Customer Reviews

Lone Justice

5 star:		(15)
4 star:		(5)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

I was on the east coast and so had no direct access to the early-mid 1980s 'cowpunk' wave that provided real music worth hearing to Southern California club audiences. At the time, both commercially backed Country and rock 'n' roll were going downhill at an alarming speed. But prospects for a brighter future were on the horizon.

I first heard Lone Justice on one of the then few surviving 1970s-style FM stations: the ones that focused all energy on discovering great music, whether newly recorded or overlooked from the past. Maria's voice knocked me over; it struck me then as like a cross between Loretta Lynn and Tammy Wynette that was then revved up to the fastest rockabilly speed and energy level. When I finally got to see Lone Justice in concert, I was not disappointed: Maria was all in person that she seemed to be on record.

The self-titled Lone Justice debut is a classic of Country Rock. Not a single song is a throw away. Perhaps the best way to understand how great the album is, and how powerfully evocative Maria's voice is, is to listen to 'Don't Toss Us Away' (which was written by Maria's half-brother Bryan MacLean). When I first heard it, I declared that it should be a #1 Country hit, and later it was for Patty Loveless. I like Patty Loveless a great deal, but I have no hesitance in asserting that the Lone Justice version of 'Don't Toss Us Away' is superior to the Country hit. That a slip of a young girl pulled it off is simply amazing.

Perhaps my favorite song on the album is 'After the Flood,' which Maria wrote. It is a California version of agrarianism in song, one that rocks. 'Soap, Soup, and Salvation' shows Maria as writer to have a keen sense of humor and eye for detail. On bassist Marvin Etzioni's 'Working Late,' Maria also shows her comic chops as a frustrated young wife who sounds as if she is about to hunt bear when he does get home from the alleged working late. 'Sweet, Sweet Baby,'which Maria co-wrote with Heartbreaker Benmont Tench (who plays keyboards on the album) and E Street Band member Little Steven VanZandt, shows her ability to belt blue-eyed soul in the mold of a Linda Ronstadt. Etzioni's 'You Are the Light' is an ideal album closer.

This album should be owned by anyone with anything more than a passing interest in Country rock or rockabilly or the 1980s Country revival, which featured Maria's friend Dwight Yoakam (she sings on his debut album) and Steve Earle. The dirt-cheap price means you can purchase several copies to give as gifts.

I was 18 in 1985 when I first came across this album on vinyl. I now own it on CD also. Whether you enjoy music with a country flavor or not, you will be taken back by Maria McKee's vocals. Rolling Stone Magazine's critic's poll voted her Best Female Vocalist for their 1985 review and I have to concur. From the twists and turns of East of Eden which leave you breathless to the sentimental After the Flood, this album is just one rare gem after the next. I highly recommend it.

This intense debut is as novel today as it was when first released 15 years ago. Maria McKee is an electric hillbilly fronting the Patti Smith Group. Produced by Jimmy Iovine, Lone Justice suggests Tom Petty, The Pretenders and U-2 ( all also produced by Iovine).

McKee was wise to open the disc with "East Of Eden." The rollicking introduction is a warning to new listeners: Don't go any father unless you're prepared for more sonic assault. The straight-up rock (East of Eden, Sweet Sweet Baby and Wait `Til Dark) is as rugged as Wild Turkey. Guest Little Steven (E-Street Band) provides the dazzling guitar licks on "Sweet Sweet Baby" and "Wait "Til We Get Home." Eat your heart out Keith Richard.

Another surprise is the way Lone Justice approaches country songs (After The Flood, Ways To Be Wicked and Working Late) with an untamed rock attitude. You've never heard country like this. McKee belts out every line with the self-confidence of a seasoned veteran. Who else but she would have the audacity to end a rock adventure praising Jesus Christ (yes, the Son of God). Perhaps that's the best way to summarize Lone Justice's debut. Spirited.

I caught a clip of the band doing Sweet, Sweet Baby on late night tv back in 1985. I picked up the cassette the next day and loved it. We left for Daytuna Beach the next day and I took it along, sure that everyone would be as fired up about it as I was. Unfortunately, none of my friends liked it so much as a little bit. From my experience, this has always been the reaction to Lone Justice/Maria McKee. There is no middle ground when dealing with this band, but this is an excellent album and deserves at least a listen. One way or another, Maria McKee's vocal performance will leave you with your mouth hanging open wondering how you managed to miss this almost twenty years back.

The first Lone Justice Album has an edgy, slightly raw feeling that showcases Maria McKee's vocal prowess better than any of her other efforts. While I have everything she ever made this remains my favorite. And the group rocks. I had the privilege of seeing them in an LA club shortly after this album came out and they were fantastic live.

This is one of those CDs that just keeps getting better every time you play it. A must have for any fan of rock music.

It's an old album I used to have on vinyl and played over and over and over again. Many years later I get the CD and have the same reaction. Every song is excellent, every song highlights one of the most unappreciated voices in modern mucic. Why Maria McKee and Lone Justice weren't superstars I'll never know.

The measure of how good this disc is, is in how disappointing Maria McKee's output has been since its release. At various times, she seemed to have decided to "be" Bruce Springsteen, U2 or to have adopted similarly ill-advised musical role models. The irony is that, with "Lone Justice" she broke on the scene with a fully-developed musical identity of her own, based on great songwriting, top-flight production and a voice like a Force of Nature. This album screamed out "Maria McKee has ARRIVED". In a perfect world, every song here would have been a #1 single. Years later, none of that original power is diminished. It's a shame that none of the discs she's made since have retained this kind of focus.

This Cd was in 1985 the most powerful new band I had heard in the mid-80's. A period I consider very dry for real melody, voice and twang without Synths. Even my favorites, Dylan, Petty,and Springsteen to name a few. Were in a place of over production. This is the only really great Lone Justice release. Short lived in their originality, LONE JUSTICE the band and Disc were one of the best soon to be titled, Alt-Country items around. Los Lobos'"By the Light of The Moon" runs a close second but the fact that Maria McKee was so young (19) and this band was so raw and real, and just as good in concert. Made them a hopeful antithesis to the digital soundscape that was saturating radio at the time. I think this is timeless.

Thought I'd review other's reviews before submitting mine, and it seems like a lot of people wonder why this album didn't get much notice, didn't sell.....I'm just glad I found it 20 years ago or so. It's as emotionally riveting to me today as the first time I ever heard her voice. I sang along with her songs during some dark & sunny days in my life. I dreamed of the day I would became a mother so I could sing her songs to my baby girl. I sang Maria's songs to my baby girl when she was still inside me, and I do to this day. Her voice is immensely appreciated by those that listen to her, whether we are 1 or a million.

I purchased this CD after years of fond memories of the album and cassette--it hearkens back to college years. Maria McKee & her band have terrific energy, and this is a perfect soundtrack for cleaning the house, baking, and singing along at the top of your lungs. I've always enjoyed and appreciated this recording for its production value--some impressive special guests, and the song order embodies the best of what an "album" used to be.