Natanael Cano didn’t reinvent the corrido, but he gave it a much-needed facelift by incorporating contemporary hip-hop themes. Still, Cano never loses sight of norteño music’s rich history, taking cues from Ariel Camacho y Los Plebes Del Rancho’s signature sierreño style (“El Karma”, “Hablemos”, “Te Metiste”), Gerardo Ortíz’s radio-friendly rompers (“Me Voy”) and Miguel y Miguel’s bare-bones ballads (“La Botella”).