Flashback to the mid-'80s: Thanks to Rolling Stone magazine, I read a review touting Lone Justice's debut as a good, not great, affair highlighted by the vocal prowess of the girl singer who supposedly possessed a style reminiscent of Janis Joplin. The album in question, Lone Justice's self-titled debut, proved near-perfection to me. Maybe a tad clean on the production side--but, still, what a voice! It ranks among my best-ever debut albums, which says more than I can put into words here. There's something in the way that Maria, even at that young age (18? 19? I'm really not sure) just pushes beyond what was then called "country-punk." What it really was was tinges of country, folk, gospel, rock and r&b all rolled into something beyond classification. The British call it "roots" music, I think, and if a label has to be applied, that may well be the best one. Whatever, it grabbed me; and I made damn sure to play tracks from it on my college radio show. "You Are the Light" more often than not, as I deejayed a "folk music" show--but what the hell. Some Sunday mornings I slipped in "Ways to Be Wicked," too.

Flash forward to 1993: Maria's on the road promoting You've Gotta Sin to Get Saved. At Tower Records in Philadelphia, she plugs in her guitar and performs three songs, including a kickass version of "Sister Anne." As in, the MC5 song. And she literally kicked out the jams, ripped it to shreds, made it her own.

In other words, the girl's got balls—

And more proof pops up as a bonus track on a British 1993 CD-single for "I'm Gonna Soothe You" in the form of "This Thing (Don't Lead to Heaven)." Feedback kicks off the savage, raucous rock 'n' roll song that quite literally bursts from the speakers. The audio equivalent of adrenaline, that's what I call it. She returned later that year to play a proper concert--and again proved her mettle. Or is that metal? Granted, it was a too-short set of 75 minutes. But while she was on stage, handling guitar duties herself like a glittery cowpunk-goddess, she commanded the audience's attention. It was one of "those" shows, "those" in quotes because it was as if time stopped while she was singing, taking us with her to a plateau where ... well, I'm not one usually given to hyperbole, believe it or not. But that night, that show, I was flying high above the clouds.

--JGG

High Dive (2003). The Little Diva's first album since 1996's brilliant Life Is Sweet, is a tremendous, five-star effort. Since its release in April of 2003, I've probably listened to it - no joke here - at least 1000 times. 2000 times. How's that possible? On the way to work; on the way home; running errands; and here at home. The tracks, in total and apart, have a narcotic-like effect; one listen and you'll be hooked. “In Your Constellation” has a Neil Young-like vibe, a la “Like a Hurricane,” that sends me flying into the stratosphere and higher; “Be My Joy” is, well, just plain intoxicating; and the dramatic “Non Religious Building” is as potent as songs come: “Suicide/ever think of suicide/see your friends the day you take your life/kind of helps you decide …” I was hesitant about the remake of "Life Is Sweet"/"Afterlife" ... but, ya know what? It's as good as the original - and the backing vocals are to die for, both there and elsewhere. My album of the year for 2003. (A+) --JGG

Ultimate Collection (2000). A good jumping-off point to Maria's back catalog, as it features tracks from her girlhood among the outlaws (the Lone Justice years) and her solo career through Life is Sweet. A treat for those who've bought her albums along the way: the demo version of her smash "Show Me Heaven." (A) --JGG 

This World Is Not My Home (Lone Justice) (1999). Fuck the Beatles. Fuck the Stones. And, while I'm at it, fuck Bob Dylan and Neil Young, too. Written in jest? No. While listening to this combined best-of/rarities collection, that's exactly what I think. No one does for me quite what Maria McKee does. Here, her sweat flows from the speakers 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, where you'll intermingle with that lush, heart-felt vocal. 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. (A+) --JGG

Life Is Sweet (1996). "Life is sweet, bittersweet, and the days keep rollin' along ..." Where once the absolutely sweet Maria conquered the rough terrains of country-rock, this 1996 foray feasts on feedback, discordant chords and lyrics that at first listen make little sense, all wrapped inside a package of glitter rock that's far rawer than anything the Zig-meister ever released. You gotta love it. What makes this so great is the music itself, which pushes, punches, grabs and kicks with all of the ferocity of Maria's muscular live shows, which have always rocked much, much harder than her studio albums. Lyrically, too, she discards straight ahead explorations of life and love of her previous releases in favor of the scarred lovers, damaged psyches and shattered souls shunted aside by society. In so doing, she's shaped an album that's more than just a rewarding listen. It's a reflection of the jagged, subconscious streams that course through all of us--though we may be loathe to admit it. (A+) --JGG

BBC Radio 1 Live in Concert (Lone Justice) (1993). If you were or are enchanted by the live tracks that appear on This World Is Not My Home, seek this disc out. Recorded at the Town & Country Club in London on Nov. 6th, 1986, it features a rapturous performance from the Little Diva. Among the highlights: "Sweet, Sweet Baby," "Wheels," "Shelter" and a kick-ass rendition of a rock ‘n’ roll classic, "Sweet Jane." (A+) --JGG

You Gotta Sin to Get Saved (1993). Maria soothes the soul with this, her second solo album. Backed by the Jayhawks and old-friends from her Lone Justice days, she rips through the songs--some originals, some cover versions--with abandon. For proof, I submit “I’m Gonna Soothe You,” which basically wraps you in her warmth. “My touch is gentle, my body is warm …” she sings, stepping out from the speakers. She’s sexy, saucy, inviting and sweet all at once; and envelops you with her passion. Further proof: Her wondrous remake of the Goffin-King classic “I Can’t Make It Alone”; and her raucous ode to her Lone Justice days, "My Girlhood Among the Outlaws." (A+) --JGG

Maria McKee (1989). "Can’t Pull the Wool Down (Over the Little Lamb's Eyes)" is one of those magical songs that I just can't hear enough times--even in a row. I worked at a CD store when I first became hooked on this song, and I annoyed customers and co-workers by playing it repeatedly in the store. There are many strong cuts on this, her first post-Lone Justice album. The first song, "I’ve Forgotten What It Was In You (That Put the Need in Me)," is lyrically aligned with the sentiments of "Can’t Pull the Wool Down..."--you can tell that from the title alone. "To Miss Someone" is a throbbing ballad that predates the angry sentiments of both aforementioned tunes. First you cry, then you spew. "Am I the Only One (Who’s Ever Felt This Way)" bridges the two sentiments, with a question that begins in sadness and ends in anger. "Panic Beach" and "This Property is Condemned" are story-songs that draw you into a poignant, sometimes scary trick-mirror world. “Breathe” is powerful, but more intense live; "Nobody’s Child" is compelling in any form, and as haunting as either of the story-songs. Maria-Goes-Aretha on "More Than a Heart Can Hold," which is a passionate ballad that reminds me of her great second solo album, You Gotta Sin to Get Saved. You understand the meaning of being "saved" when Maria gives testimony. The album closes with "Drinkin’ in My Sunday Dress," a fun, fast-paced neo-country romp that would have toe-danced nicely next to "Sin, Soup and Salvation," on the first Lone Justice release. (A) --Diane.

Shelter (Lone Justice) (1987). This gem features some of Maria's most lasting compositions: "I Found Love," "Shelter," "Wheels" and "Dixie Storms," an aching, piano-based number that positively shimmers. (B+) --JGG

Lone Justice (1985). As I wrote in the preface, the production is a tad too sterile for my taste … but, all in all, this is a very tasty debut. There’s the Tom Petty-penned “Ways to Be Wicked” … “stick it in, indeed.” Also: the sweet, sweat-drenched “Sweet, Sweet Baby (I’m Falling),” “East of Eden,” “You Are the Light.” “Soul, Soup and Salvation.” “Pass It On” …. “keep the faith of the battles won” pretty much says it all. What more can you ask for? (A) --JGG