by Claudio Vernight
It doesn't happen often but when it does, it's got to make the headliner upset. I'm sure Billy J. Kramer felt it when the Beatles opened for him. Hank Snow definitely felt it when he added young Elvis Presley to his 1955 tour. And Dwight Yoakam had to feel it as the Mavericks sucked all the air out of the room last night at the Greek Theater. And that's pretty hard to do at an open-air theater. From the opening guitar splash on "Back In Your Arms Again," with that well-known whammy bar vibrato, the Tejano back beat and the opening notes of Raul Malo's voice, the crowd knew they were in for a special night.
You see, in June Raul went to Instagram to tell his fans he was suffering from cancer, and he might miss upcoming gigs. He was upbeat and positive and that was on full display at the Greek. His hair a little thinner, perhaps from treatment, Raul's voice and guitar playing were at the top of his game. Malo's well-known baritone is as creamy and full-throated as they come. He can hold a long note and curl it up at the end with a cry that is part yodel.
The ultimate showman, he knows how to work the crowd which isn't really necessary as his songs are written and arranged perfectly for maximum crowd enjoyment. Case in point: at the end of "All You Ever Do Is Bring Me Down," just when you thought the song was over, he explodes with a count-off, "Two - Three Four!" that lifts the entire audience off the ground. Every Maverick is a showman.
Long-time guitarist and stalwart rockabilly expert, Eddie Perez, made every solo special with his gyrations and a backwards lean that KISS' Ace Frehley made popular. He only used two guitars all night and they were matching Telecasters with the famous "Bender" attachment. Pulling on the guitar neck bends the B string to give a steel effect and Perez's use was excellent (see Yoakam's lead, Eugene Edwards for a true master.) I did notice his chromatic lighting runs up the neck (everybody is doing them now,) rang a little atonal at times. As Chet Atkins always said, "Son, you can't go wrong with the melody."
Button accordionist, Percy Cardona has toured the world with his conjunto style with Sting, among others. Think of Pete Townsend playing accordion and deck him out in mariachi studded pants, and you have a glimpse of his showmanship. But it's his playing that sets him apart. Lightning-fast solos, like he played on "Rancho Grande," "Rolling Along" and of course, their hit, "All You Ever Do Is Bring Me Down," as well as mournful accordion wailing solos as he played on "The Years Will Not Be Kind," set him off as the new Flacco Jimenez, with studs and rhinestones. Organist Jerry Dale McFadden played his digital organ as well as any B3, with hand swipes and Leslie manipulation (fast and slow chorus effect.) His absolutely crying organ on "Blue Moon" was the perfect counter to Raul's solo voice.
Max Abrams on sax (mostly bari) and Julio Diaz on trumpet played their "horn section" role perfectly: tight, a la Tex-Mex and Cuban (remember, Cuban-descendant Raul started the Mavericks in Miami.) These boys could blow some nasty notes solo and together. It seemed that Max had the best mix with gobs of reverb and a nice bright edge.
But Julio had me when he added "Mexican Hat Dance" in the middle of a solo. And, as I said, a really great Bakersfield rockabilly singer closed the show. But last night was all Mavericks. See for yourself as they play the show opener "Back in Your Arms Again," live at the Greek 7-25-24.
Set List:
Back In Your Arms Again Come Unto Me Overnight Success (Rick Treviño cover) Live Close By (Visit Often)
Look Around You Rancho Grande / Rolling Along As Long As There's Loving Tonight Blue Moon (Rodgers & Hart cover)
And We Dance
The Years Will Not Be Kind
The Name of the Game
All You Ever Do Is Bring Me Down