Style: Latin Rock/Funk/Jazz
Similar Bands: Santana
"One-Word" Review: RockSalsicJazz
Based Out Of: San Francisco
Label: Warner Bros.
Malo - Cover & Back
Malo - Gatefold Interior
Malo - RecordMalo - s/t (1972)
- Pana 6:45
Pablo Tellez - Bass, Arrangements (The Malibus)
Roy Murray - (Naked Lunch)
Forrest Buchtel, Jr. (Blood Sweat and Tears)
Victor Pantoja - Congas, Bongos
Jesus Helguera - Front Cover Credit
Victor Aleman - Photography
John & Barbara Casado - Album Design
“Just Say Goodbye” starts quietly, and is only audible after the first 30 seconds or so. It sets a somber mood. After a minute thirty, the drums/percussion begins, along with a wah-wah funk guitar. The jazzy set up is added to with a crooning electric guitar. The whole time, the song grows louder and faster, intensifying and moving to a very organic rhythm. Only after the 4 min mark do vocals begin, but they only add “Ah-ah-ah’s” as another instrument rather than lyrically telling a story. 5:30 the fast section ends, and a harp whirls us around and sets us down in a candle lit dinner slow jam dance. Minimal instrumentation and a relaxing bongo beat are layered behind Spanish (I’m guessing) chanting which comes off as very relaxing and soothing.
“Café” is more of a slimy salsa song. The guitar reminds me of the terrible song “Smooth” that was Carlos Santana’s song with Rob Thomas. It is repetitive and simple in the vocals and short constant musical sections. It would be ok for a choreographed dance number, since it has no deviation from the singular rhythm layout. When the vocals come back after the instrumental break, they retread the exact same ground that was established uncreatively the first time around.
“Suavecito” is apparently the big hit of this record, and a very popular song overall for the genre. It is a gentle light and airy song that almost feels like a loungey version the Beatles “Should Have Known Better” or at least something from the softer side of “A Hard Day’s Night.” It feels like a romantic walk on the beach at dusk. It is dull, with a little touch of interesting.“Peace” starts off with a bit of classic rock guitar hook, then it is suddenly shifted to jazzy psychedelic with an organ, urgent vocals and care free flowing music. The bass still carries with it a little funk. This is a genre bending freak-out song, spiritual in the sense that, when enhanced with drugs, I could see people feeling very free and letting loose when this was played out live. This is the song you’d play after the acid is kicking in. The song freezes and picks up with a dream sequence of cloud psychedelic floating. Like the dusty quiet section of Riders on the Storm. The song evolves a little into an Arabian music style. Then it pulls itself together, using the center of gravity that only classic rock can provide. It regroups and launches back into the initial tripped out free form melody. The dramatic, climactic end finishes abruptly just when you think there is one last note coming, the needle picks up and returns to its resting place.