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Joni Sandez on sierreño, “Las Mañanitas,” and “secrets nobody wants to say”

joni sandez

“The producer listening is probably gonna hate me — like, ‘No, don’t say that!'”

el tiempoJoni Sandez is joking, but he’s eager to talk about parts of the norteño recording process usually kept under wraps. He knows from experience. A lifelong resident of southern California, Jonathan Sandez, 26, grew up playing guitar and bass. At 14 he joined the long-running L.A.-based Grupo El Tiempo, playing bass and singing backup amid a synthesized sound rooted in the ’80s and early ’90s. “Modern Tejano, grupero, norteño music,” he explains. “They had accordion, but the accordion was actually in the keyboard.”

Going solo as a bandleader, Sandez has pursued a more acoustic direction. He plays concerts, festivals, and private parties with norteño groups, up to five shows a night. One New Years Eve he played for 12 hours and was still able to sing at the end. He’s justifiably proud of this.

Like many young musicians, his recent music has been mostly sierreño — two guitars and a bass. His latest single is straight out of the Great Ranchera Songbook: “Las Mañanitas,” a fond birthday wish sung by everyone from Vicente Fernandez to Javier Solís to Los Tigres. With his bassist’s ear, Sandez has added some smooth walking chromaticism to the bottom end, a sound you won’t find in most oom-pah-pah I-IV-V versions.

During our 45-minute phone conversation (edited for length), Sandez told the Blog about making the switch to sierreño, the differences between tuba- and bass-bottomed music, and some lesser known tricks of the trade — “those hidden little secrets that nobody wants to say.” Follow “jonisandez” on Instagram, Twitter, and YouTube, and check out his website.

NorteñoBlog: Why did you start recording sierreño music?
Joni Sandez: It went back to my roots. The style of guitar was what I used to do, which was requinto. You know, all those tremolo-sounding riffs and terceras — two notes at a time, three half steps apart — and sextas, six steps apart. It was what I was playing back then, and most of the shows that we go to, they wanna hear that 12-string guitar. When you hear sierreño, you’ll hear the terceras — you won’t hear just one note, [he sings, outlining a triad] “dun dun dun dun dun”, you’ll hear [outinling the same triad] “drun drun drun drun drun.” It’s really subtle, too. A lot of people of people who aren’t familiar with the music won’t know about that. That makes it sierreña, you know?

Is that you playing requinto on your recordings?
Yes. Once in a while I’ll have somebody come through. It’s more having a little bit of variety — everybody has their own style of playing, and if it’s always me on the tracks, it becomes a little bit too played out. All the bass is me, but on the requinto I’ll try to have somebody come in and put in a couple of fill-ins for the track.

How did you decide to record “Las Mañanitas”?
There weren’t really a lot of modern artists, in general, and not even one sierreño artist [has recorded it]. It’s such a classic. [My version is] very different, in terms of the rhythm — the rhythm is not the traditional sierreño, it’s a descending little pattern. I really like it a lot.

Why do you think sierreño has gotten so popular in the last three or four years?
In the scene, when you have an accordion player, usually the accordion player charges a lot of money to play with you. I think a lot of people started recording sierreño tracks because it’s a lot cheaper. It’s one of those things that probably nobody wants to talk about, one of those hidden little secrets that nobody wants to say. When you record a sierreño track it’s a lot quicker, a lot faster, because you already have a guitar there. If you wanna have a norteño, then you have drums, and you wanna have an accordion, and you wanna have a bajo quinto, which is a little more expensive than a natural guitar. In sierreño you need a bass and a 12-string guitar, that’s basically it. And a six-string guitar. If you want, you can even play sierreño with six strings, which is kind of how it all got started.

Do you prefer having a sierreño band with a bassist or with a tubist?
Continue reading “Joni Sandez on sierreño, “Las Mañanitas,” and “secrets nobody wants to say””

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Desfile de Éxitos 1/19/19

t3r airport

Puerto Rican trapstar Bad Bunny has pulled a Drake this week, clogging up Billboard‘s Hot Latin chart with 10 tracks from his debut album X 100pre. (The highest charting is, whaddya know, a duet with Drake.) NorteñoBlog has long admired Sr. Bunny’s charisma and barber while having almost no use for his music. The greatest insult? He’s Despacitoing norteño music into near nonexistence on Hot Latin. Regional Mexican acts account for only nine of the top 50 songs, one less than Bunny himself. The Blog tells you all this to explain why our Desfile de Éxitos format has changed. You can only type “Bad Bunny” so many times before the Donnie Darko flashbacks become too intense to deal with.

What follows are three mini-lists. First up are the three regional Mexican songs that appear only on the Hot Latin chart, i.e. not on Billboard‘s Regional Mexican Songs radio chart. As you’d expect, since radio factors less into their success, these three songs all have enormous YouTube streaming numbers. As you might not expect, they’re all by sierreño bands. One possible conclusion: sierreño is for cool internet kids. The next list is the Regional Mexican radio top 10: mostly banda, a couple cumbias, and one apiece of sierreño and mariacheño. The third list — of one song this week — is music outside the radio Top 10 that also appears on Hot Latin.

ONLY ON HOT LATIN

fuerza regidaFuerza Regida“Radicamos En South Central” (#32 Hot Latin)
This sierreño gangsta nonsense is one high-living negocios signifier after another — I count appearances from Compas Tino and Chino, a bottle of Buchanan’s, and an X6 and a white Corvette, along with some good old-fashioned cocaine. The band is really good at switching from midtempo waltz to fast waltz on a dime, so that’s something. Now if they just learned to add backup vocals to their product placements, maybe they wouldn’t sound like they’re trapped in a cement bunker, playing under threat of torture. NO VALE LA PENA

t3r gerardoT3R Elemento ft. Gerardo Ortiz“Aerolinea Carrillo” (#33 Hot Latin)
The lead track from T3R’s 2018 album The Green Trip is ostensibly an ode to Pablo Escobar and his well-structured airborne narcotics business. It’s actually an ode to how cool it is to get high on a plane and sing about gangster shit. In the video, Kristopher Nava, the McLovin’ of the corridos verdes movimiento, chills in an airport lounge wearing a t-shirt that reads “Cookies” and refusing to enunciate. Sergio Cardenas, the band’s Cuban bassist, harmonizes beside him. Gerardo Ortiz plays a commercial airline pilot who smokes up in the cockpit and over-enunciates, well aware of the lurid cargo he’s transporting in his plane’s overhead compartments. Everyone nods a lot. Unlike Fuerza Regida, everyone here is in a good mood and knows the song they’re playing is patently dopey. VALE LA PENA y PICK TO CLICK

arrankeGrupo Arranke“A Través del Vaso” (#39 Hot Latin)
“Una Para Mi Chiquitita (y Una Más Para My Sad Cowboy Hat That Reeks of Authenticity, Even Though My Song Comes From the Horacio Palencia Song Factory)” (Sierreño Versión)
NO VALE LA PENA

TOP 10 REGIONAL MEXICAN SONGS

1. Christian Nodal“No Te Contaron Mal” (#11 Hot Latin)

2. Los Angeles Azules ft. Natalia LaFourcade“Nunca Es Suficiente” (#9 Hot Latin)

3. Regulo Caro“El Lujo de Tenerte” (#35 Hot Latin)

4. Banda El Recodo ft. David Bisbal“Gracias Por Tu Amor” (#44 Hot Latin)

sebastianes5. Banda Los Sebastianes“A Través del Vaso” (#14 Hot Latin)
“Una Para Mi Chiquitita (y Una Más Para the Underwear Models in the Video)” (Banda Versión)
VALE LA PENA

virlan garcia6. Virlán Garcia“Quiero Reintentarlo”
Virlán is horny as all get out, so it took an unusual triumph of will for him to keep this from becoming a slow jam. His sierreño band skips along, jaunty and desperate. Congas burble and the tuba line snaps at Virlán’s promises to kiss every corner of your body. VALE LA PENA

7. Banda MS“Mejor Me Alejo” (#25 Hot Latin)

8. Raymix“¿Dónde Estarás?”

9. El Fantasma“Dolor y Amor”

10. Banda Los Recoditos“Te Darán Ganas de Verme”

ALSO ON BOTH CHARTS

calibre14. Calibre 50“¿Por Qué Cambiaste De Opinión?” (#50 Hot Latin)
Exactly what you expect from a Calibre ballad: a death march of self-righteous indignation aimed at a fickle mujer, from the dudes who just humble-bragged about going “Mitad y Mitad” with two different women. With his fondness for six-syllable rhymes, Edén Muñoz delights in language more than most of his songwriting cohort, and “No vayas a llorar, que nadie te va abrazar” is a cold kiss-off — but their self pity is dull enough without the band deflating before your ears. NO VALE LA PENA

Selena and Ariel Camacho: coming to MoPOP 2019

selena memorial

Year after year, Seattle’s MoPOP Pop Conference is a great weekend to learn a ton of musical ideas you never imagined you’d need to know, and to meet and befriend a ton of very smart music geeks. This year the conference runs from April 11-14; the theme is death. See you there!

Here’s the abstract I’ll be expanding:

SELENA, ARIEL CAMACHO, AND TWO TRAGEDIES THAT RESHAPED REGIONAL MEXICAN MUSIC

selena cloudsIn 1995 the 23-year-old Tejano singer Selena Quintanilla died at the hand of her fan club president. She was already the biggest act in Tejano music, itself the hottest sound on the U.S. radio format known as Regional Mexican; but in death, Selena became a household name. Her posthumous bilingual album, Dreaming of You, debuted atop the Billboard 200 and became the best-selling Latin album of all time. A generation later Selena remains an icon, but the same cannot be said of Tejano music itself. “Tejano Market Hits a Lull,” read Billboard’s ominous 1997 headline, and in 1999 the Houston Press reported, “The Tejano scene is all but gone.” Over the ensuing decades the Regional Mexican format would turn to other sounds — most recently sierreño, an austere style that exploded in popularity after a different twenty-something singer, Ariel Camacho, died in a 2015 car accident.

ariel camacho cloudsAfter these styles’ respective stars died, why did keyboard-led, pop-friendly Tejano fade from the airwaves but sierreño — a drumless genre propelled by ornate tuba lines — became inescapable? To learn why, I’ll examine the aesthetic and commercial trajectories of both styles and the evolving Regional Mexican audience. I’ll also explore how the U.S. infrastructure for Mexican-American music has developed. Central to this story is the man who discovered Camacho, Ángel Del Villar, the owner of DEL Records and the person who realized modern sierreño could be viral youth music. Since Camacho died, Del Villar has kept the singer’s band going with two different replacement leaders; he’s also seen norteño stars like Gerardo Ortiz and Calibre 50 hop aboard the sierreño bandwagon. What insights do these styles’ respective death bumps give us into the machinations of the Regional Mexican industry and the identities of its U.S. audiences?

Relevant links:
Archivos de 1994 (Now With Submarine Tracking Technology)
A Guide to Regional Mexican Radio in Houston
“Go Tejano Day”: What’s In a Name?
Karma Comes Back to You Hard: The Tale of the Strangest Latin Hit in Years and the Dead Man Who Sang It
Odes to Music Executives and Other Criminals
¡Nuevo! (starring Los Plebes, Los Tucanes, y más)

¡Nuevo! (T3R Elemento, La Original Banda, Grupo Corrupta, y más)

t3r elemento

Lo siento, faithful readers. NorteñoBlog has been out of it for the past few months, mired in the wilds of bro-country, Christian rock, King’s X, Pulitzer Prizes, Selena (um, watch this space), and rap songs about cheap-ass wine. Not to mention general garden maintenance. The blog heartily recommends Sugar Rush Peach peppers, which produced like motherfuckers all season long. Use them to liven up your big salads and gangland torture scenarios.

Pepper-Sugar-Rush-Peach-LSS-000_2206

To get caught up, we turn to the Spotify playlist Novedades Regional Mexicano. Let’s rate these puppies until we stop!

Grupo Equis ft. Grupo H-100 – “Mas Sabe el Diablo” (Alianza single)
Grupo Equis is a quartet of leather-clad youngsters with a couple singles to their credit; Grupo H-100 is a somewhat more prolific quintet whose gruff, affectless lead singer sounds like a sociopath. (H-100’s album of narco tributes Trankis Morris came out earlier this year on Alianza, and would require a morning of Hasty Cartel Googling to plumb its lyrical depths.) Put ’em together and you have this high-spirited workout for battling clusters of 16th notes, with cymbals spattering across the sonic canvas like gunfire. This year the blog has been digging Vomitor’s death-thrash-WRAWWWR album Pestilent Death, and these guys seem just as diabolical. Pick to Click!

the green tripT3R Elemento – “Ojitos de Conejo” (from the DEL album The Green Trip)
Young Kristopher Nava, the McLovin’ of the corridos verdes movement, considers the opthalmological effects of excessive weed consumption on “Ojitos de Conejo,” a decent accordion-laced waltz from the boys’ DEL Records debut, out today. DEL honcho Ángel del Villar never met a trend he couldn’t exploit, so signing T3R Elemento — a young, bilingual group of stoners — seems like a natural. Cursory listening suggests The Green Trip might be better than last year’s Underground, even if distinguishing one midtempo weed anthem from another isn’t the easiest task in the world. The tuba’s spiky, the sierreño guitar leads are interesting enough, and the boys attempt to market the catchphrase “El Verde es Vida” — it even pops up in this bunny eyes song. Really, though, the song to check out is previous single “En Menos de un Minuto,” with its soaring melody and creepy computer animated video featuring, like, clocks and space aliens and shit. VALE LA PENA

Continue reading “¡Nuevo! (T3R Elemento, La Original Banda, Grupo Corrupta, y más)”

2017 Albums: Guitarras de la Sierra

Never a company to let a good trend go uncompiled, the beneveolent Fonovisa corporation has recently released Guitarras de la Sierra, a collection of songs from young sierreño trios — two guitars, plus either a tuba or bass holding down the bottom end. Las guitarras have been rocking la Sierra forever — NorteñoBlog has previously delved into the career of Breaking Bad corrideros Los Cuates, for instance, and several older comps called Guitarras de la Sierra exist, featuring guys like Miguel y Miguel and various iterations of Los Alegres. The differences, in our brave new post-Ariel Camacho world, are threefold:

1. The lineup of guitars plus tubas, without an accordion or drums, now constitutes a reliable hitmaking combination, not just on the radio but online;

2. This means you’re gonna hear more romantic sierreño songs than you would have in previous generations; and,

3. Sierreño musicians are more likely not just to be young men — Los Cuates started playing when they were only 14, after all — but to sing like young men; and specifically, like young pop stars, rather than salt-of-the-earth gallos who grew up on the ranch. In other words, not just musical idols who appeal to teens, but bona fide Teen Idols.

To get a sense of what I’m talking about, compare Los Cuates’ first top 40 hit, “Me Haces Falta,” with a song from the latest Guitarras comp, Crecer Germán’s YouTube hit “Lo Que Te Amo.” Los Cuates’ hit, recorded in their mid-20s, marked a gradual departure from their guitar and bass lineup: Gabriel Berrelleza was playing an accordion by this point, and they’d recently replaced their bass with a tuba. “Me Haces” was a skippily bereft lost love single, but with its delamatory melody and I-IV-V chords, it could have been a corrido with different lyrics:

But there’s no mistaking the subject matter of Germán’s song. Even without having the lyrics in front of you, you can tell this is a young man deep in the shit of romantic bereftitude. We know this because something in his tone screams “teenager in love” — he strains for emotional affect without having the vocal chops to get there. Couple this with the wandering melody, the minor chords in the progression, the brief but keening melismas, and you’ve got the commercial face of sierreño guitars 2017:

Is that all there is to the style? Of course not. Germán first sang corridos and love songs with his former band Alta Consigna, and in an entertaining attempt to be puro raza or something, he’s released a “Deluxe Edition” of his snoozy romantic 2016 album Hombre Afortunado (Fonovisa). Besides “Lo Que Te Amo,” the expanded edition contains a whole bunch of tributes to real-life narcos: “El Chapo,” “El Ingeniero,” “Kikil Caro,” etc. Not surprisingly, these songs are a whole lot more fun than the first, original half of the album, which was all about love. They’re faster, the requinto-tuba interplay is swinging, and Germán’s immature singing is much better suited to flat yellow journalism than to florid purple poetry. If the expansion was available on its own, it’d be an easy VALE LA PENA. But what am I saying? It’s 2017. You have the internet. Make whatever Crecer Germán album you want.

No such qualifications are necessary for the VALE LA PENA fourth studio album from Jesús Ojeda y Sus Parientes, El Amigo de Todos (Fonovisa — all these albums are on Fonovisa). Ojeda currently has a radio hit with the ballad “No Es un Juego,” inluded on the Guitarras comp. Relevant to point 3 above, its video is partially set in a Mexican high school, depicting a romance between two fresh-faced hetero cuties; Ojeda and his rhythm guitarist are the only ones in the video wearing cowboy hats. Written by the ubiquitous Joss Favela, “Juego” is the slowest song on Ojeda’s album, which is otherwise the most fun you’ll have pretending to be in the Sierra this year.

Sierreño albums can suffer from the saminess of folk records — after all, there’s only three instruments and no drums, and chord selection tends to be limited. Ojeda and his Parientes get around this problem by speeding up and complicating their rhythms, and by adding some inspired high harmonies. As a lead guitarist, Ojeda seems to have read and digested the “Stubbornness and the Single Note” chapter of Ben Ratliff’s Every Song Ever — he comes out of choruses obsessively bearing down on one repeated note until it bleeds, no doubt goosing audiences into raging ecstasy. If the Parientes remind me of any folk trio, it’s prime Kingston Trio, just sheer musical pleasure from top to bottom. Here they are playing their Mini Lic corrido “El Piñata,” today’s Pick to Click. (The licks are anything but mini, amirite?)

Continue reading “2017 Albums: Guitarras de la Sierra”

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”

El Jerry con La Gorrita es El Barco (¡Indies A-Go-Go!)

gerardo coronel

With more and more precisely coiffed muchachos hopping onto the Sierreño bandwagon, it’s easy to forget that some of them were Sierreño when Sierreño wasn’t cool. Case in point: Gerardo Coronel, a 21-year-old Michoacánder who was recording the stuff for the Twiins label (also home to El Komander) back in 2014, when the world was busy falling for Ariel Camacho, whose untimely death in 2015 lit a fuse under the style’s popularity. If you like Camacho, you’ll dig Coronel — he sings with a similar effortless romanticism, mixes up corridos with romantic tunes, and his videos are full of thoughtful squints into the distance, which, let’s face it, is the sexiest bad boy pose. (Or, as my wife keeps asking me, “What are you looking at?”)

el jerryCoronel’s new album El Jerry (Rancho Humilde) is a wonderful mix of guitar-tuba virtuosity and shaggy dog accordion waltzes, with subdued brass hitting the upbeats. Some hasty cartel googling reveals the title mafioso may be one Gerardo Treviño Robles of the Gulf Cartel, but “El Jerry” is clearly an aesthetic ploy for Coronel to come off as a swaggering badass. His band affords him that luxury. Or rather, his bands — there are a couple different ones on this album, and he seems to perform with a third lineup, none of whose names I can find. (Maybe if you have a CD booklet in front of you…?) Whoever they are, the lead requinto and accordion players are having all kinds of fun, and the rhythm sections excel at setting up a variety of breezy grooves. NorteñoBlog directs you to the kiss-off “Te Deseo Lo Mejor,” 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. VALE LA PENA

nueva rebelionLong time readers may remember that, back in 2014, NorteñoBlog was all in for La Nueva Rebelión, a rocking five-piece whose bassist plays a custom axe shaped like an assault rifle. I may have compared them to the Minutemen; in my defense, I was not the only critic to arrive at that comparison. True to form, I slept on their 2016 release La Gorrita y Que Suene la Rebe (Puro Party). On cursory listen, it doesn’t have anything as world-exploding as “Me Hicieron Mas Fuerte”; but, you know, Picasso just had the one Guernica. In their best songs, this is still a band trying desperately to pull as much music as possible from their poor instruments. Their new single “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. Pick to Click!

el barcoThe quartet Los Titanes de Durango has been having fun lately, first fooling a DEA official into believing the singer’s Dad was El Chapo, then scoring the best hit about getting pulled over for speeding since “99 Problems” — although Los Titanes were going 280 in a 110, and therefore having way more fun than Jay-Z, who was only going 55 in a 54. Their latest album is El Barco (Titanica), on first listen a likeable stylistic jumble of 16 songs, from love polkas to backbeat rock. The title waltz is a rare go-getting corrido that doesn’t seem to be about the drug trade. It’s just about how we’re all ships, man. Their big dumb cumbia “Esto Se Va Descontrolar” convincingly depicts that enlightened state of drunkenness where you realize you’ll puke if you sing anything besides a single note, over and over again.

¡Feliz 2017! (y ¡Lo Mejor de 2016!)

new-years-eve

Well, that was a terrible year, wasn’t it? But as disappointment turns to fear, fear into love, and love to resistance, let’s remember why you came to NorteñoBlog in the first place: accordions and tubas, cumbias and corridos, gritos and gallos, all racing around at breakneck speeds and knocking shit over.

Here are some of the most-clicked items from the blog’s most clicked year. Thanks for reading!

beto-with-fireBeto Cervantes D.E.P.
Juan Gabriel might have been the most iconic musician in Mexico, but for certain music fans — the kind who run internet searches for the details of sordid deaths — Beto Cervantes’ untimely death in September came as a shock. Or maybe not. Roughly one fifth of NorteñoBlog’s 2016 visitors came to read Manuel’s 2015 article on Beto, which covered his previous assassination attempt as well as some of his best songs.

tomen-notaEl Karma Karma Karma Comes Back to You Hard
Speaking of dead corrideros, Ariel Camacho continued to intrigue internet listeners. His own songs and those of his band, Los Plebes del Rancho, racked up enormous numbers of internet streams and had a stubborn presence on Billboard‘s Hot Latin Songs chart for most of the year. NorteñoBlog looked the Sierreño wave in the articles ¡Pisteando! (featuring Chuy Zuñiga), Wristwatch Porn and White Slavery (ft. “Tomen Nota”), and Attack of the Teen Idols. Buncha people also clicked on 2015’s Who Played It Better: Ariel Camacho or These Dudes?

los-inquietos-del-norte-requisito-americano-feat-marco-flores-y-la-numero-1-banda-jerezTrap Is Hyphy and Hyphy Is Trap
Speaking of stubborn, the twin phenomena of hyphy norteño (existence iffy) and the Hyphy record label (going strong!) continued to fascinate. NorteñoBlog covered both in the 2015 article Pronounced “Jai-Fi”: The Rise and Fall of Hyphy Norteño, and happily learned about Martín Patrón‘s hardcore “trap corridos” in the above linked Trap Is Hyphy and Hyphy Is Trap. We also heard from a band of hyphy-not-hyphy progenitors in Marco Flores y Los Inquietos Saluden a Su Madre.

el-americanoTop 5 W.T.F. Corrido Moments!
Speaking of corridos, Omar Ruiz‘s song “El Americano,” re-recorded with the kickass band Fuerza de Tijuana, became an unexpected U.S. radio hit and sent people to Manuel’s above-linked 2015 article, where you can see Ruiz singing the song to its subject, Boston narco George Jung. And, perhaps feeling guilty about all these corrido articles but nonetheless digging the new Tucanes tune, Josh wondered How Do We Hear Violent Corridos?

100 Regional Mexican Compilations Released in 2015
But it wasn’t all corridos! The article above looked at the curious prevalence of Regional Mexican compilation albums, even though such albums seem to be dying in the rest of the music industry. We also looked at the histories of the Mexican radio market in Houston and, in a still-popular 2015 article, Chicago. And if you ever wondered what’s behind the Houston Rodeo’s “Go Tejano Day” — well, here you go.

sergio-floresAlso — and be sure to pour one out for the late George Michael, who inspired the name of this feature — Yo. Quiero. Tu. Saxo.

Attack of the Teen Idols (Desfile de Éxitos 8/13/16)

ulices chaidez big

The world waits, selfie sticks and hair product poised and ready, for 20-year-old heartthrob Luis Coronel to release his next album. Uncharacteristically, NorteñoBlog will cut the guy some slack. Fielding a lawsuit from a former producer and going reggaetón would slow down anyone’s career. The last time I went reggaetón, the local barnyard animals went unmasturbated for months. It was chaos.

cheyo carrilloAfortunadamente, the job of “young dreamy norteño singer with enviable hair” is not so hard to fill, and this week’s charts have two hopefuls squeezing through the Coronel-shaped void. At #20 on the Regional Mexican radio chart is L.A.’s teen corridero Cheyo Carrillo, who rarely settles for the typical fade-with-fauxhawk look, instead coaxing volume and body with frightening abandon. As a pre-teen, his accordion skills landed him a gig with Los Bukanas de Culiacán, and then with El Komander. This got him noticed by Komander’s label bosses and noted amoral purveyors of candy everybody wants, the Valenzuela Twiins. NorteñoBlog slept on last year’s self-titled debut album (on Twiins-affiliated La Disco Music), which included an authoritative version of Komander’s “Soy de Rancho,” but desafortunadamente I haven’t made the same mistake with this new single, the romantic banda snooze “No Es Normal,” released by Fonovisa and written by industry lifer Adrian Pieragostino. The video features a young, apparently dorky woman who wears glasses but is secretly hot, and lots of slow motion chewing. The song features some rote brass charts. Es normal, pero NO ES VALE LA PENA. Continue reading “Attack of the Teen Idols (Desfile de Éxitos 8/13/16)”

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