The Mavericks are not new to the country, rock or folk scenes. The band, whose eponymous debut album release in 1990 spurred decades of success for the Florida group, is choosing not to move away from the past but to delve deeper into a variety of its facets. Their eighth studio album, "Mono", released on Feb. 17, proves this by exploring musical influences from a range of decades. “Mono,” despite its connotation of singularity, samples of everything from twang to southern rock, and it is with this medley of sounds that the dynamic quintet still proves they have plenty to offer.
The album opens with “All Night Long,” a melody that sounds like a mirror of Dean Martin’s hit “Sway”(1954) with a big band orchestra in the background and lead singer Raul Malo’s pleading and crooning vocals creating a powerfully bewitching sound.
“Summertime (When I’m With You)” follows in a similar style, bringing in a banging horn section and some punchy sax solos. Malo brings his vocals to a slower, deeper note, channeling a sound reminiscent of early Elvis.
“Pardon Me” completely twists the mood of the album. Malo’s vocals shift to a slow, melodic wail. Blending the sounds of Willie Nelson and Johnny Cash, the track is an unmistakable foray into classic country.
“What Am I Supposed to Do” follows with a very modern guitar backing. While Malo’s vocals maintain a hint of twang, the gorgeous inclusion of a chorus of backup singers adds a hint of gospel to the song while a lazy, winding guitar and half-tempo drum beat veers the track into Jimmy Buffet territory. For all of its moving parts, the sound stays grounded in Malo’s voice and doesn’t get distracted or overburdened with messy, complex lyrics. The simplicity of the song’s message creates a perfect balance to the multidimensionality of the instrumentation.
“Stories We Could Tell” hints at bebop, giddily pulling the listener back to the swinging 50s. Throw on a poodle skirt because the track feels like it could only fit in at a sock hop -- in the best way possible.
While “Let it Rain (On Me)” is a gorgeous love ballad with delicate piano work and a subtle harmonica, it sounds eerily similar to “Pardon Me.” The song is too akin to the previous slow piece to really differentiate itself.
“The Only Question Is” is a wild, gritty and growling blues anthem. Malo’s voice reverberates with a gravel that makes him sound like Robert Arkins in the classic blues flick “The Commitments” (1991).
The other tracks that round out the album bring a sense of completeness amidst the potpourri of genres that comprise the work. The album’s final piece, a bonus track entitled “Nitty Gritty,” ties the bow on the album perfectly. The track, featuring the slink of Chuck Berry-esque guitar, Latin rhythms and tambourine-infused instrumentation, is a wild and fun piece that just begs the listener to dance. Resisting the urge to move along to Malo’s lyrics is just about impossible.
It is impressive enough that the Mavericks were able to incorporate so many styles into their album and make pieces of such disparate influences blend together with ease and flow. This feat is even more remarkable since longtime member Robert Reynolds, Malo’s original founding partner of the band, was kicked out for his opiate dependency despite several trips to rehab. Even without Reynolds' work on the album, The Mavericks prove that they still have the adventure, the spirit and most certainly the skill to master decades of powerful material and make it their own with original and dynamic tracks. “Mono” is anything but a one-trick pony; it is an entire rodeo of blue ribbon-winning stallions.
