Loyal 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.
Far 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)”