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Omar Valenzuela

El Komander y Los Twiins: Hombres de Negocios

adolfo valenzuela

If you haven’t used up your monthly allotment of free articles over at Bloomberg Businessweek, NorteñoBlog encourages you to check out journalist David Peisner’s profile of El Komander, the Blog’s 2016 Artist of the Year, and Los Twiins, arguably the most influential producers in the genre and noted purveyors of Candy Everybody Wants. Warning: It has the clickbaity gringo-scandalizing headline “This Guy Made a Fortune Off Mexican Drug Ballads. Now He’s Selling Love Songs.” Second warning: That headline pretty much sums up the article. But within that framing, you get highlights like:

— Adolfo Valenzuela, one of Los Twiins, reminiscing about some of his adolescent banda gigs. “‘We used to play for Chalino,’ Adolfo says. ‘I remember him being always surrounded by mafia people. He’d hire us to play and be sitting the whole time, just drinking. Then he’d sing one song and go into the restroom to do cocaine or something.'”

— The “Star is Born” account of Komander’s audition for the Twiins. “‘My cousin was calling me saying, “I have somebody that works for me that comes from Sinaloa, that has no papers, and says he wants to do music,” ’ Omar [Valenzuela] recalls. ‘I told him, “Please don’t bother me. I’m busy.” ’ Eventually he relented and invited Ríos in to sing for him and his brother. ‘We were blown away,’ Omar says. ‘He’s not that much of a singer, but he was real. He writes whatever he feels about whatever was going on in Culiacán. Mexico at that time was really dangerous, as it is now, but you never heard people [singing] before about decapitating.'”

— This article also supports the contention, which I first heard from Sam Quinones when researching Ariel Camacho, that “movimiento alterado” has moved from being a proper, Twiins-associated brand into a more generic realm. “Alterado” corridos aren’t just the bloody decapitations found in songs like “Sanguinarios del M1.” They’re also the narrative-free corrido style we live these days — celebrations of wealth and glamor, often praising or impersonating real life cartel bosses by name. In this sense, Gerardo Ortiz‘s “Dámaso” could be a defining song of alterado movimiento, even though Ortiz recorded it after severing formal ties with Los Twiins.

los twiins snoop— Quinones and the Valenzuelas disagree as to whether this is a good thing. Quinones told me the alterado style is “a corruption of the corrido’s original intent,” which is to celebrate underdogs. But in the Bloomberg article, Adolfo says that’s the point. “’It’s not like before, when they were like, “I’m going to work hard like my parents,”’ Adolfo says. ‘This new generation has learned they can make more money, have luxuries, be bigger or better than their parents. They all love that feeling of power, which had never been felt before in Mexican music. Because before it was love and sadness. It was never about power.'”

Peisner sums things up with an excellent point: “It’s possible to see the alterado movement as a defiant howl from fans who’ve frequently felt marginalized, threatened, and even emasculated by the immigration debate on the U.S. side of the border and by the raging war on the other side.” So read the whole thing. If you faithfully follow Mexican music, you’ve probably read some of it in articles elsewhere: the capsule summary of Chalino’s career; Adolfo Valenzuela justifying his work by saying he’s just giving the people what they want; the comparisons to “gangsta rap”; the real life violence that’s killed musicians and their associates; the Mexican government haplessly demonizing narcocorridos. Peisner wrote the first ever regional Mexican article for this general interest publication, so he pretty much had to cover those bases, even though they hog the spotlight in story after story.

The Blog tends to side with Komander himself, who complains late in the article, “The term ‘narcocorrido’ bothers me. El Komander sings about horses, about cockfights.” But I still learned plenty, and besides all their musical virtues and ethical conundrums, the Valenzuela Twiins are among the most quotable interview subjects around.

VALE LA PENA

Money, Innovation, and Resentment: Helena Simonett’s “Banda: Mexican Musical Life Across Borders”

simonettCurrent reading on the NorteñoBlog nightstand is Helena Simonett’s 2001 book Banda: Mexican Musical Life Across Borders. Simonett is an ethnomusicologist at Vanderbilt University; she spent much of the ’90s interviewing banda musicians and fans around L.A. and northwestern Mexico. If you think back to ’90s banda — at least to the small extent that the blog has delved into it — the predominant sounds were the synth/horn combinations of technobandas like Banda Machos and Banda Maguey. They were sort of precursors to Chicago duranguense bands, with synths replacing horns and fewer members than a typical Sinaloan brass band. The venerable acoustic Banda El Recodo was respected and toured internationally through the ’90s, but it didn’t have much of a presence as pop music. Now, along with a host of other acoustic bandas, it does, and the technobanda sound has all but disappeared. One of the blog’s ongoing goals has been to learn how the current banda sound — classic acoustic brass bands playing newly written pop tunes — took over the radio.

jimenezAs told by Simonett, this history is complex, so here’s an oversimplification. For much of its early history, banda was largely confined to the state of Sinaloa in northwestern Mexico. (How it got there is a whole other story.) Mexico’s intellectual elite, centered in Mexico City, pushed mariachi as the national music of the people — it was cultivated by radio and the national government, which required mariachi bands play the capital in elegant charro costumes. Mariachi musicians still weren’t rich, but their string-based folk music was considered more noble and sophisticated than that of the bandas, even when the ensembles were playing many of the same songs. The difference? “Sinaloan intellectuals had never considered regional banda music folk music,” writes Simonett. “It was never the focus of interest, never presented as a tourist article, and never used for national political purposes… It evolved in the shadow of the periphery.”

Simonett includes an amazing 1926 article, written just a few years after the revolution, from a newspaper in Sinaloa’s port city of Mazatlán. The article’s author praises Mexican folk music because it jibes with his romantic notion of The People. (“The national soul has not yet died.”) But the guy hates banda. He writes sarcastically of its “hullaballoo”, “It sounds better to the ears standardized by the vibrating vertigo of the locomotives and electric trains and of the machinery of the factories.” Notice how Dylan Goes Electric that argument sounds: loud music that sounds like the city can’t be the authentic voice of the people! Too vulgar! Too commercial! Although I should note, banda was no more “commercial” than mariachi at that point.

Bandas would soon try to change that. Continue reading “Money, Innovation, and Resentment: Helena Simonett’s “Banda: Mexican Musical Life Across Borders””

Who’s On the Mexican Radio? 9/28/16

marcello-gamiz

The best recent song to hit the Mexican radio top 10 is probably the #4 hit “Al Rescate,” the latest in the ongoing cry for help disguised as a brass band, Banda Los Recoditos. Having set aside a nice piece of land for themselves in the “ayyyy chiquitita I’m drunk and it’s your fault” territory, Luis Angel Franco and company seem content to mine that turf for whatever they can find, for the rest of their lives — which probably won’t be long, given the volatile state of their collective liver. Typically, their horn chart is accomplished and stuffed with counterpoint, and El Flaco is the most charismatic guy at the bar, savoring some strategically placed high notes that sound like they were written for his voice. VALE LA PENA, even if you’ve heard 20 other Recoditos songs just like it.

Also solid is the song sitting at #5, La Adictiva’s brassed up take on another “ayyyy chiquitita I’m drunk and it’s your fault” song: “Que Caro Estoy Pagando.” Formerly a hit in El Norte for Sierreño heartbreakers Los Plebes del Rancho de Ariel Camacho, the song transitions to its new instrumental setting with stately melodic leaps intact, though I do miss the scratch in José Manuel Lopez Castro’s voice. VALE LA PENA.

But that’s the chart that measures “Audiencia.” The real action is over on the “Tocadas” chart, where — I’m guessing — we see adventurous radio programmers in smaller markets testing the waters for more VALE LA PENA songs like:

Los Horóscopos’ “Qué Chulada de Papucho”: Continue reading “Who’s On the Mexican Radio? 9/28/16”

Archivos de 2001: Los Twiins Break Through

los twiins

Lovelorn bounces and classic fanfares, old hats and new jacks, and early work by one of the most influential production duos of the past two decades, any genre: these were Billboard‘s top 10 Regional Mexican songs on May 19, 2001.

1. “No Te Podias Quedar”Conjunto Primavera (#4 Hot Latin)
The pride of Ojinaga, the gas-guzzling romantics of the road, Primavera scored their fifth Hot Latin top 10 with this soppy contribution from their go-to songwriter Jesús Guillén. Sometimes songwriters just find a niche, and Guillén was put on this earth to write soaring climaxes for the cavernous throat of Tony Melendez, the continent’s best singer before Primavera’s output dropped off and Julión Álvarez came along. The song itself barely exists.

2. “Y Llegaste Tú”Banda El Recodo (#6 Hot Latin)
In 2001, after 60 years of playing brass band shows to adoring but limited audiences, Recodo was enjoying the public’s newfound vogue for banda music and their first gold album. A couple years earlier, they’d begun hiring producer brothers Adolfo and Omar Valenzuela, aka Los Twiins, aka the bankrollers of El Movimiento Alterado later in the decade. (El Komander still records for them.) The brothers had their identical fingers on the pulse of the youth, and in this song they led Recodo toward a sound that blanketed the airwaves all year, and then for years afterward — a newly written Noel Hernandez song that sounded trad yet vibrant, with a arrangement that turned contrasting instrumental sections into hooks. Plus, “We’ve learned how to really tune the banda,” said Omar, “which [in the past] maybe wasn’t really done.” Progress! Pick to Click!

los tigres paisano3. “Me Declaro Culpable”Los Tigres del Norte (#13 Hot Latin)
Sad limericks of lost love — with sax! Continue reading “Archivos de 2001: Los Twiins Break Through”

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