Need a shot of warmth, soul and cheer after the winter assault of recent weeks? Then slip on Mono, the fabulous new album from the Mavericks, and proceed directly to track no. 2 – a ballroom-sized party piece called Summertime (When I’m With You). Percolating with a groove that falls somewhere Cuban pop and Jamaican ska, the song comes fortified with summery brass, the towering vocals of Raul Malo and a spring-like attitude that shines so brilliantly that ol’ man winter has no choice but to scram.
Perhaps not coincidentally, Mono finds the Mavericks having braved some turbulence of their own. The record is the band’s first release without founding bassist Robert Reynolds who was let go last year because of an opiate addiction. Interviews with Malo and the other band members stress the firing was difficult and painful for all involved. While its aftermath is never directly felt in the 11 songs Malo wrote or co-wrote for Mono, one may sense an echo of the split in the lyrics to Let It Rain (“Oh, let it rain, so it can wash away sorrows and pains”) and especially Out the Door (“The cards are on the table, the deal is up and gone”). But even in these instances, the warmth and elegance of the music override any dour sentiments, from the light guitar and accordion sway that dances under Malo’s Roy Orbison-like singing on the former tune to the finger-popping drive that recalls vintage Dwight Yoakam on Out the Door.
The latter reference is one of the few country accents on Mono. Though the Mavericks began life as a country outfit, the reliance on Malo’s Cuban roots, encyclopedic pop command and colossus voice long ago gave a global cast to the band’s music. Mono stays the course.
The opening All Night Long boasts a huge Havana strut indicative of Marc Anthony (save for the fact Malo is by far the stronger singer), Fascinate Me stands as a sterling slo-mo crooner and the closing cover of Doug Sahm’s Nitty Gritty (the only non-Malo tune on Mono) swaps cultures in favor of champion Tex Mex fun and some suitably spicy guitar fire and Augie Meyers-inspired keyboard colorings from Eddie Perez and Jerry Dale McFadden.
But the crescendo of Mono (and, yes, the entire album was recorded gloriously in exactly that) comes with (Waiting for) The World to End, a cleverly astute view of mortality (“Just live your life until you die, my friend”) set to an unavoidably infectious groove beset by brass and piano.
It’s a fitting highlight. Having survived a split with one of their own, the Mavericks make the apocalypse sound and seem like a veritable day at the beach. What could be a better respite from winter than that?