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In the end, it may have taken Carlos Freaking Santana himself to put an end to Latin rock's favorite sport: Maná bashing. For eleven years, the Guadalajara-based band has been among the genre's biggest punching bags, derided as fresas("strawberries" or softies) who make crappy music for preppy kids who don't know any better. The reason? For starters, Maná outsold everyone (16 million copies and counting) and became the most successful Latin rock group of all time, and it did so with a pop-heavy sound that drew comparisons with the Police -- sans Sting. Its members were sitting ducks for sharp-shooting purists (including this writer) who never did quite understand what all the hoopla was about. But that was all before Santana donated his golden guitar to the cause.
The rock legend toured with the band, then put his seal of approval on Revolución de Amor, Maná's first studio album in five years and, to no one's surprise, a commercial success already. The album made its August debut at the top spot on Billboard's Latin charts, and the band's concerts last month at Los Angeles's Universal Amphitheatre sold out in all of twenty minutes (sales in Miami are strong). What may be surprising is that Revolución is also Maná's strongest album yet musically. Featuring Rubén Blades on the tropical "Sábanas Frías" ("Cold Sheets," arguably the best song on the album) and Ozomatli's Asdrúbal Sierra singing the chorus on the powerful "No Quiero Ser Tu Esclavo" ("I Don't Want to Be Your Slave"), the album is a balanced offering of mild and hot, highlighted by guitarist Sergio Vallín's all-out style and with songs written by three members of the quartet. But it's "Justicia, Tierra y Libertad" ("Justice, Land, and Freedom"), the track that opens the album with guest guitar from Santana, that has critics finally taking a second look at Maná.
Maná's roots reach back to Guadalajara in the early Eighties, where Fher Olvera, Gustavo Orozco, and brothers Juan, Abraham, and Ulises Calleros formed Sombrero Verde, a pop band so lightweight it made Maná sound like Judas Priest. After a series of personnel changes (Abraham and Ulises Calleros [now Maná's manager] dropped out, as did Orozco; drummer Alex González, guitarist César "Vampiro" López, and keyboardist Iván González joined), they found success as Maná, touring extensively -- hundreds of shows a year, whether their albums had been released in the local markets or not. When a cassette they'd given someone in Ecuador -- where the albums weren't yet available -- turned up on the radio and reached number one, a lightbulb switched on: The more they toured, the better they'd do.
"We thought, 'If we made it to number one and the album wasn't even released, then we can release the album everywhere and play everywhere,'" singer and main songwriter Olvera says. The plan worked. 1992's Dónde Jugarán los Niños? (Where Will the Children Play?) sold more than a million copies and established Maná as a Latin rock superpower. But López and Iván González were not happy, and they left in 1993. Enter Sergio Vallín, an hidrocálido (a native of the state of Aguascalientes, even though he lived in Guadalajara) who got the job after the band reportedly auditioned 5000 guitarists throughout the Americas. The new lineup worked even better.
It's the lineup that remains to this day. And its members couldn't be more different.
Bassist Juan Calleros is courteous and affable but shy; he doesn't talk -- period.
Olvera, the voice and symbol of Maná, is neither a rocker nor a pop idol, but a gypsy. Give him a guitar, a woman, and a few shots of tequila (Herradura or Patrón, not Cuervo), and he's a happy guy.
Drummer González, meanwhile, is Olvera's perfect opposite: the aggressive and business-savvy band member, he's a Keith Moon with a work ethic.
And Vallín is the new guy. As shy as Calleros, but he talks. Okay, he's been around for nine years, but it's hard to fill Vampiro's shoes. He's a Steve Vai meets Santana meets George Harrison, and the much-needed edge Maná was lacking.
Truth is, despite the rockeros' gripes (and the band's own limitations in the studio), Maná alwaysrocked onstage, could alwaysplay alongside anyone. It was the music itself -- syrupy pop offered up at a time when the best in Mexican rock (Maldita Vecindad, Caifanes, Café Tacuba) were busy making "proper" rock -- that drew the barbs. Olvera says Maná always got a bad rap.
"C'mon, man," he says. "The Beatles started out [with] 'I Wanna Hold Your Hand'! 'Te quiero agarrar la manoooo...' -- gimme a break! Okay, great song, but in today's context it's a very corny thing. But that was Lennon as a kid, man -- that was the way he expressed himself. [And] that's the process of a band. You start somewhere, ascend to a certain point, and then you fall. It happened to everyone, and it'll happen to us."
Maybe, but not just yet. Revolución de Amor features plenty of the usual Maná, the catchy, leechy kind that rockeros hate -- but this time it's done intelligently, with good taste and with a vengeance. It's a guitar-oriented album, for which the band tried more than 100 guitars and dozens of amps, and the result is an earthy, analog feel, one of Maná's main goals.