One of my formative critical influences is Richard Meyers’ book The Great Science Fiction Films (Carol Publishing Group). This mysterious book, which I bought at a theme park and have never seen elsewhere, covers sci-fi/fantasy/horror movies from 1975 to 1983. Its copyright date — no kidding — is 1962. As I write this, book on my lap, it occurs to me that the book might not actually exist; or maybe Meyers saw all the movies and then went back in time to write it; or possibly I’m Richard Meyers. Big old mindfuck, in other words.
In the intro, Meyers/Langhoff writes, “Although we malign many films in the coming pages, we really love all science-fiction films…” I could say much the same thing about norteño albums, as I bet most genre fans could say about their stomping grounds. Even the worst norteño album (I’ll nominate a certain live set by LOS! BuiTRES! without bothering to look up its specifics), the emptiest wasted hour of cartel crap or romantic sludge, tells you something about the good stuff. You can learn something from anything. Or at least glean a good sentence or two. Here’s Meyers on the 1977 Christopher Lee flick End of the World: “Nuns start turning back into clawed and tentacled monsters who attack innocent bystanders for a few minutes until a serene shot of the planet fills the movie screen. A second later it explodes in a torrent of plastic, dirt and water. Director John Hayes manages to stretch this inconsequential drivel over eighty minutes.”
In that spirit, let’s consider:
Epiphanies, such as they are, from the Disco of last Año:
1. Luciano Luna writes a lot of hit songs. Five of these 20 bear his name in the writing credits — two solo and three cowrites. The best, “Te Hubieras Ido Antes,” belongs to the continent’s best singer, Julión Álvarez, who knows how to push and pull rote melodic phrases into floating conversations — I mean, they’re anguished, but still floating with the illusion of life. Chuy Lizárraga’s “Nomás Faltó Que Me Quisieras” is also good. Luna’s other three songs — by Recodo, Recoditos, and Calibre 50 — are among the low points of their parent albums.
2. Unfortunately, they don’t stand out too much on this comp, because most of these songs are ballads. I get that these songs were hits, but why pick Calibre 50’s thin attempt at a power ballad when they had at least three other, more interesting, faster hit songs last year? Shouldn’t a curated hits compilation be better than any random week of the chart it’s compiling?
3. As Luna’s rival mushmonger Espinoza Paz focuses on his solo career, he may be scoring fewer hit writing credits. He contributes only one song here, El Bebeto’s ballad “Lo Más Interesante,” a misnomer.
4. There’s only one woman here, and she’s great! She’s also dead. I have no idea what Jenni Rivera’s “Resulta” is doing on this CD. Well, OK, I have some idea. Rivera’s an icon who was arguably the center of her genre when she died, and it’s not like any woman or man has commandeered the field to take her place. (Gerardo Ortiz is trying.) This track from her 2011 album appeared on 2014’s posthumous live album, and a Youtube video of the studio version — the version on this CD — has garnered four million views. So yeah, “Resulta” is a 2014 single. Was it a radio éxito? No. But did any Latina women have éxitos on regional Mexican radio in 2014? Um… (Not for lack of trying.)
5. I apologize for sleeping on Jorge Valenzuela’s wonderful “El Agüitado.” Mouthpiece squeal of the year! That said:
NO VALE LA PENA