The Mavericks and Los Lobos
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The genre-defying Mavericks are declaring their independence and stepping out on their own with "Brand New Day," the first studio album released on Mono Mundo Recordings, the label they founded in 2016. "Brand New Day" is the follow-up to the widely praised albums "Mono" (2015) and "In Time" (2013).
Flashing the same exhilarating, beyond-category style that has defined the Mavericks, the new album introduces a collection of taut, energetic, economical songs sure to be embraced by both original fans of their top-10 albums and hit singles of the ‘90s and a new generation of listeners who have joined the party since their triumphant 2012 reunion. It is the mature and timely work of an exciting and underestimated American band that has embraced its own destiny.
“This is the first studio record on our own label, and it is an important component in the band’s history,” Malo says, “but the real goal was just to make a great record.”
The new collection – co-produced like its immediate predecessors by the band’s golden-voiced singer Raul Malo and Niko Bolas (Neil Young, Warren Zevon, Melissa Etheridge), who is partnered with the band in the new Mono Mundo imprint – features the core members of the group since their reformation: Malo, drummer Paul Deakin, guitarist Eddie Perez, and keyboardist Jerry Dale McFadden, along with auxiliary members “the Fantastic Four” filling out the set’s brawny sound with their signature accordion and horns.
Free and truly independent for the first time in their career, the Mavericks were able to write and record without watching the clock. The process began in 2015 with a session at Capitol Studios in Hollywood, where the band cut two new songs by Malo and songwriting partner Alan Miller. Further writing and studio dates continued in Nashville amid a busy touring schedule over the course of the next year.
Deakin says, “It was different than going in and recording a record in five or six days. I don’t think it would have happened if we hadn’t taken over so many aspects of our business – we’ve become more and more autonomous with every aspect of it, from the management to the record label. It’s a very empowering and very exciting time for us to be doing this. It makes us feel like you can do anything that you want, and I think that comes through.”
Malo adds, “My thinking is always that you can make the best record you can make if you really labor over the parts, the editing, the songs, take your time. I wanted to specifically get to the point where you’re trimming the fat off the songs and making as succinct and as concise a good little pop record as you can make. That was really the goal.”
The album contains a diverse selection of originals that show off the Mavericks’ always multi-faceted musical personality, including the boldly upbeat title song, the tejano/bluegrass flavored “Rolling Along”, the intensely romantic “Goodnight Waltz,” the blues-fueled “Ride With Me,” and the thematically pointed “Easy As It Seems” and “Damned (If You Do).”
"Brand New Day" flexes the category-defying approach that has been a unique hallmark of the Mavericks’ sound since the band’s top-20 hits on the country charts. The album’s 10 new songs seamlessly merge strains of Tex-Mex, Cuban bolero, R&B, blues, country, and rock ‘n’ roll.
“I came up with a new category called ‘non-gen’,” Deakin says with a laugh. “We don't seem to operate with many preconceived parameters. Raul’s writing, which in my opinion...keeps getting better every time we go back in the studio, doesn’t limit us to any one format. It’s a band of audiophiles. Honestly, before we go on stage and after we get off stage, we’re listening to music from every imaginal genre. I think that appreciation of all music naturally comes through when we make records."
Malo says that one of his early inspirations, a fondly remembered 1960 pop aria by Elvis Presley, not only continues to drive his vision of the Mavericks’ music, but also helped define the process of creating the unit’s first studio release on their own.
“My whole life, I’ve been wanting to write ‘It’s Now or Never’,” Malo says. “That was the record for me when I was a kid. That just blew my mind. It connected all these worlds musically, opera, pop, rock ‘n’ roll, R&B. It connected everything for me. The inspiration here was writing that kind of song, making that kind of record.’
Malo sees the expansive music on "Brand New Day" not merely as an expression of his personal roots, but also as a nod to the richness of their artistic sources.
He says, “I live in Nashville, but I’m still as Cuban as if I was in Miami. But American music is such a beautiful landscape, and there are so many things to draw from. As a Latino, you’re trying to assimilate into this culture, and you’re taking it all in, and some of it grabs you by the throat and you can’t let go of it. All of it is part of your vocabulary. It’s all Americana, and now more than ever those differences, and that inclusion, need to be celebrated and need to be talked about.”
“We’re a Mexican American band, and no word describes America like ‘immigrant.’ Most of us are children of immigrants, so it’s perhaps natural that the songs we create celebrate America in this way.” So says Louie Perez, the “poet laureate” and primary wordsmith of Los Lobos, when describing the songs on the band’s new album, “Gates of Gold.”
The stories on “Gates of Gold” are snapshots of experiences that Perez and his band mates have had, based on where they are emotionally and how they respond to evolving life circumstances. “We live out loud most of the time and share our life this way, but then there are more intrinsic things that happen, and our songs are part of the way we react to them. We sit down and basically tell people what has happened. We certainly didn’t start this project with aspirations to create the musical equivalent to great American literary works.”
After celebrating their 40th anniversary with the cleverly titled 2013 live album “Disconnected In New York City,” the hard working, constantly touring band – David Hidalgo, Louie Perez, Cesar Rosas, Conrad Lozano and Steve Berlin – leaps headfirst into their fifth decade with an invitation to join them as they open fresh and exciting new Gates of Gold, their first full length studio album since 2010’s “Tin Can Trust” (a Grammy nominee for Best Americana Album) and second with Savoy/429 Records.
The dynamic songwriting, deeply poetic lyrics, thoughtful romantic and spiritual themes and eclectic blend of styles on the 11 track collection has resulted in an American saga in the rich literary tradition of legendary authors John Steinbeck and William Faulkner. Yet true to form, these typically humble musical wolves started in on the project without any grand vision or musical roadmap. Over 30 years after Los Lobos’ major label breakthrough “How Will The Wolf Survive?” - their 1984 album that ranks #30 on Rolling Stones list of the 100 greatest albums of the 1980s – their main challenge when they get off the road and head back into the studio is, as Berlin says, “trying not to do stuff we’ve already done. To a certain extent, we are always drawing from the same multi-faceted paint box, and we sound like what we sound like. We’re proud of what we feel is an honest body of work. We just want to keep finding new ways to say things.”
In the band’s early recording days - those years just before and after “La Bamba,” their worldwide crossover hit from the 1987 film which reached #1 on the U.S. and UK singles chart - they prepared for album recording sessions with top producers like T-Bone Burnett with pre- production that included multiple rehearsals and “outlining” what the project was going to be.
The more spontaneous approach to writing and recording that they took on their 1992 Mitchell Froom co-produced set “Kiko” still exists today; Rosas says, “When I listen to our catalog, doing things more spontaneously in the studio has led to some of our best work.” Unlike many bands that write, gather and catalog material between studio releases, Los Lobos prefers to create their magic on the fly when they decide it’s time to record. Perez says, “We never come in with a cache of 20 songs. Our thing is to write as we’re recording. It’s like starting with a blank canvass every time.”
The journey to “Gates of Gold” began with Hidalgo bringing in a batch of ideas, outlines and chord progressions with no lyrics. As he and Perez began fleshing things out, developing grooves, melodies and lyrical themes, Hidalgo, his son, drummer David, Jr. and bassist Lozano began tracking those tunes. The collection opens with the reflective, mid-tempo rocker “Made To Break Your Heart,” featuring female vocalist Syd Straw, whose vibe was partially inspired by Hidalgo’s love for Manassas, the early 70s blues-country-rock band created by Stephen Stills.
The moody, atmospheric rocker “When We Were Free,” whose lyrics of what Berlin calls “beautiful melancholy memories” are underscored with the increasing drama of booming drums and distorted electric guitars. Filled with hypnotic sound effects and cool vocal and guitar distortion (created via an eight track analog Cascam cassette recorder!), the soulful, reflective “There I Go” touches on the universal search for what Perez calls “something meaningful, though we’re not always sure what it is.”
Further Hidalgo/Perez collaborations include “Too Small Heart,” a raw and raucous nod to both Los Lobos garage band roots and the wild abandon of Jimi Hendrix; the easy grooving folk- rocker “Song of the Sun,” which taps into the elements of life (water, fire, earth) and creation myths while touching on the way we choose to live in the present; the slow burning blues/rocker “Magdalena,” inspired by the Biblical Mary Magdalene and visions of flowing robes; and the folk-influenced, image rich rocker title track “Gates of Gold,” whose lyrical abstractions allow for multiple earthly and spiritual interpretations.
Perez says, “When I first started listening to the original demo Dave had, the music spoke to me of rural America. The impression the lyrics give could refer to the afterlife, i.e. the “pearly gates,” but I also was thinking about the immigrant experience, the promise of a new life as one travels across borders, all the thoughts a person making that daring move might have connected to the dream of what America is. Our parents all wondered what lay beyond those gates. On a personal level, it’s a reflection of where my band mates and I are in our lives. We’re all over 60 now and looking towards the horizon at our own mortality. We think often about what we’ve contributed and what’s left. I don’t know who the protagonist of the song is, but he’s looking at those gates from a distance because what lies beyond is a mystery.”
As Hidalgo and Perez began collaborating on their songs, Rosas, as per his trademark “lone wolf” songwriting approach, took his basic tracks to his home studio to complete the handful of tunes that flesh out the set. The singer, guitarist and mandolin player’s pieces include the raucous and bluesy, garage band fired jam “Mis-Treater Boogie Blues,” the swampy folk-rock blues lament “I Believed You So” and the swaying, sensual Latin Cumbia-styled “Poquito Para Aqui.” The sole cover on Gates of Gold is the other Spanish language tune, “La Tumba,” an accordion laced folk piece connected to the Mexican Norteno tradition (related to polka and corrodes) whose theme, says Perez, is very dark, “about following your lover to the tomb.” It’s very familiar to fans as a frequent staple of Los Lobos’ live performances.
Back in 2003, when Los Lobos was celebrating the 30th Anniversary of their humble beginnings as a garage band in East L.A., Rolling Stone summed up their distinctive, diverse, freewheeling fusion of rock, blues, soul and Mexican folk music: “This is what happens when five guys create a magical sound, then stick together…to see how far it can take them.” Originally called Los Lobos del Este (de Los Angeles), a play on a popular norteno band called Los Lobos del Norte, the group originally came together from three separate units. Lead vocalist/guitarist Hidalgo, whose arsenal includes accordion, percussion, bass, keyboards, melodic, drums, violin and banjo, met Perez at Garfield High in East LA and started a garage band. Rosas, who had his own group, and Lozano launched a power trio. “But we all hung out because we were friends and making music was just the natural progression of things,” says Perez, the band’s drummer. “Like if you hang around a barbershop long enough, you’re going to get a haircut.”
Berlin is Los Lobos’ saxophonist, flutist and harmonica player who met the band while still with seminal L.A. rockers The Blasters. He joined the group after performing on and co-producing (with T-Bone Burnett) their breakthrough 1983 EP “…And A Time To Dance.” Los Lobos were already East L.A. neighborhood legends, Sunset Strip regulars and a Grammy winning band (Best Mexican American/Tejano Music Performance) by the time they recorded “How Will the Wolf Survive?” Although the album’s name and title song were inspired by a National Geographic article about real life wolves in the wild, the band saw obvious parallels with their struggle to gain mainstream rock success while maintaining their Mexican roots.
Perez, once called their powerhouse mix of rock, Tex-Mex, country, folk, R&B, blues and traditional Spanish and Mexican music “the soundtrack of the barrio.” Three decades, two more Grammys, the global success of “La Bamba” and thousands of rollicking performances across the globe later, Los Lobos is surviving quite well -- and still jamming with the same raw intensity as they had when they began in that garage in 1973. They don’t get in the studio as often as they did a few decades ago – “Tin Can Trust” came four years after their previous album of all originals, “The Town and the City” – but when they do, the results are every bit as culturally rich, musically rocking and lyrically provocative as they were back in the day.
“It’s not always the easiest thing finding time away from our touring schedule and families to find time to make an album,” says Berlin, “but recording Gates of Gold, I have to say it’s great to be back in the proverbial saddle again. It reminds us of the fun we have had making new music over the years, and it’s nice to have the opportunity to create something of value.”
Perez adds, “I find that the most interesting part of songwriting and tracking a new album is the differential between the way a song sounds to you at 2 a.m. and the way it may hit you when it’s 11 a.m. and it reaches the light of day. We may love it just as much or we may realize we can do better. It’s always a process of discovering more about ourselves and the music we love to make. It’s not always easy getting started again, but I love that moment in the process when the songs start to take on their own life and we can let the kid, so to speak, run out onto the street and start figuring things out for himself. The way songs reveal themselves to us during these periods of writing and recording is my favorite part of the Los Lobos recording experience.”