t h e   m a v e r i c k s

i n   t h e i r   o w n   w o r d s
a n d   p i c t u r e s


The Mavericks as they appear in the promotional video of Things I Cannot Change


The Mavericks return to Englands sunny shores late 1999

Raul Malo - BBC Radio 2 -  7 December 1999
(RA- Richard Allinson; RM - Raul Malo)
 
RA:   It’s Radio 2 from the BBC:  Time for something really special late at night. If in your record collection you have the Mavericks’ music, Dance The Night Away is the song that stormed into the British charts in 1998, that’s the one with the senoritas who can sway.   Well, they have a new album out now and with us tonight is the leader, well the front man, the man without whom there would be no Mavericks, Raul Malo, you’re looking well, welcome along
RM:  Thanks, nice to see you.
RA:  I don’t believe it was only 1998, I thought ‘hang on, it must have been longer ago than that’.
RM:  No, (laughs) It seems like it, but no, it was really just last year.
RA:  And people don’t call you an overnight sensation do they?
RM:  Well I hope not, because we’ve been at it for a while.  We’ve actually…we’re celebrating ten years as a band together.
RA:  That’s amazing.
RM:  Yeah.   It’s amazing we can do anything for ten years, you know. (laughs)
RA:  Same line-up?
RM:  We’ve changed….. Nick Kane, our guitarist, joined us about 6 years ago.
RA:  And you still all eat in the same restaurant and you still all get on together?
RM:  Sometimes.  (laughs)   No. we get on great, we do, we get on just fine.
RA:  Last time you were here you were with Rob and now you’re touring again. The big gig on December 31 or,  should I say correctly, at 5 and a half minutes past midnight on January 1st in the year 2000 - this will probably be the first live gig on Planet Earth in the new millennium.
RM:  Well, it’ll be the first live gig in Edinburgh anyways.    I’m sure that there’s other parties going on.   We’re looking forward to that.  That’ s going to be mayhem, that should be a lot of fun.
RA:  That’s going to be a five-hour gig
RM: Yeah. (laughs)
RA:  That’s not going to finish until five or six in the morning, it’s in Edinburgh - the Concert in the Gardens.  You should be there, because it’s going to be good.   I see you’ve brought your guitar.
RM:  Oh yeah, never leaves my side. (laughs)
RA:  So you’re going to do some songs?
RM:  Oh yeah, you want me to do one now?
RA  Yeah, which one is this one?
RM:  I’m gonna do…this is a song that Emmylou Harris asked us to record for the Gram Parsons tribute album that she produced, that she put together. She asked us to record this and of course we can’t turn down Emmylou Harris...
RA:  Wouldn’t be done, would it?
RM:  …and it’s a lovely song, it’s called Hot Burrito #1

Hot Burrito #1  (live in the studio)

RA:  Gram would be impressed.  Gram Parsons’ song.   Emmylou Harris - she’s been carrying a torch for him for quite a number of years now, hasn’t she? RM:  Right.   I guess this project was a couple of years in the making,  I’m sure, and she finally put it together and we’re thrilled to be a part of it and it’s a lovely song that she asked us to sing too, so I’m glad.
RA:  I bet no-one would have said ‘no’ either.
RM:  I don’t think so, I don’t think you could say ‘no’.
RA:  Raul Malo is here from the Mavericks tonight.  The new CD is out, and it’s called The Best of The Mavericks and when I knew this was going to be released I immediately started to get worried because normally record companies only put out albums entitled  “Best of…” when you’ve come to the end of the contract.  And they think ‘they’ve left the label, we need to make some more money’.   What is actually happening?
RM:  I think part of it was the fact that we have been together ten years and we did change record companies, as a matter of fact, but it wasn’t – you know, this is not the end, obviously, this is our first album with the new record label, and so we were trying to think of something to put out that
fans would enjoy. Of course, we started to think about it, and we’ve been together for ten years and it would be nice to have a retrospective kind of record but also we wanted to put some new songs on there as well, and so that was important to us because we just didn’t want to put out just all the
radio hits with just all the singles that had been released, we wanted to put stuff that was important to us and to our fans.
RA: There are some cracking good tunes on here and old ones that may raise eyebrows, like World Without Love which was written by John and Paul and was originally a hit over here for Peter and Gordon. Lonesome Tonight obviously with Elvis Presley, and the new single, (laughs) because over here Here Comes My Baby was a big hit for a band called The Tremeloes…
RM:  The Tremeloes, yeah
RA:  …who could sometimes dance and play at the same time…
RM:  (laughs)
RA:  How big is your record collection?   I bet there’s some cracking stuff in there.
RM:  Yeah.   I was blessed in that my parents really had a great record collection.   So I grew up listening to all kinds of music.  It was the kindof household where you never heard my parents say ‘turn that down’ or ‘takethat off’ .   I mean there were certain things they liked more than others,
but there was always an appreciation, and I was always encouraged to listen to music so we had music playing at the house all the time so I do have quite a varied record collection.   But funnily enough I didn’t quite remember the Tremeloes‘ version of the song.    I remembered the Tremeloes -
I remembered the group - and I knew that it was a Cat Stevens song.   It was one of those songs that -  The Tremeloes version was pretty damned groovy, but when we heard it we were like ‘I don’t know that we can do anything different to it’ but then it’s like anything else we do, we try it and if
the worst comes to the worst we have a laugh about it and if it’s awful, well, that’s the way it goes, that’s the nature of what it is that you do as a musician.  But we tried it, we put the horns on it, and we did a little bit of a different arrangement and we were like ‘yeah, this is fun’  and certainly the record company really liked it and that was important because if they like it then we know they’ll push for it so we were like ‘alright, let’s do it’, and it’s a groovy little song.
RA:   It kicks, as they say…
RM:  Yeah, it kicks…(laughs)
RA:  …the modern terminology for ‘really rather good’.
RM:  Yeah (laughs)
RA:   You’ve said that with the Mavericks you’re merging swing with Johnny Cash and Hank Williams which just about covers it.
RM:  Well, certain parts of it yeah.   To me music, you know, you don’t have to be from a certain part of the country or a certain part of the world to play a certain kind of music.  That’s the beauty of music.   And I think, as an artist, first of all I hate to be pigeonholed, because it really hurts to
be pigeonholed, it’s kind of silly, but you know we live in a world, in the music business world where everything needs to be neatly categorised and so as an artist you are always fighting against that.  I think first of all it’ s far more interesting to try and do different things.   It doesn’t always
work obviously, but I think if you want to really develop as an artist you need to take certain risks and you need to expand your horizons a bit and I love all kinds of music and if you can actually play them and actually sing all kinds of music, why not, you know…?
RA:  It’s so refreshing to hear somebody say that because there are so many young - and they call them bands -  but they’re sort of,  I suppose,  vocal groups,  boy bands, call them what you will - but there are so many youngsters in pop now and they are acting like old people.   You know it’s
music with a small ‘m’ and a capital ‘b’.   We’ve said that before.   The songwriting process - are you fairly selfish, do you go in to the rest of the band and say I’ve got this song I’ve written..?
RM:  Well you know it’s just the way it’s turned out over the years, I’ve been the main songwriter in the band;  at least the only one to bring in stuff to the band,  and you know everybody,  I guess the situation is you know, when you have that kind of writer in the band it’s kind of difficult for somebody who doesn’t write a lot to bring in one song and have everybody say  ‘well no, that’s crap and we’re not going to do it’ -  not that it would happen that way, but….
RA:  It might just get dropped from the next album.
RM:  …yeah, so it’s a scary thing to be in that situation, when you bring in a song like that you’re kind of baring your soul and you’re at your weakest, but when you write so many songs if one doesn’t fly and one doesn’t work then we know it right away and it’s just another song that goes by the wayside, but  it’s just – and I don’t really know how to explain this – it’s just  the way its turned out, I’ve always been the songwriter and I’ve always been able to capture what’s right for us as a band,  and I think obviously being the singer that’s important too – because you’re singing the
songs, and I know that when we recording a songs, and this is a lesson I’ve learned:  make sure whatever you record you really like because you never know what’s going to be a single, you never know what the record company is going to put out as a single, and if you don’t like it you are going to end up having to sing it for the rest of your life and if you don’t then you’re going to end up upsetting the fans and whatnot .. so you’ve really got to be careful what you play and what you sing.
RA:  Play us another one you like then Raul…
RM:  Well, I’ll play you a bit of a different version of a hit we had last year, Dance The Night Away. This was kind of the way it was written, honestly, on acoustic guitar, without the band, it had more of a Harry Belafonte-type feel, but thankfully it didn’t get recorded this way but it’s just a nice lternative, I’ll play it for you.   It’s just two chords, see, that’s all it is, all the other stuff just makes it up, you know.

Dance The Night Away  (live in the studio)

RA:  Fantastic.  Absolutely brilliant.
RM: (laughs)
RA:  Every time I hear that now I’ll think of Harry Belafonte (laughs)…
RM:  Yes! (laughs)
RA:  …and it’s all your fault!   Raul Malo from the Mavericks has been with us tonight.   It’s good to see you again Raul, you’re looking well.
RM:  Good to see you.
RA:   Good luck with the New Year’s Eve gig, in Edinburgh.
RM:  Thanks.
RA:   Rock the house!  And good luck with the album aswell,   Thanks for joining us.
RM:  Thank you very much 


Transcribed by Sylvia Howard

 
 
 

The Mavericks promting the new single and album in the UK -  late 1999


Robert Reynolds -  BBC Radio 2 - Saturday 4 December 1999
(SH-Sean Hughes (Irish comedian) , RR- Robert Reynolds)
 

SH:  Now, with me; Robert Reynolds from the Mavericks. Hello! Thank you very much for coming in.
RR:  Well, thanks for having me.
SH:  It's been a busy time in England for you, hasn't it?
RR:  Oh, crazy, actually.   First of all, we love coming over and working and the past year's been very good to us.    We know so many people now and it's like non-stop, just a great party really.
SH:  So what happened over here?  Because you're bigger over here than in America, yeah?
RR:  Luck of the draw, probably.   The release of Trampoline and the song 'Dance The Night Away' became sort of like a just a crossover, pop summer hit.
SH: Because initially, in the early days, was it pure country, The Mavericks?
RR:  We were promoted and billed as sort of an alternative sort of a country-type act.
SH:  Who would be up there with you?  Country is sort of pure country and you don't hear much of the alternative stuff.
RR:  We were inspired in the late '80s, as we got the group together, we were inspired by people like Dwight Yoakam,  Rodney Crowell, Joe Ely, just people who were playing, a rougher - Steve Earle - a rough driving twang rock kind of thing.
SH:  And then what happened, as you evolved as a band it became more pop?
RR:  Well, country music in the States for us was becoming very sort of a narrow, very formula-like music and we weren't playing to that formula, we weren't trying to.    So with a certain amount of disappointment I guess we just decided to let all the influences show.  And really the band is based on our love for all music, pop, rock.
SH:  Because you're going to pick some of your favourite tracks later on. We have your 'Best of the Mavericks' which is a good album.  You're a big band.  The cover is blurred!  This is country art is it?

RR:  Well, It was our favourite photo, it just had that certain! It's probably one of those that technically was a misfire but it had something
about it, it felt good, so we went with it.
SH:  This just came out recently didn't it?
RR:  It did, and for an English!for the audience here it probably seemed strange to have had a huge hit in the past 12 or 24 months and come out with a 'Best Of!' it seemed like maybe a little premature,  but the truth is we had five records out before our hit, so our 'Best Of!'  really is looking back 10 years now.
SH:  There are so many tracks on it, how many albums have you taken from to get the 'Best Of!'
RR:  From every record, we actually, because we weren't a singles-driven band, a hit-singles, we didn't have a dozen No 1 records to choose from.  We had basically a series of top 40 records that we felt like we should consider, and then we had favourites of our own that we put on there.

SH:  So was it a kind of a democracy at work?
RR:  Oh, for sure.   We all did a list and we compared notes.
SH:  And was there a shocking difference of opinion?
RR:  No, I think we were very close, really we were. I mean, the task of putting a 'Best Of..' is silly, anyway, what's it about, you know!
SH:  Was it your idea or the record company's?
RR:  It was our idea, based on a transition the band was going through. We left MCA Nashville for Mercury Records, so we swapped labels but because of the.. some people might know there has been a big merger and they were sister labels we knew that we could have control!
SH:  Whoa, it's got too technical for me, we were having fun up to that moment Robert.
RR:  It was control.   We could put out a 'Best Of!' and have our hand in it.  If we left it up to the other label they would have just done what they wanted to do!
SH:  So 'get in there first', was it?
RR:  That was it.
SH:  We'll play one of your big hits!
RR:  By the way,  aren't you supposed to be very funny?
SH:  Not when I'm on air.  We'll have a laugh during the song!.
RR:  Play the song and we'll have a laugh.
SH: [did you hear the one about the guy who walked into the pub! (fades)]

Here Comes My Baby

SH:  Here Comes My Baby, The Mavericks . It comes out on 27 December. Great bass playing on that, I must say, was that you Robert?
RR:  Lovely, lovely.   I appreciate that.
SH:   I could just feel that bass on there.   It's so musical.
RR:  Very, very simple (laughs)
SH:  Now what we want to do is we have this questionnaire, a musical questionnaire
RR:  Yeah, yeah!lets do this..
SH:  So I'm intrigued to see you're all from Miami
RR:  Grew up there, we're from around different places in the States, but Miami was home to all of us for most of our lives, yeah.
SH:  It isn't well known for country music, Miami, is it?
RR:  No,  no, and  that's the thing about the band.  We were wanting to offer an alternative take on really what I would call rootsy American music, a little bit of rockabilly, a little bit of honkytonk country meets early rock'n'roll and pop it was just something that Miami didn't really have in the original music scene you know.
SH:  Just had that great TV show didn't it?
RR:  Oh, Miami Vice
SH:  And the music, funk..
RR:  And Don Johnson's like half-shaven look.   Many nights I've thought about him!
SH:  Designer suits, bringing back such memories. I'm actually going over there next week.
RR:  Oh really, where are you going?  South Beach?
SH:  I'm going to a Boat Show.
RR:  You're going to a boat show?
SH:  For the BBC.
RR:  Well that's perfect.  It's December, you're going in the warm weather. Where do I line up for a job like yours?
SH:  I hope we'd be filming on the Mavericks' boat.  Have you got one?
RR:  Don't have one.
SH:  You will by the time I get there, with the sales of 'Best Of!'.
RR:  You buy the single and I'll buy a boat. (laughs)
SH:  So anyway, Robert, the first record you ever bought as a kid?
RR:  Most of my records were like thrift store garage sale kind of purchases.    I was buying all old records when I was a kid.   So, I remember buying the Beatles when I was very young.   But for me they were new in a way.   You know what I mean, it was the mid '70s and I was like 10 or 12 years old and I was shelling out a dollar or a quarter or whatever it was at a garage sale to get a record - The Beatles,  Buddy Holly, that kind of stuff.
SH:  So people were throwing away the Beatles in Miami.
RR:  Yeah, well..
SH:  Well if you were getting them for a quarter!
RR:  You could go to garage sales and I guess somebody thought they didn't need their vinyl..
SH:  Were your parents musical?
RR:  No, no.   My mom loved her music, which would have been Elvis and Buddy Holly.   She turned me on to a lot of it.   It was sort of through my mom that I would go out to these garage sales and pick up!   She'd say 'this is a great old 45,  I had this when I was a kid'.  So it was all old stuff.
SH:  At the time what was in the charts in America?   Was there nothing that interested you?
RR:   Well you know, it was mid-'70s so mostly it was dreadful, really.
SH:  Like Chicago, Boston.
RR:  I wasn't into Kansas, Foreigner, Boston!
SH:  They all had terrible names, didn't they?
RR:  Terrible names, and it wasn't my kind of thing.
SH:   So was it always kind of like you liked the more English music then, or the British?
RR:   I was truly very fond of the British invasion stuff.    Primarily. It's just an easy thing to say now, you know, we can kind of categorise that very simply by saying 'yeah, British invasion'  but back then I don't know if I termed it that.    It's just that I liked the British bands.   I'm a big fan of the Hollies, the Beatles, of course, the Stones, the Kinks. I mean today when I travel, in my travelling CD case I always have some Zombies, or Hollies or Beatles, there's always at least one or two records with me.
SH:  But do you keep up-to-date with the new stuff that's happening now aswell?
RR:  Well, I do.  I like to think I keep up-to-date, but I know you could probably outdo me.
SH:  We could put it to the test, Robert, I don't mind.
RR:  I'm a bit nervous around you
SH:  The Beatles were your first big!

RR:  They were so easy to love.  Even though it was the mid-'70s and they had by that time split up, I was looking at '64 vintage Beatles, their arrival in America, and that was so inspiring to me.
SH:  You mean you didn't get into Wings?
RR:  I did actually,  I followed all the solo stuff.  There were a few good records and a few that didn't make the mark for me.
SH: That's always an odd one when a big band like that splits up and they get into individual things and it's not! the sum doesn't work out, does it?
RR:  Not always, and I don't think Paul or John or any of them ever really had to, they set a high watermark, a high standard!.
SH:  Sure.  Probably the highest, to be fair
RR:  In a way they did, really. .  And I don't think they've ever needed to touch it again.
Like Paul can put anything he wants out because quite frankly he's done the best music!
SH:  Are you talking about the Frog Song?
RR:  I just don't compare him to himself, do you know what I mean!.
SH:  Well let's be fair, since Bill Wyman left the Rolling Stones. his stuff is fantastic, isn't it?  Can you feel the irony in my voice there!?
RR:   Yeah!
SH:  The Beatles song you've picked, Robert, is 'And Your Bird Can Sing' Now is that a particular favourite..?
RR:  It truly is a favourite.   But picking it as a favourite comes from that absolutely ridiculous question which is 'what is your favourite Beatles song?'   But I do love 'And Your Bird Can Sing'.    I am more often inclined to go with the John songs.
SH:  Did he write that one?
RR:  They always credit John and Paul together but you can feel he was more involved, sometimes.
SH:  Do you reckon?
RR:  Oh sure!
SH:  What did Paul do with this one, then?
RR:  Well God knows,  I would have to go and read Paul's biography.   He would probably claim he did it all, wouldn't he?   John isn't around to defend himself, is he?
SH:  Well I don't know, Paul's a nice fellow.   Well we'll listen to it and we'll see if we can hear the John vibe.   Here's 'And Your Bird Can Sing' by the Beatles:
SH:  I think that was Paul's idea at the end û da dum da dum da dum! which was good, I think it makes the song.
RR:  It was beautiful.

SH:  I know personally when I was a kid I bought some records, like Gillan and I looked back two weeks later and thought 'why did I buy that?'   Were there any big mistakes in your collection?
RR:  There has to be.   I'll sound like a complete snob to say that most of my collection is still worth having.   I was buying old records that had already been proven to be brilliant, you know, Buddy Holly, Elvis.
SH:  You know the way, I'm talking about -  the kids round my area all liked heavy metal, and I didn't but I thought I was supposed to and I tried to get into it!
RR:  Well, I think I remember a copy of 'Frampton Comes Alive' somewhere in my house.  If I bought it I've already begun blocking that out of my!  You know, I'm doing therapy and we often discuss this album!
SH:  That's because he was another, he was part of the British Invasion!You kind of made a big mistake there!
RR:  He was living in Nashville and he's a nice fellow, Peter Frampton, he's a good guy.  And the record, it was one of the biggest-selling if not THE biggest-selling live albums in record history, but it just seems a little!
SH:  !dated
RR:  !yeah, doesn't hold up for me.
SH:  No, you're right.   Were you a concert-going teenager?
RR:  I started going to concerts in about '78 and I'm really, really big on talking to people who maybe were just a little bit older than me and finding out what they were able to see.    I recently chatted with a guy about seeing dozens of Doors shows.  I love the question.    I talk to people because I was unfortunately just a little too young to have experienced some of the music that I would have really most liked to have seen.  My first concert was the Charlie Daniels Band.
SH:  Any relation to Paul Daniels?
RR:  Not to my knowledge!
SH:  What kind of music was that?
RR:   It was southern rock -  it was the late '70s in Florida.  Southern rock was just huge.  Most of it today is still strong, but I just can't
really take much of it any more.
SH:  And did you love it when you went to it though!?
RR:  Yeah, I was pretty big on it actually.   I was playing music by that time.   We were still covering Lynyrd Skynyrd songs!
SH:  Well hang around because we've got Lynyrd Skynyrd coming up, well not actually a song,  I don't know actually how many of them are still around, but they still tend to still use the name!
RR:  They're still around.  Of course they had that tragic plane crash.  The lead singer was killed,  so it's probably not quite the same any more. SH:  No, not quite.  What would be the best concert you've ever been to?
RR:  Oh God, I have some great best concerts.   Elvis Costello, recently even, just knocked me out.
SH:  Was that over here?
RR:   No, he did 3 hours at the Ryman Auditorium which is the original home of the Grand Ole Opry in Nashville.  It's a beautiful room, it's not big at all.  He did three hours of!  This was when the Attractions joined him again about 2 years ago.   And it was! He seemed to be just in great form and really loved playing that room.    So he put it all out there.   It was great.
SH:  Don't you think that three hours is too much to listen to one band?
RR:  Oh, maybe not that night.    Because Costello just kept playing these
songs.  He wasn't afraid of the old stuff.   He wasn't on that vibe where he would, you know! 'I'm just doing a new album and I'm just going to play my new album'.  He was actually reunited with the Attractions and he wanted to play all the great old songs.   It was just a fabulous night.   Many good shows, though, over and over,  Lyle Lovett.   One of my favourite concerts was his.  An early U2 concert that I saw was fabulous.   It was mesmerising! It was like a
SH:  When he was climbing up poles!
RR:  !yeah, it was like that, and I was young, and it was quasi-semi-spiritual!  Rock meets some nice, good thoughts.  They were
rocking and they were saying some strong stuff.
SH:  You've picked the Pretenders.   Because you haven't mentioned these yet.   Are these a big band for when you are growing up again?
RR:  Very much so, I think I probably saw the Pretenders about five or six times in the old days.   I missed their original line-up!
SH:  Were they another band that were bigger in England than they were in America?
RR:  I don't know how to compare it, from where I stood they were just one of the great bands.    I never!  If they came into town, I didn't miss the show.
SH:  What about nowadays?
RR:  I still love 'em.    I met Chrissie when we did the Jools Holland thing.
SH:  Right, 'Later!.'
RR:  I happened to be wearing this leather shirt that I have on today!
SH:   She wouldn't be too happy!
RR: !and she seemed a bit repulsed.
SH:  Well I'm vegetarian aswell.  But I don't mind what you wear.  You're looking sexy, that's the important thing.
RR:  Come over and get close.
SH:  Yeah, I'll!.
RR:  What do you say we play a song and you and I just hold each other
SH:  Hold each other, yeah, in the spiritual, Bono-type way.
RR; We're just friends, you know.    We can eat chilli off one another's chests.
SH:  Can we segue,  Ken?   I'll probably be needing two songs if I'm kissing and cuddling with Robert.
SH:  You've picked 'Kid', is that your favourite Pretenders' song?
RR:  Well it's like the Beatles.   How do you pick one, but  I just love this song.   I just absolutely love it.
SH:  And you know, Robert, I love you.   Here's 'Kid'.

SH:  That's the Pretenders there, of course, 'Kid'.  Robert Reynolds has been picking the music for you of late and also we had a nice little holding hands session there, which I enjoyed. .   I hope you did as well, Robert.
RR:  I enjoyed it very much.
SH:  I must say the hat looks terrific.
RR:  It's in lieu of a shower.
SH:  What's the material?
RR:  By the way its not animal - it looks like an animal print!
SH:  Not an animal I've met!.
RR:  !but in all fairness this is Chrissie Hyndes approved
SH:  Good.   It has it stamped on the inside.   That's important.
RR:  You did TFI last night, was that fun?
RR:  It was good fun.  It was kind of in and out.   We didn't have a chat with Chris, but he runs a really groovy show, you know, just tons of energy.
SH:  Yeah.   I don't like it.
RR:  Hey.   Invite him down and we can wrestle him.
SH:  I like the music on it, but I think the things in between are a bit childish.
RR:  We have the same things at home.  There's something about that.   It doesn't appeal to everybody.  It doesn't appeal to everyone's sense of humour.   You're a comedian, you know good humour.
SH:   I read that you like the National Lottery show, or is that a lie?
RR:  I think what we like coming over here is that it's different from home. A National Lottery show sounds like Bowling For Dollars, it sounds corny, right,  but it's such a powerful vehicle, a band plays that show and everybody sees it.
SH:  In fact, I think I'm going to write to the BBC and say 'scrap the National Lottery show, let's have Bowling For Dollars on at 8 o'clock
Saturday nights'.
RR:  Have you ever seen Bowling for Dollars?
SH:  No.  How much can you win?
RR:  I don't remember, but when I was a kid they had Bowling for Dollars.
SH:   I think they should bring that back, it sounds great.  But you're off to Europe from tomorrow, yeah?
RR:  Tomorrow were heading to Germany then onto Stockholm and Copenhagen Really I've got to be honest that, with  Christmas coming and being  long way from home, it's getting a little!
SH:  You're just stocking up on your Duty Free, that's the only reason you' re going to Europe, isn't it?
RR:  Well, I needed some Christmas shopping, I'm doomed if I don't.
SH:  And then back to Miami for a bit of a break!
RR:  You know, home isn't Miami any more, we're all in Nashville.   So it's Nashville for two weeks then we're coming back to play New Year's Eve in Edinburgh, Scotland.
SH:  Oh really?  I didn't know that?
RR:  Yeah we're doing the big! oh what's it called..?
SH:  And don't say it's for the love of Scottish people, it's for spondulies, isn't it?.
RR:  What's spondulies?
SH:  Bowling for Dollars.
RR:  Oh we're getting back to the cash thing, aren't we?
SH:  That's the only reason people play New Year's Eve. Kind of  prestigious or beautiful or great, powerful, an impact kind of thing, and the pay had to be right.
SH:  I love that when people are more honest.   Because I don't like it when people go 'Great to be here because I love this place!'
RR:  It's amateur night.   You wouldn't want to be anywhere on New Year's Eve if you didn't want to be.
SH:  And the Scottish.   Edinburgh, lovely place, but the Scottish, they do like to drink, and I think they will be celebrating well into the night with The Mavericks.
RR:  They will be.   And I think I'll join them.
SH:  Well have a great show Robert, absolute pleasure seeing you.
RR:  A real pleasure to be with you, yeah!
SH:  I know you haven't picked it but to help you on your little push home, here's Lynyrd Skynyrd with 'Sweet Home Alabama'.

Transcribed by Sylvia Howard
The Mavericks get some attention ! !
 

The Mavericks - BBC Radio 2 - Live from Maida Vale Studios - 15 May 1999
(BB - Billy Bragg (Singer/Songwriter); RM - Raul Malo ; RR - Robert Reynolds)
BB:     Greetings, pickers of pop, this is Billy Bragg, the Saturday boy, we are broadcasting today live from beautiful downtown Maida Vale, and the reason  for that is because we have here in the studio, attempting to soundcheck as I speak, The marvellous Mavericks, and sandwiched between them, ingeniously, the Go-Betweens.
BB:  They’re in the UK to do, let me count now, one, two, three, four, five…six nights at the Royal Albert Hall here in London, between 16th to the 23rd May, then they’re, on the 25th May, in Birmingham at the NEC, and on the night after that, the 26th they are in Manchester at the Evening News Arena, on 27th they are at the Newcastle Telewest Arena and they finish on 29th May in Glasgow at the SECC.
The Mavericks May 1999 tour of UK sold over 60,000 tickets !
Here's one for the Royal Albert Hall season !

BB:  Welcome guys to the studio
RM: Thank you.
BB:  It’s a very real pleasure to have you here.  What are you going to play to us first?
RM: It’s our current single right now, it’s a song called ” Someone Should Tell Her”.
BB:  Thanks very much – The Mavericks.

Someone Should Tell Her  (live in the studio)

BB:  That was fabulous.  That was the Mavericks, Someone Should Tell Her.    And I know you’re probably sitting at home thinking exactly like I was, it  sounds too good, to be actually live.  The Mavericks are here, the band are here, the brass are all stood [sic] upstairs there on the balcony.   We have the Mavericks live here in the studio, we’re gonna to have a couple of songs from them and I am going to chat to the band in between, but I believe they are going to begin with this song - "Pretend”

Pretend  (live in the studio)

BB:  The Mavericks there, with “Pretend” from the album “Crying Shame”.  We have them live in the studio here at marvellous Maida Vale, and I know that you are probably sitting at home thinking I am just spinning CDs, but I am not, because I am going to talk to them, I am going to talk to Raul.  Raul, that sounds so great with the brass section and everything up there.   [the brass section was up on the balcony]  Now you are over here for a couple of weeks…
RM: Yeah, we are looking forward to not only playing the Royal Albert Hall for six nights...
BB:  That’s spectacular
RM: Yeah…
BB:  That is spectacular.
RM: We can’t believe it, you know, I mean, it hasn’t sunk in yet.   But I guess it will by the end of the week.   Hopefully we will be sounding good by the end of the week.
BB:     Well you need a bit of room.  We have got you in here - we have got 3 guitar players, bass player, keyboard player with 2 keyboards,  a whole full drum kit and then we have the brass section...  How many in the brass section up there?
RM: Too many.
BB:  Too many…
RM: Yeah…
BB:  You must have a huge tour bus to get all these guys around.
RM: Yeah, luckily over here we will be able to travel round in a couple of buses.
BB:  I always thought the great thing about having a brass section is that you will have somebody to help you carry your gear in and out rather than the usual four blokes that you had...
RM: Well, yeah, of course  (laughs)
BB:  They look quite burly for a brass section
RM: Yeah
BB:  Now we have had a few suggestions that I’m spinning CDs and just talking to you, but if you could just… you were playing a bit of Johnny Cash.  Give us a bit of that old Folsom Prison for a second there, just to let us know… [RM plays a few bars]
BB: Yessir! Yessir! yessir!   You have just taken part in a Johnny Cash
tribute show, I understand…
RM: Yes we have just got through doing a TV special where they honoured
Johnny Cash and we were thrilled to be asked to be the house band.
BB:  That must have been great.
RM: Yeah.   It was about 48 hours of [plays some more JC]
BB:  Yeah, that’s Johnny’s lick.   No wonder you’re so good at it.   Now I understand.
RM: Yeah, you know, it’s funny how you take those songs, you know, for granted.   You learn them and then you kind of just forget to play them or whatever, then when all of a sudden we were thrown into that realm and having to play those songs for real and not just goofing off, man that’s great stuff, that’s so much fun.
BB:  Who did you back?
RM: We backed Chris Isaak, Dave Matthews, Emmylou Harris, Willie Nelson, Kris Kristofferson…
BB:  Just about everyone, then…
RM: Yeah... who else….?
BB:  Did the Man in Black himself turn up?
RM: Yeah, he turned up, he brought his own band, he didn’t like us (laughs)
No, I’m kidding…
BB:  No, I can’t imagine that..
RM: He wanted to bring in the rockabilly guys that he started playing with.  So it was great.   It was a touching night.
BB:  Well, I don’t know if there’s any chance of us ever seeing it over here but it sounds pectacular.   Is there going to be a record at all of it?
RM:     I don’t know.   I really hope there… There really should be because it was a really nice night and the music… everybody sounded great, and we had a blast doing it.
BB:  So you have a new [sic] album “Trampoline” – are you going to do a track from that?
RM: Yes, we’re going to do a track from that – “Tell Me Why”.

Tell Me Why  (live in the studio)

BB:  I understand, Robert - Robert Reynolds, the bass player – you are a Trisha Yearwood fan…
RR:  You have understood correctly, you are correct, sir.   Well, marriage will do that to a fellow…
BB:  That’s exactly what I’ve heard…
RR:  ...either you are a fan or you’re doomed.
BB:  Exactly
RR:  On a musical level, I’ve really enjoyed watching her do everything over the last seven years, but largely I guess we should focus on our personal life.   She and I, I mean, not you and I...
BB:  No, no…
RR:  …she and I should focus on our personal life, not necessarily hinge everything on our careers.
BB:  I’m glad you pointed it out, though
RR:  Now you and I Billy, we can talk, if you like, about our professional lives, you and I, but Trisha and I will talk about the personal thing.   Have I said too much?
BB:  No…… You have said a little too much, but…
BB:  But I can’t imagine that you would ever want to go out with me, having experienced life with another professional musician.   How difficult it must be to keep a relationship going that you are ever going to want to go out with me.
RR:  Did I say we are doing well?  Give me a break.   Don’t assume too much…OK.
BB:  Listen, I’ll give you a tip….
RR:  No, everything is fine, and thank you for asking about her.   I understand that we are having to share the UK spotlight with her tonight, she’s on the radio, right?
BB:  She will be, indeed.   I’d set your cassette machine and take a copy home for her.
RR:  That would be good.  And I will tell her you all said hello.
BB:  We say hello and we are all looking forward to her tonight on Radio 2
BB:  The Mavericks are here tonight to do us hopefully a couple more tunes
and I will pass over to you guys…

What A Crying Shame (live in the studio)

BB:  The Mavericks, right here, right now in Maida Vale live on Radio 2. That was What a Crying Shame, a song that regular listeners will appreciate.    I’m going to read out the dates when you  will be able to see the Mavericks over the next couple of weeks here in the UK:  16th, 17th, 18th, 21st, 22nd and 23rd May, they have a residency at the Royal Albert Hall here in London;  on 25th May they’re at the NEC Birmingham;  26th May they’re at the Evening News Arena, Manchester, on the 27th, they’re at the Telewest Arena, Newcastle; and they’re at the  SECC Glasgow on 29th May.    So, all over the place, Raul, in the next couple of weeks…
RM: They really like us over here.
BB:  That’s understandable.
RM: Thank you very much.
BB:  So, are you going to play another…
RM: We’re going to do a song that did real well for us…. I also want to thank the show for its support from the beginning; we really do appreciate that….  This is “Dance the Night Away”.

Dance The Night Away  (live in the studio)




BB:     The Mavericks there with Dance The Night Away.   I want to thank them very very much for taking the trouble to come in today with their horn section, the whole gang in here.   Their new single, Someone Should Tell Her, is released on 24 May.
BB:  And I also want to thank the engineers on this session, who’ve made it all sound great
RM:     Thank you.

 Transcribed by Sylvia Howard
Raul & Robert in the 'I Told You So' video from the All The Kings Men Enhanced CD

 
 
albums
singles
tributes
guesting