Search

NorteñoBlog

music, charts, opinions

Tag

Regional Mexican Songs

Los Reyes del Underground? Noel Torres, Los Plebes del Rancho, y El Fantasma en Desfile de Éxitos 9/30/17

noel torres laughing

Norteño, banda, sierreño, and the newfangled one-man genre of mariacheño have begun to claw their way back onto Billboard‘s Hot Latin chart — we’re up to 11 regional Mexican songs in the top 50 this week, from only eight four weeks ago. As they claw, it’s time for an installment of NorteñoBlog’s rarely repeated feature Record Label Report, mostly because this week’s most interesting songs are on indie labels, and I can’t think of anything else to write about.

Noel Torres - Se Vinieron Los Problemas-300x300ITEM! Hotshot accordion slinger Noel Torres has left the relative safety of the Sony-distributed Gerencia 360 label, instead opting for the ????-distributed wilds of his own NT label. The Blog has found no internet evidence of controversy or Los Plebes-style explotación driving Torres away from his previous label; but if you’re wondering why that “cien por cien norteño” followup to his last, fairly terrible banda album never materialized, this may explain why. Torres’s debut indie album La Vida a Mi Modo (NT) is not cien por cien norteño, but it’s about half and half, with someone’s hot lead guitar accompanying both norteño and banda arrangements, in the style of his previous wicked single “No Andan Cazando Venados.”

Torres’s newfound lack of commercial clout is evident, though. In 2016, the aforementioned banda album debuted at #2 on the Regional Mexican Albums chart; before that, La Balanza debuted at #1. NT dropped La Vida on August 4 and it has yet to chart; we’ll see if his pretty good narcocorrido single, the fake friends lament “Se Vinieron Los Problemas” (#39 at radio), helps matters. Dude can still play accordion, that’s for sure.

la suerte¡ÍT! Speaking of exploiting or not exploiting Los Plebes del Rancho de Ariel Camacho, they’ve got a couple radio songs out there right now. The better tune is the rags-to-riches narcocorrido “La Suerte,” the lead-off title track of their April album, released on the indie JG label. The narrator of “La Suerte” started at the bottom as an errand boy and now, with loyal friends handling his raw materials and offices in the Americas and Europe, has gone intercontinental if not ballistic. (“Nadie batalla conmigo,” he claims, and it is in your interest to believe him.) Israel Meza is the tuba player; like DEL Records’ Omar Burgos, Meza used to play with the late Ariel Camacho, and he’s got some real whack-a-mole solos between stanzas here, popping up to taunt the smoother guitar and vocals of his 20-year-old bandleader, José Manuel López Castro. Pick to Click!


Continue reading “Los Reyes del Underground? Noel Torres, Los Plebes del Rancho, y El Fantasma en Desfile de Éxitos 9/30/17”

Advertisements

Who’s On the Mexican Radio? 9/11/17

ulices chaidez women

First things first: our friends in Mexico, especially southern Mexico and the Gulf coast, are dealing with the twin destructive forces of a magnitude 8.1 earthquake and Hurricane Katia. People have lost family, friends, and homes in the states of Oaxaca, Chiapas, Tabasco, and Veracruz. If you can swing it, this website has a list of organizations, including the Red Cross and UNICEF, that can use your cash to help people recover from the destruction. Remember, Mexico has sent all kinds of help to Texas in the wake of Hurricane Harvey. Now Mexico needs help; and since climate change doesn’t care whether we dig Tejano or huapango or (G-d save us) “Despacito,” now is a good time for us to practice dealing with its fallout. Climate change’s fallout, not “Despacito”‘s. Although feel free to help Puerto Rico out, too.

omar burgos delNow, on with the countdown! This past weekend in Chicago I was playing the radio game “ScanQuiz!”, where you hit “Scan” on the car radio and try to name each song you hear before the radio moves on to the next station. Besides being a superfun test of mettle, ScanQuiz! is also a good way to survey who’s broadly popular with radio listeners. Shawn Mendes and Imagine Dragons are always lurking somewhere. Led Zeppelin will never die. And tubist Omar Burgos, by virtue of playing with both versions of Los Plebes del Rancho and los Plebes de Ulices Chaidez, has created one of the most dominant instrumental sounds on Chicago radio. Scan for a half hour and you’re likely to hear a sierreño song, probably played by one of Burgos’s bands; but even if the tubist is someone else, his bandleader owes his popularity to Burgos’s late employer Ariel Camacho, whose own posthumous hits still pop up like White Walkers.

porque me enamoreBurgos and Chaidez are also doing well in Mexico, where this week their year-old song “Porque Me Enamore” ascends to #2. (In El Norte, the song is #1 at RegMex radio.) You can catch them in the very special video, both “recording” in the studio and offering support to a young lady at her chemo sessions. This is standard-issue sierreño prettiness, and not the most memorable example of the style, but you can see why it’s big. Chaidez sings with misty teenage sensitivity and just the hint of an edge to his voice, and Burgos propels the arrangement with an opening flourish, flutter tongue madness, cool little pendulumic swings into his notes — just an endless variety of ideas and effects, all of which enhance rather than disrupt the song. He’s got as much personality as any instrumentalist around. Teen music with inoffensive, cross-generational appeal — kind of like Shawn Mendes!

loco enamoradoBetter yet is the sierreño bass (not tuba) trio at #11. “Loco Enamorado” represents a new bandwagon leap for Remmy Valenzuela, whom the Blog has admired for his accordion chops and for the lovely rasp in his voice’s upper register. Here he’s playing rhythm guitar on a song about how crazy in love with you he is. Spare a listen for the lead requinto player, who executes a bunch of exciting flourishes that have inspired YouTube tutorials. (Spare also his name, if you know it, because I can’t figure out who the guy is.) I’d say Valenzuela’s voice alone would make any song worth hearing, but his NO VALE LA PENA followup banda single “Mi Amante” disproves that theory.  But in “Loco Enamorado,” his voice and some mean requinto picking sell an entirely decent romantic ballad that has the temerity to move back and forth between two different keys. Pick to Click!


Continue reading “Who’s On the Mexican Radio? 9/11/17”

La Gran Purga (Desfile de Éxitos 9/2/17)

t3r elemento

It would become known as the Great Purge of 2017. A complex cultural exchange, once teeming with diverse reflections of the human experience, suddenly found itself ruled by a simplistic dictator. Well, ok, not strictly a “dictator” — after all, the people bestowed upon this ruler unprecedented power. But what began as novelty soon turned to tedium, then oppression, as one by one anyone who didn’t resemble our fearless leader began to vanish. To explain away those who disappeared, there was always a reasonable enough excuse. They promoted violence rather than unity. They were part of the old order; there was no room for them in our new, more streamlined era. If they refused to conform to the new paradigm, more supple individuals could easily be found to take their places.

And THAT, amigos, is how we went from having 17 regional Mexican songs on Billboard‘s Hot Latin chart six weeks ago, to only eight-count-’em-eight this week.

17 was already low, but 8/50 is the lowest portion in NorteñoBlog’s almost three-year history. When I started following this particular desfile, eight out of the top 25 was on the low side. The culprit, I’ve hypothesized, is One Song To Rule Them All “Despacito,” which, due to its unprecedented bigness, is sweeping along other songs that have the good fortune to sound like “Despacito.” Sooner or later, once we impeach “Despacito” from its perilous perch, I predict some of the fine radio hits on the Regional Mexican chart will make their way back to Hot Latin, to leaven the eternal boot-stomp of the club bangers.

Hits like…

tal-como-eresLuis Coronel’s mid-tempo puppy-dog banda ballad “Tal Como Eres,” at #20 RegMex airplay, which, in typical Coronel fashion, exalts a woman whose boot he does not feel competent to lick, this time swiping a keening hook from Lady Gaga’s “Poker Face.” (“Can’t read my, can’t read myyyy…”) Thing is, this usually undistinguished singer has never keened so well, and the brass arrangement is overstuffed with flourishes of its own. You could argue Coronel pioneered the current wave of norteño teen idols, but this is the first time I’ve wondered whether I might enjoy a new Luis Coronel album. VALE LA PENA

Roberto Tapia - Vamos A Darnos Un TiempoEven better is #27, the breakup banda “Vamos a Darnos un Tiempo” by blog favorite Roberto Tapia, who sounds great whether he’s doing backbeat banda pop or more neo-trad waltzes. “Vamos” falls squarely into the latter category, and the guitar-laced horn charts are chunky and violent, blat against blat, the better to depict the emotional violence wreaked by the narrator and his mujer upon one another. Although, when Tapia sails into his upper register to mourn the good times, you never doubt that he at least wants to regret leaving her. Pick to Click!

corona de rosasSince NorteñoBlog has been NorteñoSlacking these past few weeks, a second Pick to Click is in order. At #38 we find two more teen idols, this time from the DEL Records stable of unquestionably well-treated and unexploited performers: Kevin Ortiz, the middling younger brother of Gerardo, and sierreño guitar hotshot Ulices Chaidez. They’re dueting on “Corona de Rosas,” a country-ish story song. A young muchacho leaves the farm to seek his fortune. When he returns home wearing his new, fancy clothes, he finds his padre has died, buried beneath the titular corona. That’s the whole song — but in that simplicity lies all the complexity of the immigration narrative, echoing the apostle Luke’s Prodigal Son story, and even chased with a bit of “He Stopped Loving Her Today.” The guitar/horn rhythms of the enhanced sierreño band pull off the same simple/complex trick. Kevin’s best song yet:

Also interesting:
Continue reading “La Gran Purga (Desfile de Éxitos 9/2/17)”

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”

¡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)”

Who’s On the Mexican Radio? (starring José Manuel Figueroa, Bronco, y más)

ordenando

This week NorteñoBlog bids a fond Mexican chart farewell to Alfredo Olivas‘s “El Paciente.” It’s a rousing deathbed meditation and previous Pick to Click that’s still hitting on U.S. radio, where its rippling banda charts and soaring melody sound better every time I hear them. Plus — always worth noting — the song shouts out Revolutionary legend Catarino, who was able to heal his wounds with his own saliva. Sources tell me the new, top-secret Republican healthcare bill relies exclusively on this method of treatment.

BRONCO_B-696X852But fans of medical metaphors and in-song death need not worry: in its place we have “Doctor” by Bronco, a smooth, synth-led grupero throwback, written by one of the dudes from pop duo Río Roma. Its story is simple and disturbing. The self-medicating, anhedonic narrator visits his doctor asking for a heart transplant because he can no longer love. The doctor assures our narrator that no cure exists, and instead offers to kill him. The narrator accepts. This bleak indictment of Mexico’s public healthcare system has somehow slipped past censors and cracked the top 10 of the nation’s radio chart, no doubt thanks to the seductive powers of its soothing cumbia lilt. Seasons don’t fear the reaper. You can be like they are. Come on, baby.

michaJust ahead of the sickos in Bronco we find La Séptima Banda and their latest shot of banda pop cheer, “Se Defiende.” It’s the lead single from their new album Micha y Micha (Fonovisa), half new studio songs and half live corridos. It’s not as good or surprising as last year’s NONSTOP POP EXPLOSION A Todo Volumen, but it’ll still get you through a commute. “Se Defiende” gives you a good idea of the band’s trash compactor approach to brass charts: they cram a bunch of hooks into a small space, mercilessly squeeze the whole mess down to two and a half minutes, and produce a gleaming cube that’s somehow homogenous and finely detailed at once.

no estas tuAt #18 we find José Manuel Figueroa with “Adiós,” from one of 2017’s most enjoyable albums until it peters out at the end, No Estás Tú (Fonovisa). Figueroa shares his given name and a talent for composing and producing with his father, the late Joan Sebastian. Also like padre, Figueroa doesn’t strictly adhere to any one style; he writes what amount to catchy country-pop songs, and on this album he mostly sets them to expert banda arrangements, though sometimes guitar, piano, and strings pop up. (On 2013’s “Rosas y Espinas” he dabbled with synths, which sounded cool and fit right in.) If you know NorteñoBlog at all, you know I’m a sucker for bandas that play bouncy backbeat pop, so “Adiós” is right up the Blog’s alley. The tuba bassline groove 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. Maybe that’s how his voice got so scratchy. Pick to Click!

Continue reading “Who’s On the Mexican Radio? (starring José Manuel Figueroa, Bronco, y más)”

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)”

La Impersistencia de la Memoria (Who’s On the Mexican Radio? 5/22/17)

chayinRubiotopradio

Forgetting has a long and proud history in pop music, from Elvis’s “I Forgot to Remember to Forget,” to Shakira chirping “Can’t Remember to Forget You,” to Robin Thicke having no idea how he wrote “Blurred Lines.” In country music alone, NorteñoBlog has forgotten hundreds of songs about singers’ misguided attempts to grapple with the past by flooding their temporal lobes with alcohol. So the recent appearance of four or five(!) simultaneous Mexican hits about forgetfulness doesn’t necessitate much more than an exclamation point. Yet here we go…

(Treat the blog nice, or I’ll remember to turn this into a full-fledged thinkpiece about how banda forgetfulness channels Paz’s Dialectic of Solitude or some shit.)

Banda El Recodo De Cruz Lizarraga - Me Prometí OlvidarteFirst up! The oldest of the four comes from the venerable Banda El Recodo, doing Edgar Barrera and Martin Castro’s midtempo waltz “Me Prometí Olvidarte.” Turns out that, after we collectively cheated on Banda El Recodo and destroyed their collective heart into a thousand pieces, they promised to forget us. Guess how that worked out. They forgot us so thoroughly they commissioned a song about how thoroughly they forgot us! I blame our world class gams. This song is mid-tier Recodo, fairly trad with the polished spit sheen of expert arranging and recording. But our gams demand more than mere professional competence, do they not? NO VALE LA PENA

Julión Álvarez Y Su Norteño Banda - Esta Noche Se Me Olvida-300x300Next oldest is from the man blessed with the continent’s best voice, Julión Álvarez, whose “Esta Noche Se Me Olvida” is a slow banda ballad from Calibre 50’s Edén Muñoz and relative newcomer Gussy Lau. You, faithless lover, have driven Álvarez to drink, that he might forget your kisses. Why would you choke that beautiful scratchy warble on alcohol and tears? The video portrays our hero playing to throngs of adoring fans at an outdoor concert, cementing his status as the biggest norteño star outside Gerardo Ortiz, but this middling ballad isn’t getting me excited for Álvarez’s forthcoming album, Ni Diablo, Ni Santo, due out Friday. NO VALE LA PENA.

arrolladoraWe turn to our next victims of love’s cruel dementia, La Arrolladora Banda, who know how to kick out the slow jams, some of which are really good. Continue reading “La Impersistencia de la Memoria (Who’s On the Mexican Radio? 5/22/17)”

¡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)”

Blog at WordPress.com.

Up ↑