April 20, 2013
A reminder of the magic that can happen when a strong lyric meets a fresh, engaging production and a vocal performance that cuts right to the bone.
Founded in 1989, The Mavericks enjoyed a successful run on MCA Records in the mid-nineties. Though radio was generally lukewarm toward their efforts, that didn’t stop The Mavericks from quietly building a formidable fan following, selling gold and platinum at retail, and famously winning the 1996 CMA Vocal Group trophy without ever reaching the Top 10 at radio. In Time marks the now-reformed band’s first new album in the ten years since their 2003 disbandment, as well as their first release since signing with Scott Borchetta’s Valory label.
Though The Mavericks have long been filed under the “Country” label, In Time, like much of the group's past work, is a melting pot of genre stylings, incorporating, country, classic 1950s pop, and a heavy flavoring of Latin and Tex-mex influence. The inimitable vocals of Raul Malo
continue to be the group’s most definitive feature, but The Mavericks still maintain their function as a group, with each member’s individual talents given ample spotlight, and with the arrangements incorporating everything from mariachi trumpets to surf guitar to pedal steel, there's hardly a dull moment to be found. Malo supplies a solid set of self-written material, taking writing credits on every track and collaborating with the likes of Gary Nicholson, Bob DiPiero, James House, and Al Anderson (who co-wrote The Mavericks highest-charting single, 1995's “All You Ever Do Is Bring Me Down”).
There's a sense of restless excitement evident on even the most melancholy of material, and the best tracks practically boil over with energy and urgency. “Come Unto Me” demands to be heard with a swelling melody, forceful performance on Malo’s part, and an aggressive stop-and-start rhythm, no doubt making it nearly impossible for the narrator’s love interest to resist the titular come-hither call. The jaunty organ-driven arrangement of opening track and second single “Back In Your Arms Again” almost makes the listener wonder if the narrator is bemoaning his on-again-off-again lover's hold over him, or celebrating it.
Conversely, the band is able to utilize a less-is-more approach with equal efficacy, best exemplified in the sorrowful ballad “In Another’s Arm,” in which Malo’s evocative delivery fills out every nook of the bare-boned arrangement. Malo almost sounds like a male Patsy Cline on the regret-filled countrypolitan-tinged “Forgive Me,” while “That's Not My Name” lightly plugs along in a manner that seems to mirror the defeat of its downtrodden narrator. The penultimate track, “(Call Me) When You Get to Heaven” is over eight minutes long, but the smooth tango groove is so absorbing that one hardly notices, after which the set closes with a rousing Spanish version of “Come Unto Me” (“Ven Hacia Mi”).
“Lies” is slightly less satisfying, as the melody doesn't quite match the punch of the songwriting and performance, but it ultimately pales only in comparison to its glorious counterparts.
It’s anybody’s guess how long The Mavericks will stay together this time, but the longer the better. In Time is a richly rewarding set that deserves to be mentioned in any discussion of the year's best albums – another fine Mavericks album which we have every reason to believe will age just as gracefully as its predecessors.
Top Tracks: “Back In Your Arms Again,” “Come Unto Me,” “In Another's Arms”