as the mavericks

Down On The Corner - from 'King OF The Hill' Soundtrack CD - 1999
Dancing shoes are once more the order of the day, as The Mavericks give the old Creedence Clearwater Revival fun-time holler, a thorough workover; and duly assisted of course, by the magnificent assistance of the Havana Horns.
 

Hot Burrito #1 - from 'Return Of The Grievous Angel - Tribute to Gram Parsons' CD - 1999
The Mavericks once again, do their name proud, with their inspiring version of Gram Parson's Hot Burrito #1. Not renown for his jovial songwriting, Gram's music, for the most part, is pretty down in the mouth stuff. It sprung from a mind that was tormented by personal tragedy, and those demons that most of us can keep under some form of control. Musically, he was not a happy sod - in the UK he might be have been called a miserable git - but he did write some most haunting tunes and did things his own way.
So too, The Mavericks. It would have been 'real easy' for Raul and the boys to have approached this song in either of two ways. Firstly, they could have belted out a brass filled power-ballad with a touch of swing, a-la their 'Are You Lonesome Tonight', allowing the Havana Horns another chance to show their prowess. Or they could have reverted back to their so-called 'country band' days and produced a traditional waltzing ballad rendition that we all know they can produced so magnificently.

But hell no! Paul knocks down a simply thumping drum loop, which suggests that maybe a good time is to be had by all, (and that Portishead would have been most proud of) before Raul juxtaposes the lyrics with such unforced emotion and clarity that you can feel every ache of the songwriter's heart. The overall effect is simply wonderful. (Elvis Costello did something similar within his own song of lost love, It's Time, before it rose into a stunning finale of protest.) Robert's bass slides around like the Loch Ness monster's shadow below the  shiny blue surface, while Nick provides us with some watery 70's guitar fills that would have quite easily flowed quite effortlessly through an early, soulful Hall and Oates album. Paul adds normal (normal - as in thumping) drums later to flesh out the sound, while out of the the blue a sliver of steel guitar also manages to surface, and inject it's own dose of pathos. Jerry Dale McFadden's presence is in the shape of subliminal background keyboards - take them away and you would probably notice a small gap or too!
The Mavericks have delivered yet again, with quite a surprising and individualistic interpretation. Hot Burrito #1 actually stands out from the more traditional approaches taken by the other contributing artists, including such musical mavericks as Beck, Emmy Lou Harris, Steve Earle, Wilco and Elvis Costello who contribute very fine interpretations, but more within the guidelines that Gram himself laid down. It is not an album, to dance the night away to, but The Mavericks certainly make their heartache a more 'enjoyable' experience!
 

Are You Lonesome Tonight - from 'Babe - Pig In The City Soundtrack' CD - 1998
For a review of this track refer to The Mavericks 'Best Of' review.

As for the rest of the album, it  is actually very fine - with Peter Gabriel doing a Randy Newman song - with members of the Chieftans. Dean Martin's That's Amore and Edith Piaf's 'Non, Je Ne Regrette Rien', pop up, together with some very sombre film music which has a slightly mournful Irish lament feel to it. Certainly not an album aimed at the little kids - apart from the 'chipmunk' mice. It is actually quite an interesting and well put together collection of songs from a variety of old, and obviously new sources. Well worth the price of admission!
 

I Told You So - from Scotty Moore/D J Fontana's 'All The Kings Men' CD - 1997
A song written by Raul as a tribute to Elvis and his original 'sidemen' Scotty Moore and D J Fontana, who also play alongside The Mavericks on this late 50's style, waltzing ballad. In an effort to create an original 50's style, Raul and the boys seem to be holding back, and consequently there is not the definitive 90's Mavericks' 'feel'. Maybe the presence of Scotty and JD put the boys in reverential mode.
The song is also more in the Buddy Holly mold however, rather than early Elvis, but it is a very melodic and pleasant addition to their ever-growing catalogue of extra-curricular activities.
The rest of the album is nice collection of late 50's inspired rhythm and blues, with fine original contributions from Steve Earle, Joe Ely, Keith Richards and Cheap Trick, amongst others.

I Don't Care If You Love Me Anymore - CD single - from 'Michael Soundtrack' - 1997
                                                                                       (and 'The Mavericks - It's now! It's live!' CD 1997)
A 'pumped up' version of a song that first appeared on 'The Mavericks', their first (independent release) album. While the original version was performed as a slow 'country -waltz', with Raul sounding full of remorse and somewhat 'alone'; this version races along with Raul (and the band) sounding full of determination and showing absolutely no regrets. It is 3 minutes of tough drums/bass/guitar which in some ways typifies the unique 'Mavericks' sound' (spawned in part from that of Elvis Costello and The Attractions.) This version is a full frontal assault and takes no prisoners!
Recorded during the 'Music that All Occasions' sessions and left "in the can" for a rainy day (or a film soundtrack - or even a 'live' album filler.)

Volver Volver - B-side to the 7" vinyl single 'All You Ever Do is Bring Me Down' - 1996
Raul goes solo! Almost! Recorded the same day (or more probably night) as the A-side, this song could be considered Raul's first solo 'Spanish' effort, as it features just Raul (singing and on acoustic guitar) and Flaco Jimenez (accordion). This old Spanish ballad allows Raul to produce yet another stunning and soaring vocal performance, with Flaco providing a suitably brilliant accompaniment.
A song to cry for (and along with) and an absolute must for all Maverick aficionados - English speaking or otherwise!

True Love Ways - from 'not fade away - Buddy Holly tribute' CD - 1996
This track is most likely the favourite of many Buddy Holly fans and couldn't imagine a better version than Buddy's. I think The Mavericks recognised this (along with producer Nick Lowe), and their version is not too far removed from the original in style - except minus the strings and with a slight tempo change in the middle-eight. Great twangin' guitar from Nick. It's a joy to hear Raul sing any ballad and this is no exception. Buddy should be proud. An absolute must!
The rest of the album provides great tributes to Buddy and his music with fine performances from Steve Earle, Dave Edmunds, Waylon Jennings, Nanci Griffith and Joe Ely - just to name a few!

Santa Claus Is Back In Town - from the 'MCA Country Christmas 1996' and A Country Superstar Christmas CDs
One of Elvis's Christmas tunes (written by the classic Leiber/Stoller team i.e. Hound Dog), this is The Mavericks leaning towards a more bluesy feel (more in league with Nick's previous line of duty). Great 'loose' singing from Raul (a bit of echo), swinging blues guitar from Nick and great wandering piano break in the middle from Jerry Dale McFadden. Apart from the "jingle bells piano intro" can be played anytime of the year with no adverse effects! Ho! Ho! Ho!
The rest of the album provides excellent yuletide performances from the likes of Trisha Yearwood, George Jones and Reba McEntire!

Blue Moon - from the 'Apollo 13 Soundtrack' CD -1995 (also on versions of 'Music For All Occasions')
The old 30's through 50's standard - made a 90's standard by one of Raul's best ever 'ballad' performances on record; to-date. He has well and truly made the song his own. His 'howling' just sends shivers all the way down the spine, and back up again. Also, the Spanish whispering toward the end adds even more sensual spice. This track is another production by Nick Lowe, who seemed to allow Raul's voice to prowl from the speakers, while the sparse instrumental backing gently strolls behind. What more needs to be said. A true classic - ultimately remodeled!

What A Crying Shame - Live - from 'Austin City Limits' CD - (song recorded 1994) - 1996
The first 'official' live recording release from The Mavericks. Taken from their performance on the 'Austin City Limits' TV show, this version of their big hit from that year does not veer too far from the album version. The performance is solid, with some nice jangly guitar work (from both Raul and Nick) and supported by backing vocals / piano from Jerry Dale McFadden.
The rest of the album serves up a cross-section of the greatest hits 'live' from some of the 'country's' finest singer songwriters, such as Dwight Yoakam, Alison Krauss, Willie Nelson and Dolly Parton.

MatchBox - from the 'Red Hot + Country' CD - 1994
This Carl Perkins' standard features the great man himself, sharing vocals/guitar with Duanne Eddy on guitar, and The Mavericks providing the real "in the groove" stuff (Carl's words). While this is not the best song Carl ever wrote, it was covered by those "original" Beatles. Here, Raul and Carl swap verses throughout, while the guitar solo breaks are by Carl, Duanne and Nick - each distinctive in sound and style. Robert (McCartney) and Paul (Starr) provide six minutes of solid rock'n'roll backbeat. A great party tune!
And a wonderfully diverse and enjoyable album full of surprise collaborations on classic songs, including Johnny Cash, Willie Nelson, CS and Y, Wilco, Jackson Browne and Kathy Mattea. The latter, co-ordinator of  the production of the album to help the AIDS research campaign.

Love Me - from 'It's Now or Never - tribute to Elvis Presley' CD - 1994
Raul in full Elvis mode, with a healthy splash of echo. Another bluesy ballad written by Leiber/Stoller. Very tasty guitar licks from Nick with nice piano twinklings in the middle (Jerry?). Robert and Paul still doing what they do best - allowing the song to breathe and the space to let the listener in. This song fits nicely along-side 'True Love Ways'. Essential Mavericks!
The rest of the album is a big let down (apart from Dwight Yoakam, Aaron Neville and Chris Isaak).

Call Me The Breeze - from 'Skynrd Frynds - Tribute to Lynyrd Skynrd' CD -1994
Now this is really something. The Mavericks are in top gear for this astounding piece of absolutely 'swinging' rhythm and blues. This track, written by the normally 'laid-back' J.J. Cale, is an instant Mavericks' classic. If any one has any doubt about the versatility of the boys, then play them this track, before throwing on Trampoline. Stunning drumming from Paul, jazzy bass lines growling from Robert! Nick's guitar begins like a trumpet and turns into B.B. King on speed. Jerry's 'speakeasy' piano is just absolutely fabulous. Ever see the 'Looney Tunes' cartoon with the '3 Little Pigs Trio' - where the wolf tries to play "cool" trumpet? Imagine that - but double the speed - that will give you some idea of pace of the song. A song to sell your soul for! Just try to keep your feet from tapping!!! The rest of the album is quite amazing too.

Bailare (El Merecumbe) - from the 'End Of Violence -Soundtrack' CD - 1997
Raul's first legitimate 'solo' outing  is a self penned and produced Spanish number with a definite up-tempo Latin arrangement, and plenty of acoustic guitars and bouncy percussion. The song does not really indicate his vocal prowess, but he has interestingly employed 'multi-tracking' of his lead vocals; providing a broader 'group harmony' feel. It is more than likely a pointer to one of the styles he will be using in his planned solo 'Spanish' album.
The rest of the album contains a diverse range of excellent music from many other artists including Los Lobos, Ry Cooder, Tom Waits, Spain, The Eels, U2 with Sinead O'Connor. A collaboration between Michael Stipe and Vic Chestnut provides one of the albums highlights. Another excellent soundtrack album to accompany one of Wim Wender's unique films.