Customer Reviews

This World Is Not My Home

5 star:		(3)
4 star:		(7)
3 star:		(3)
2 star:		(1)
1 star:		(0)

 

 

For those of us who were blown away by the raw power and exuberance of Maria McKee's voice on the band's first album, this is the first chance since 1985 to really hear her, unleashed and unfettered. Because producers stopped giving her the Michael Jordan treatment (just give her the mike and get out of the way) after the debut, the first seven tracks (from 1983-84) are a long-overdue treat that make this collection worthwhile even for those who already have the original release. The two live tracks are less strong - although Bono's juxtaposition with Maria on "Sweet Jane" is instructive, showing even us rabid U2 fans that compared to her, he can sound awfully pretentious. The version of "Sweet, Sweet Baby" - which admittedly would have trouble topping the bright, soaring studio version - takes on such an opposite tone that it's almost unrecognizable as the same song. But I just listened to it 3 times in a row, so it apparently grows on you...

It's nice to every once in a while be transported back to a time when music seemed more raw and felt more real. Even if that time wasn't that long ago. Lone Justice along with bands like The Alarm, early U2 and The Call managed to speak vital truths about spiritual as well as social issues without coming across as preachy. You get the feeling they were just having a blast doing what they did. On "This World Is Not My Home", we get to again feel that innocence and youthfulness that was such a part of it's era. Here's to hoping that Maria Mckee and Co. maybe give us some current material that dares to be that unpretentious.

Here, Maria's sweat flows from this combined best-of/rarities collection as if from her brow, and her heart ... hell, her heart beats like a rhythm section all its own. Check out the live version of "Sweet, Sweet Baby" for one example. For another, skip back to the early demos which lead off the disc ... or the re-mastered version of "Shelter" that seduces you into its groove. Other gems include the Bob Dylan-penned "Go Away Little Boy" (featuring Dylan and Ron Wood on guitars) and an in-concert duet of the Velvet Underground's "Sweet Jane" with U2's Bono. As good and strong as those songs are, it's the band's previously unreleased demos that prove most earth-shattering. The Maria-penned "Drugstore Cowboy," for example, is a shotgun blast of authentic cowpunk-and far, far more. An infectious psychodrama framed in a country twang, it hints at everything to come, both for Lone Justice and Maria on her own.

This generous compilation, issued by the same label which signed the LA-based punkabilly band, begins with Lone Justice' earliest (and best) work and treats the listener to a history of early-80's west coast punkabilly. The newly unearthed "Drugstore Cowboy" is homey and heartfelt, and "Shelter's" lush, synthesizer-laden keyboard fill compliments vocalist Maria McKee's cutting tenor. "I Found Love" is another standout track, but was never released as a single. Some of the material here is less than stellar (a lackluster cover of "Sweet Jane") and was recorded after McKee relocated to Nashville, but at their best, Lone Justice delivered a newly-minted alloy of country, punk, and rockabilly through the powerful Georgia pipes of the spunky McKee, whose influence is felt in Dwight Yoakam (with whom she recorded when he secured a deal on Warner LA) and neo-punkabilly sweetheart Kelly Willis.

The first seven tracks are essentially demos, but the sound quality is pretty good. The songs are propulsive, nearly frenetic, and McKee's voice certainly drives this stomp and shout juke joint music right along, but they all sound rather similar to me. There's also more than hint of, God help us all, bluegrass here. I prefer my backwoods barnbarners to be, well, a bit swampier than these songs. "Drugstore Cowboy", however, is an excellent track.

Since I've had the two studio albums since CDs were first commercially available, there's nothing new here for me. The first album was terrific country-rock, and one I still listen to often. The second album was clearly overproduced and a bit bland, but McKee certainly gives it her all. "I Found Love" is the one true rocker of the set, and the ballads are affecting, if not terribly original in arrangement or instrumentation. I personally have soft spot for "Wheels", but some might find it cloying.

The other unreleased tracks, especially the odd version of "Sweet, Sweet Baby", that highlight the problem of McKee's later efforts: some sort of pretentious, art-rock stylings that are far more grating than entertaining. It was probably a good thing the producers of LJ's albums reined her in some or it could've been Yoko Ono Redux. Anything featuring Bono, like "Sweet Jane", is bound to be ponderous, and so it proves here. An unnecessary addition; if they needed more songs, they couldn't go wrong with "Soap, Soup, and Salvation" as another reviewer suggested.

Primarily a compilation for completists or committed fans of hard-edged country tonk.

I saw the band open for U2, and was quite intrigued, although not enough to buy their album. I'm glad that I held out, though, since this collection covers their brief history quite well, having been put together by original bassist Marvin Etzioni.

The first five tracks are early demos preceding the recording of their first album. They all sound great, despite them, apparently, having been transferred from vinyl. They show Maria McKee's wailing vocals and Ryan Hedgecock's country rock guitar furiously backed by the galloping rhythm section of Etzioni and drummer Don Heffington. The raw, unpolished sound of these cuts is a lot of fun.

The next six cuts consist of four tracks from the first album and two outtakes from the sessions. These songs suggest that the original Lone Justice was really a band, despite Maria's being out front. Etzioni, Hedgecok and Maria all contributed solid, beautiful songs - the Bo Didddley styled raver "East of Eden"; the touching ballad "You are the Light" ;and Hedgecock's spin on an old blues classic, "This Train", sung as an effective duet between him and Maria.

The band also had a way with covers -- another great ballad in "Don't Toss Us Away" (by Love's Bryan MacLean) and two rather sarcastic rockers, Bob Dylan's "Go Away Little Boy" and Tom Petty's "Ways to be Wicked". Some people have argued that Jimmy Iovine's slick production undermines the band, but their collective personality still comes through on their performances.

Apparently, after the U2 tour (from which an OK rendition of the Velvet Underground's "Sweet Jane" comes), the original band dispersed, for reasons that have never been made clear. Maria, left holding the recording contract bag, recruited a set of new musicians for the second album, "Shelter". The three songs here, as well as two live cuts from that tour, are good songs, but they also make clear that the band chemistry of the original lineup was the key to the quality of the debut.
The rousing gospel rocker "I Found Love" and the smooth ballads "Shelter" and "Dixie Storms" are even more slickly produced by Iovine and "Little Steven" Van Zandt. These last five tracks, are, basically Maria McKee solo with backing musicians. Maria figured this out, apparently, because she started recording under her own name after "Shelter" sold no more than the debut.

So, that was that for Lone Justice. It's too bad that they weren't able to generate big hits from the material here, since it's wonderfully performed country/pop/rock, fronted by a young vocalist who could be alternately passionate and wild and tender and vulnerable. The best parts of their musical heritage are here, and it's good that the album has been preserved for download. Very much recommended.

Anyone who ever heard Lone Justice and loved them will love this compliation! What can I say but: MARIA, WHERE ARE YOU?

Lone Justice is truly a band that gave me hope for the future. Such sincerity and raw emotion as written and projected by Maria McKee is extremely rare, and I was thrilled to come across this release of "new" material. The one error on this album is the inclusion of "Sweet Jane", which didn't need redoing, and is totally ruined by the presence of Bono, one of the most boring and pompous "musicians" that continues to produce music today. He ruined that song for me. As for Maria and the gang, I MISS YOU! Thanks for dusting this stuff off and letting your fans hear it!

I bought both cd's in the 80's, so when i heard they were releasing a collection i knew it had to be good. Marie McKee's voice is the thing of beauty. "Drugstore Cowboy" which opens the disc is a great slice of cow-punk, I can't get enough of this disc. Only one problem Bono's singing on "Sweet Jane". If you loved this band back then, get this disc today!

Unfortunately, there are 17 on the CD. The tracks chronicling Lone Justice's pre-history and first CD are wonderful -- the title cut, in particular, shows Maria McKee's voice off to full advantage. Gosh, it's good to hear East of Eden again -- why not include "Soap, Soup, Salvation"? But, alas, tracks 12-17 show how the band lost its way, with over-the-top arrangements and ponderous lyrics. So, put it in the CD player, program it to skip the last 6 tracks, and you've got yourself one heck of an enjoyable record....