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More Women and Mariachi, Less “Despacito” on Mexican Radio

aliciavillarealNorteñoBlog’s summer doldrums continue on the U.S. Hot Latin chart, where there’s only one regional Mexican song in the top 25 — [Casey Kasem voice:] at #23, here’s Gerardo Ortiz with the worst song from his new album! [/Casey Kasem voice] — and only 11 in the entire top 50. This is a historical anomaly. We’ve seen plenty of periods with more norteño and banda songs stuffed into the top 25: witness this chart from 2016, with 13 such singles, and who can forget the mid-’90s Tejano boom? Plenty of people can, but that’s not the point. The point is, why now?

Old dude’s hypothesis: it’s the internet’s fault. [Casey Kasem shakes fist at sky: “Millennials! You’re not reaching for the stars!”] The Hot Latin chart bakes in three different methods of song consumption, weighted according to a top secret algorithm. Regional Mexican music still gets plenty of airplay, leading to a fair number of hat acts among the diverse entries on the Latin Airplay chart. It’s the other two factors — digital sales and online streaming — where norteño and banda acts are struggling to keep pace.

bastaNorteñoBlog’s theory, unsupported by data because I don’t have it, is that the unprecedented popularity of “Despacito” is benefitting songs that sound like “Despacito,” and those songs’ streaming numbers are overwhelming the songs that don’t sound like “Despacito.” With three billion views, “Despacito” is now the most-watched video in YouTube history, and that’s just the version without Bieber. Videos and songs that follow it on streaming services are like sitcoms that followed Friends in the ’90s — automatic ratings contenders. CNCO, “Mi Gente,” “Felices Los 4” are all getting chart boosts because they’re dembow-ish bangers, often with international crossover appeal, that get recommended by YouTube or appear with “Despacito” on Spotify playlists. No matter how many norteño fans stream Calibre 50’s lite beer jingle “Las Ultras” or the latest Banda MS ballad, regional Mexican songs simply can’t keep up.

Prediction: This too shall pass. Eventually, the popularity of “Despacito” will fade. (Judging by the two-year chart run of “Propuesta Indecente,” that could take a while.) Once that happens, we’ll see more regional Mexican songs back on the big U.S. chart. If not, NorteñoBlog promises to have an existential crisis.

¡Jajaja! Just kidding. Not when there’s still cool shit happening on the Mexican radio. This week the Mexican radio chart sees two overlapping boomlets: three songs led by women (I know that doesn’t seem like much, but trust me, around here it’s refreshing) and three mariachi songs.

Alicia Villarreal - Haz Lo Que QuierasCovering both bases are Alicia Villarreal, formerly of Grupo Límite and solo cumbia radness, and Ángela Aguilar singing a duet with her dad Pepe. Villarreal is singing an original high-drama number called “Haz Lo Que Quieras,” produced like much of her work by her husband, former Kumbia King Cruz Martínez.

tu sangre en mi cuerpoBracing stuff; but since I tend to take my schmaltz stirred rather than shaken, I prefer the Aguilars’ “Tu Sangre En Mi Cuerpo,” a frankly cloying remake of… someone’s parent-kid duet that I will someday request at my daughter’s wedding reception. [Casey Kasem voice: “Their relationship quickly became strained.”] (Note: the song’s authors are Jose Luis Ortega Castro, Thelma Ines De La Caridad Castaneda Pino, and Yessica Sandoval Pineda; just not sure who did the original version.) Like Vicente Fernandez’s “Estos Celos,” this tune hits all my smooth mariachi buttons: soaring voices and strings milking high notes for maximum emotion while the chugging beat makes them sound like they’re tossing off everything — notes, burdens, hats, whatever. It’s the sound of a breeze blowing wispy clouds across a flat blue sky. Pepe’s career is long and distinguished, but Angela has been a real revelation this year, with a warm and inviting voice that reminds me of Gloria Estefan’s. Their last duet, the big smart cumbia “Nada de Nada”, earned the Blog’s affection, and this one carries on the legacy. Pick to Click!

Continue reading “More Women and Mariachi, Less “Despacito” on Mexican Radio”

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¡Ay Bandito! “Despacito” steals norteño’s chart thunder (Desfile de Éxitos 7/22/17)

despacito

Big news from Billboard is that our official Latin emissary to the pop world, the “Despacito” of Fonsi, Yankee, & Bieber (LLC), has a new notch to add to its chart belt.

siggno despacitoIt was already the first Spanish #1 single since “Macarena.” Now it’s the first non-English song to top the all around Radio Songs chart… ever. Or at least since that particular chart began in 1990. Back in 1996, “Macarena” only reached #6 on the radio. Los Lobos’ cover of “La Bamba” topped radio airplay back in 1987, but that was a different time with different algorithms that only took into account Top 40 radio. “Despacito” is topping both Top 40 and Latin radio, and the song’s coattails are spreading. (Watch for “Despacito”-themed Segway tours to sweep Puerto Rico.) Down at #31 on the Regional Mexican airplay chart, you’ll find the mascaraed-and-tattooed norteño softies Siggno playing their own cover version of “Despacito,” while rocking Metallica and Misfits t-shirts in the video. Guess whose version NorteñoBlog prefers:

Unfortunately, Siggno seems to be the only norteño act lifted by the rising tide of “Despacito” drool. Take a look at that Hot Latin chart below. Normally you’d see a couple norteño or banda songs in the top 10; the top 25 often contains ten to twelve regional Mexican acts. Now the top 16 songs are all reggaeton, bachata, or Shakira, a genre unto herself, with the first Mexican acts only sneaking in from #17-21. (Some comfort: there are 12 more of our guys — and they’re all guys — in the bottom 25.)

Billboard notes that Fonsi’s “Despacito” is not only swamping both Top 40 and Latin airplay, it’s selling and streaming the pants off every other Spanish-language song you care to name. This works out well for other, similar sounding songs. When you play “Despacito” on YouTube, the video channel helpfully chases it with another variation on “Despacito”‘s dembow rhythm — for instance, CNCO’s “Reggaeton Lento,” Maluma’s “Felices los 4,” or Shakira’s “Chantaje,” in whose video Shakira goes HAM by walking a pig through a convenience store. All those ancillary streams give their songs a chart boost. “Despacito” is never followed by Christian Nodal‘s gorgeous mariachi-pop “Adios Amor,” which hung out in the Hot Latin top 10 for the first half of the year, or any other regional Mexican song. This is one way the club sound reinforces itself.

ulices-chaidez-albumAlso worth noting in the above-linked article: halfway through 2017, there’s only one regional Mexican album in the cumulative Latin top 10, and it comes not from perennial album seller Gerardo Ortiz, whose very good Comeré Callado Vol. 1 seems to be stiffing. Rather, this year’s biggest Mexican album is the (not quite as good) 2016 album from teen sierreño sensations Ulices Chaidez y Sus Plebes. Under Billboard‘s current album accounting methods, Chaidez’s “album sales” have risen thanks to online streams of his hit ballad “Te Regalo,” which peaked at #12 and charted for half a year.

hoy mas fuerteOrtiz could use his own big single to boost his Equivalent Album Units, but right now his lame sierreño pop “Para Que Lastimarme” is falling from a #15 peak. It’s looking more like Ortiz’s 2015 album Hoy Más Fuerte was, in fact, his New Jersey: “a huge event album that ultimately feels a bit hollow and signals a career decline” (at least in commercial terms). This is something NorteñoBlog totally called; although in fairness, if it proves untrue, I probably won’t retract it. I’ll be sure to consult my journalistic ethics team.

In short, regional Mexican music seems to be going through some summer doldrums, a period of relative unpopularity compared to other Spanish-language music. Its central star, Ortiz, is using a hot sound, sierreño, but his new music is struggling to catch on. Nodal, the singer of the format’s biggest 2017 hit, has yet to release an album. The popularity of “Despacito” is benefitting other songs with more club-oriented electro rhythms. And I haven’t even mentioned that our biggest norteño song, Calibre 50‘s “Las Ultras” (#17 Hot Latin, #1 airplay), is a beer jingle. For light beer. Plenty of blame to go around.

recordandoOne bright spot comes from Ortiz and his friends/labelmates Lenin Ramirez and Jesus Chairez: down at #26 on the airplay chart we find the three of them singing Chariez’s corrido “Recordando a Manuel.” It’s a spritely guitar-and-banda memorial to the late narco José Manuel Torres Félix, who was killed in 2012. Some sympathy for the devil, please — according to the song, he was a simple country man who only turned to a life of crime when mobsters killed his kids, at which point “el demonio” got him. Regardless of real-life circumstances, the song is stunning. I prefer Ortiz’s small band version on Comeré Callado, which features some jaw-dropping accordion and tuba interplay, but on the single you can enjoy three different guys harmonizing in honor of a reputed psychopath. And the guitar still sounds great! Pick to Click:

Continue reading “¡Ay Bandito! “Despacito” steals norteño’s chart thunder (Desfile de Éxitos 7/22/17)”

Los Sencillos Mejores De 2017 (enero – junio)

retonos de tijuana

NorteñoBlog has heard your clamorous cries, and brings you a YouTube playlist of
NORTEÑOBLOG´S TOP SINGLES OF 2017
(Spotify playlists are here and here.)

valentin-elizalde1. “Volveré a Amar” – Calibre 50 (Fonovisa)
Swanky midtempo heartache with backbeat, doo-wop tuba, and Eden Muñoz doing his best low-range impression of the late Valentín Elizalde. From the VALE LA PENA album Tributo a Valentín Elizalde (Fonovisa).
U.S. radio hit
2. “El Paciente” – Alfredo Olivas
Endlessly appealing, rippling deathbed banda, including a shoutout to the mythic Catarino, a corrido legend who fought in the Revolution and healed his wounds with his own saliva.
U.S. and Mexican radio hit
3. “Huapango El Pisteador” – Conjunto Águila Real
With a few changes in timbre, this could pass for a British folk-prog instrumental from the early ’70s. Other points in its favor: the rad sections where the accordion plays lightning fast triplets over the slower sax melody, and a dramatic ending on what they call in music school the “James Bond chord.”
hasn’t charted
nueva rebelion4. “La Gorrita” – La Nueva Rebelión (Puro Party)
This is still a band trying desperately to pull as much music as possible from their poor instruments. “La Gorrita” is a good example: six verses following the titular beanie-wearing dude from cartel hub to hub, each verse played differently, with unpredictable fills and accents jumping at you like faces in a crowd. From the VALE LA PENA 2016 album La Gorrita y Que Suene La Rebe.
hasn’t charted
comere callado5. “Recordando a Manuel” – Lenin Ramirez ft. Gerardo Ortiz and Jesus Chairez (DEL)
Banda corrido that invites flabbergasting instrumental flourishes, covered on Ortiz’s VALE LA PENA album Comeré Callado Vol. 1.
hasn’t charted
6. “Mi Son” – Azierto Norte
Another galloping 6/8 instrumental with tricky internal rhythms and those rarest of all beasts: bajo sexto solos.
hasn’t charted
7. “Nada de Nada (Vete a la Fregada)” – Pepe Aguilar ft. Ángela Aguilar (Equinoccio)
An impressive band workout, with tuba and percussion burbling along like synth polyrhythms and the horns draping sweeping melodic lines over everything. Also, both singers undersell the song, making it one of banda music’s rare Big Smart Cumbias.
Mexican radio hit
no estas tu8. “Adios” – Jose Manuel Figueroa (Fonovisa)
More bouncy backbeat banda, with a tuba bassline groove that balances out the pretty melody and keeps it from turning maudlin, even as Figueroa sings about losing precious bodily fluids through his tear ducts and saliva glands. From the VALE LA PENA album No Estás Tú.
Mexican radio hit
9. “Escuela 6-1” – Adriel Favela (Gerencia 360)
Contains badass bajo sexto riffs.
hasn’t charted
el jerry10. “Te Deseo Lo Mejor” – Gerardo Coronel (Rancho Humilde)
A breezy sierreño kiss-off in which Coronel offers to teach his ex’s new pendejo “la forma correcta” to make love to her. His series of video tutorials is forthcoming. From the VALE LA PENA album El Jerry.
hasn’t charted

11. “Adios Amor” – Christian Nodal
Leading off Fonovisa’s new Mexillennials comp is this slow stunner, unfolding into an endless three-minute series of baubles and trinkets, sparkles and flashes, soars and swoops.
U.S. and Mexican radio hit
12. “No Es Tan Fácil” – Impacto Sinaloense (Anval)
The beat lurches like the best of Calibre 50, and the band is tight while still finding pockets for individual flourishes of radness.
Mexican radio hit
13. “Asi es el Muchacho” – Los Retoños de Tijuana
hasn’t charted
14. “El de la Kush” – Diferente Nivel (Twiins)
hasn’t charted
15. “Gente de Accionar” – Grupo Codiciado (Rancho Humilde)
Supertight galloping waltz where the big shot narrator brags about how great his life is.
U.S. radio hit
EL FANTASMA16. “Mi 45” – El Fantasma (AfinArte)
El Fantasma’s narrator is somehow involved in the Sinaloa Cartel. He’s still firm with El Chapo’s sons Ivan and Alfredito, whose Instagram personas out-smarm the Trump brothers’. He may be hiding out in the wilderness with his 45, biding his time or doomsday prepping. International man of mystery! From the VALE LA PENA 2016 album Equipo Armado.
U.S. radio and viral hit
17. “El Pasito Perrón” – Grupo Dinastia Mendoza (Filser)
Chintzy electrocumbia depicting a dancing sensation that utterly failed to sweep the nation, until someone uploaded a video of a toy baby Jesus dancing to it. This was of course hilarious, especially the heaps of background stinkeye given by a wary shopkeeper, and it became a meme: you can now find “Pasito Perrón” videos featuring everyone from Winnie the Pooh to his orange honey-chasing doppelganger Donald Trump. A bunch of stormtroopers even performed the dance on Britain’s Got Talent, and Simon changed his facial expression at least twice.
U.S. viral hit
18. “No Vuelvas a Llamarme” – Joss Favela (Sony Latin)
The interplay between accordion and rhythm section is on point and, whaddya know, the words — about how Favela’s always too busy to take your calls — are funny.
Mexican radio hit
19. “Eres” – Costumbre (Revilla/Azteca)
Intocablish, with harmonies.
hasn’t charted
20. “Los Viejitos” – Marco Flores y La Jerez (MF)
Aren’t the dancing fake old men supposed to be funny?
Mexican radio hit

AND NOW FOR SOME THEORIZING:
If you’ve hung around NorteñoBlog for any length of time, at some point I’ve backed you into a corner, eyes burning with laserlike and possibly alcohol-fueled focus, and tried to convince you of one or more of the following propositions:

1. Plants are alive, man; and furthermore, broccoli, kale, cauliflower, cabbage, and Brussels sprouts are all varieties of the same mustard species, and when you plant them the seeds all look like mustard seeds;
2. The best Christmas movie is Eyes Wide Shut;
3. Regional Mexican music is pop music, dammit!

The first two are objective facts and require no further explanation. But I fear I’ve never been clear on what I mean by #3. Continue reading “Los Sencillos Mejores De 2017 (enero – junio)”

¡Perros y gatos! ¡Viviendo juntos! (Desfile de Éxitos 5/6/17)

calibre 50

NorteñoBlog’s Pick to Click comes this week from Calibre 50, but it is not the quartet’s smash Top 10 ballad “Siempre Te Voy a Querer,” which does not solve Calibre’s perennial ballad problem — namely, that most of their ballads sound thin and flimsy and threaten to grind to a halt with every bar. Nor is it their #13 airplay hit/Michelob jingle “Las Ultras,” which, since first spotting it on the Mexican charts a couple weeks ago, has admittedly grown on me like so much cheap beer and/or beachfront dressage.

No, you should instead direct your attention to Calibre’s cover of “Volveré a Amar” by the 10-years-late banda singer Valentín Elizalde. The song itself is swanky midtempo heartache with backbeat and doo-wop tuba, a 2004 template for later earworms like Roberto Tapia’s “Mirando al Cielo.” (Or at least, it’s one of the templates: El Coyote beat Elizalde to this particular sound back in the ’90s.) Covering the tune, Eden Muñoz does his best Elizalde impression and sings low in his range, a wise choice — he’s as effortlessly charming as beachfront dressage. When the accordion quartet takes over for the banda during the chorus, the transition is seamless and full, so hats off to whoever recorded and mixed this thing. It’s at #39 airplay and you can find it on Fonovisa’s terrific collection of Elizalde covers, Tributo a Valentín Elizalde, previously covered here.

Also in the news:

— At #4, Christian Nodal‘s debut single “Adiós Amor” continues to win hearts and Youtube revenue. (Closing in on 128 million views!) Last month we covered it at The Singles Jukebox, where I wrote, Continue reading “¡Perros y gatos! ¡Viviendo juntos! (Desfile de Éxitos 5/6/17)”

¡Controversy! ¡Polémica! (Who’s On the Mexican Radio?)

marco-flores-dancing

Controversy! ¡Polémica! NorteñoBlog’s favorite dancer Marco Flores (aka Marco A. Flores) y su Banda Jerez (aka #1 Banda Jerez, or simply La Jerez) are back on the Mexican airwaves with “Los Viejitos” at #17, an amped up waltz that takes an insanely complex approach to both rhythmic subdividing and cultural appropriating.

los-viejitos-400x400The song, you see, plays on the traditional Danza de los Viejitos, danced for centuries by the indigenous Purépecha people in the highlands of Michoacán. Flores lives two states to the north in Zacatecas, but because he bows to Terpsichore in all her forms, he’s opened his new video with a not necessarily accurate re-enactment: five guys in flamboyant stooped-old-man costumes walk a circle, “helped” by members of La Jerez, who keep looking underneath their ponchos but seem otherwise respectful. The slow, trad fiddle music of la Danza stops abruptly, La Jerez kicks into its waltz, Flores flails his limbs, and the stooped old men spring to life, emboldened by this rad new beat. There’s a long, proud history of affectionately tweaking the Olds by replacing their slow rhythm with a new, faster rhythm — recall the Clash’s “Wrong ‘Em Boyo” or Nirvana’s “Territorial Pissings.” Flores seems to be operating on the same impulse here.

¡No tan rápido! says Michoacán’s secretary of indigenous people, Martín García Avilés. (Let’s just note how great it is that a Mexican state has its own secretary of indigenous people.) García Avilés calls the video an insult to native traditions nationwide. Flores and La Jerez are denigrating the Purépecha people and subjecting them to ridicule, he says, and they should take down the video. Flores expresses surprise, countering that he’s trying to rescue and exalt la Danza and bring it to the attention of younger generations. NorteñoBlog, watching a video of an actual Danza, asks warily, “Aren’t the dancing fake old men supposed to be funny? At least a little bit?” Not that I plan to start making video parodies of indigenous dances any time soon. Tumblr would have a collective aneurysm. But I’m curious to know how Flores’s video reads to other people who’ve grown up with la Danza de los Viejitos. Offensive? Funny?

Anyway, as I mentioned, the rhythms in this thing are also stellar — bar by bar, the band divides the basic pulse into either two or three, with Flores subdividing those beats into even smaller and faster bits during the choruses, his accents landing in unexpected places. Limbs flail accordingly. Pick to Click!

Continue reading “¡Controversy! ¡Polémica! (Who’s On the Mexican Radio?)”

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)”

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? 11/17/16

gerardo-ortiz-regresa-hermosa-snap-b

Welcome back to Songwriters’ Showcase, an apparently semiannual feature in which NorteñoBlog checks out the new love songs on Mexico’s radio chart, discovers that the world is a void wherein everything tastes like ashes, and attempts to salvage the post by researching the professional tunespinners who spun the tunes. The winners, as always, are you the readers.

Except they’re not all love songs this week! We start with not one but two big dumb cumbias. At #18, Claudio Alcaraz has written his own exercise in banda-fied minimalism, “El Pú,” about a friend of his who likes to get drunk and insult people. Great swaths of humanity get insulted here. Truckers, cops, Michoacanos, saints, etc. — you name ’em, they’re pú, aka “puro mandilón.” (“DEmasculated,” as my grandpappy and/or Urban Dictionary used to translate it.) In the video, Sr. Alcaraz’s friend appears as a lecherous clown who lights up the party by starting a conga line. Even so, the guy should stop insulting entire classes of people or he’ll never be elected to public office.

The other BDC, at #11, is way more bitchin’: “Que Perrón” by La Séptima Banda. Written by Joel Suarez and Luciano Luna, who is normally not this much fun, it’s an ode to the modern world’s sexually assertive mujeres. As you might expect, such mujeres make La Séptima Banda very happy, especially the dude in the middle of the song who sheepishly admits, “I’m ugly.” Whoever’s singing lead — I think it’s Efrain, but votes for Chino will also be tabulated — plays his wiggly cadence off the tuba/batería lines with a cheerful insouciance that makes me think I’ve been underrating the Séptima album all year. I’ll get back to you on that. In the meantime, a very ornate Pick to Click. (This live video lets you savor some of those internal brass rhythms.)

Also charting this week: Continue reading “Who’s On the Mexican Radio? 11/17/16”

La Fiebre de Juan Gabriel (Desfile de Éxitos 9/17/16)

juan-gabriel

In the least surprising news since House Speaker Paul Ryan tossed his scruples into the Potomac and signed a legislative blood pact with Donald Trump, su padrino el diablo, this week’s Billboard Hot Latin chart finds itself dominated by the late Juan Gabriel. He’s got 10 of the top 50 songs, from recent work (his cover of CCR’s “Have You Seen the Rain” and a couple duet remakes) to standards like “Amor Eterno” and “Querida,” his highest placer at #4. The more I hear “Querida,” the more I’m convinced that it — and not Limahl’s “Neverending Story” — was the greatest song of 1984. Gabriel definitely has the bigger vocal range, but the song’s semi-improvised crescendo makes you work for its pleasure; it’s not a pure shot of mind-numbing knee-wobbling endorphin like Giorgio Moroder’s synths and chord changes. Fortunately, pleasure isn’t a zero-sum game! That said, there must only be one Pick to Click:

The magazine reports that most of Gabriel’s chart traffic comes from streams and sales. Indeed, while I’ve heard some Gabriel songs on the radio — “No Vale La Pena” (ironically?) brightened my day — his impact there is too diluted to affect the radio charts. Billboard also reported a 566% increase in JuanGa music on the radio, from 2,000 spins to 13,000 in the week following his death — which, if my math checks out, translates into approximately 26-to-30 million “audience impressions.”* Impressive! But to find its way onto a radio chart, a particular song would need to hog one tenth of those impressions to itself, and Gabriel’s fecundity made that unlikely. He simply had too many songs that people loved and wanted to hear.

Gabriel is far and away the best-charting dead singer this week. Continue reading “La Fiebre de Juan Gabriel (Desfile de Éxitos 9/17/16)”

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