four of those slots, one of them (the deathless “Hablemos”) with Camacho himself. The fifth trio spot belongs to Los Del Arroyo, backing up pretty boy gangster Adriel Favela. Had Camacho not died a year ago, it’s unlikely that he and his band would be clogging up the chart to this extent. The Arroyos might have still had their hit — after all, “Tomen Nota” is a really good song and Favela’s an established hitmaker — but it’s equally likely that Camacho’s post-mortem singles have whetted listeners’ appetites for rippling guitars and lurching basslines.

virlan garciaBut the old sound of Sierreño is having a moment off the charts, too. NorteñoBlog has already noted the fine new album from Los Migueles “La Voz Original,” who were Sierreño when Sierreño wasn’t cool. Now we’ve got a new tuba trio album from the young guitarist and singer Virlán García. His Y Cambió Mi Suerte (self-released) is a noble attempt to strike while the fever’s hot. (Please do not actually strike feverish people, except with leeches.) García is maybe the millionth person to record an ode to El Chapo Guzmán’s son “Iván Archivaldo,” but to his credit, the song demonstrates what a monster García’s lead guitarist is. This trio tries for different effects than the consistently hypnotic Los Plebes — “El Serio” contains some studied group fills, almost like a pop song arrangement, though the main riff just barely hangs together. In other words, they’re still a little rough, but they’ve got their sites set on bigger things.

pobre o criminalI’m pretty sure all of García’s efforts thus far — two self-released albums, an active Youtube channel — constitute a savvy bid for the attention of DEL Records. After all, DEL’s charismatic CEO Angel Del Villar is known for signing musicians (including Ariel Camacho) based on their Youtube presences. García no doubt reads Triunfo magazine interviews about industry hiring practices, so last year he wrote and recorded Del Villar his very own corrido, guilelessly titled “Angel Del Villar,” as part of the self-released album Pobre o Criminal. If you think this sounds familiar, you’re right. Los Plebes recorded a different ode to Del Villar, “DEL Negociante,” that’s currently sitting at #15 Hot Latin. Short story: “Angel Del Villar” is no “DEL Negociante,” but I’m sure the CEO noticed the effort, and that he appreciated it more than he would a giltter-bombed resumé. Continue reading “Odes to Music Executives and Other Criminals”

The John Mayers We’ve Been Looking For (Desfile de Éxitos 2/20/16)

roberto tapia

Tomen nota: Regional Mexican’s hot streak in the top 25 wanes this week, with Recodo, Séptima, Chuy Lizarraga, and Ariel Camacho‘s “Te Metiste” dropping off the Hot Latin chart. Banda and norteño acts hold down less than half the chart with 11 of the top 25 spots. The nuevo-Sierreño strums of Los Plebes del Rancho occupy two of those with a couple unlikely hits: a love song from 2014 and a new corrido about the head of their record label. If you’re keeping track at home, this extends Ariel Camacho’s death bump to almost a year.

But Los Plebes aren’t the only guitar heroes to chart this week. “Tomen Nota,” the duet between honey-voiced Adriel Favela and photogenic Sierreño badasses Los Del Arroyo, is threatening to take both acts into new territory: the Hot Latin top 20. This is partly thanks to the eye-catching video, in which our watch-enthusiast anti-heroes use their pistols to turn an everyday game of billiards into BUMPER POOL. On the other hand, said video came out last May, which gave it plenty of time to stream its way onto Hot Latin. I’m guessing the previous Pick to Click is hitting now because its increased radio presence, currently #9 on the Regional Mexican airplay chart, is in turn driving even more streams. ¡Sinergia! Continue reading “The John Mayers We’ve Been Looking For (Desfile de Éxitos 2/20/16)”

Desfile de Éxitos 2/6/16 (Wristwatch Porn and White Slavery)

adriel arroyo

From the NorteñoBlog Department of Corrections (no, it’s not a Larry Hernández update): Last week when we were looking at the charts from 2004, I speculated that era’s airplay-only Hot Latin chart “placed five RegMex songs inside the Hot Latin top 10, a percentage we never see today.” Well color me morado — this week Banda MS, Ariel Camacho, La Adictiva, Gerardo Ortiz, and Arrolladora have all crashed the Hot Latin top 10 at the same time. Ding ding ding and cigars all around! In all, more than half the top 25 is made up of our guys. And yes, they’re all guys — where are Alicia Villarreal and Los Horóscopos when you need ’em?

What’s new? This week we say adios to one spritely tune by La Séptima Banda and hola to another. “Me Empezó A Valer” is your typical bouncy ode to a treacherous mujer and the cuckold who’s finally mustering the courage to show her the door. Its video, though, is Muy Especial. Turns out the woman was cheating with a good-looking guy at the gym, portrayed by Séptima’s lead singer. When he takes her “home” to “meet his family,” she discovers to her horror that home is a strip club and his family is a cabal of human traffickers. They lock her in a closet — I’m not making any of this up — and put her to work and she winds up half naked and sobbing on the concrete, mascara everywhere. When she texts the dude she cheated on — like, she can’t call the police? — he’s celebrating a promotion or something with his new girlfriend, so he just dismisses her texts. LESSON LEARNED, AMIRITE? Apparently not, because the final frames display the stark message, “LA SEPTIMA BANDA ESTÁ EN CONTRA DE LA TRATA DE BLANCAS.” You know, in case the video didn’t make that clear. Continue reading “Desfile de Éxitos 2/6/16 (Wristwatch Porn and White Slavery)”

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