Lone Justice

(Traduzione di Chat Gpt)

Well, look who’s back! Once destined to go down in history as one of the many glorious shooting stars of the 80s, overshadowed by the solo career—and the charisma—of their singer Maria McKee, Lone Justice unexpectedly rise from their ashes, returning with a new album nearly 40 years later. It's their first release since "Shelter" (1987), the second installment of what seemed to be a prematurely concluded project, despite having drawn in some big names from rock’s born-in-the-USA scene: Steve Van Zandt, aka Little Steven, Bruce Springsteen’s legendary guitarist, producer Jimmy Iovine, Tom Petty, and most of the Heartbreakers, along with an incognito Annie Lennox who lent some vocal cameos.

The Californian band’s new album is proudly titled "Viva Lone Justice," and it was made with the lineup that created their beautiful 1985 debut LP: Maria McKee on vocals, guitarist Ryan Hedgecock, and bassist Marvin Etzioni, with a contribution from drummer Don Heffington, who sadly passed away on March 24, 2021. How they managed to make it is quickly explained: it's a mix of old and new. A few years ago, after Heffington’s death, Etzioni found a heap of tapes from the early 90s on which he recorded two-track demos with the drummer and McKee, for her second solo album, "You Gotta Sin To Get Saved." Etzioni then suggested McKee use the material for her next solo project. But to his surprise, she invited him to find Hedgecock and turn it into a new Lone Justice album.

Later, more tapes were discovered, as well as a live track ("Nothing Can Stop My Loving You"), which was added to the album. Etzioni also oversaw the production, using the original recordings as a foundation and layering new parts, primarily Hedgecock’s guitars and harmonies. Tammy Rogers (Dead Reckoning) joined them on violin and strings, David Ralicke on brass, and Greg Leisz on steel guitar, along with Benmont Tench of the Heartbreakers—one of the original project’s main contributors—on piano. The only parts left untouched were Heffington’s drums, out of respect for the late drummer, whom Etzioni called “our Ringo.”

The result is a collection of vibrant and joyful songs, bursting with the same boundless energy the band exuded back then. Anyone who remembers that blonde young girl named Maria, clinging to her Telecaster, shouting her fiery cowpunk sermons with her crew of black-clad musicians like a group of Mormons, on a hot Roman afternoon in 1987, while waiting for U2’s Joshua Tree Tour—well, seeing her again like this, with that same freshness and exuberance, yelling back and forth with Hedgecock in a wild rendition of the traditional “Jenny Jenkins,” is truly heartwarming for those who passionately lived through that short-lived era.

If, however, the Lone Justice of the 80s constantly oscillated between rural (or "cow-punk") roots and the rock tension brought by their eminent mentors (Tom Petty and Little Steven), this new work is proudly rooted in country, starting with tributes like "Nothing Can Stop My Loving You," a classic written by George Jones and Roger Miller and first sung by Jimmy Dean, here from a 1984 concert with Joel Sonnier on accordion. Then there’s the famous "I Will Always Love You," graced by Rogers’ violin and Leisz’s steel guitar, and thankfully restored to its original spirit by Dolly Parton, who wrote it in 1973 on the same day she composed "Jolene." The song went on to dominate the country charts, including Linda Ronstadt’s version (from her 1975 album Prisoners In Disguise), before being melted into syrup by poor Whitney Houston in her overly sentimental, best-selling cover.

Strengthening the connection to their roots is the revival of the traditional “Rattlesnake Mama,” which Lone Justice already performed live in 1983—here in an acoustic version with Hedgecock on harmonica and Rogers on violin—along with the bold hillbilly tune “Alabama Baby” (first recorded by the Armstrong Twins in the 1940s) and the rockabilly rendition of "Skull And Cross Bones," released by Sparkle Moore (aka Barbara Morgan) in 1956 as the B-side of the single "Rock-a-Bop."

But above all, it’s (predictably) a triumph for the vocalist. Still far from the dark enchantments of the tormented Life Is Sweet, McKee shines with her clear voice, reaching absolute heights on the opening track "You Possess Me" (written by Etzioni), where she sings a cappella against a background of strings and mandolin, in a blazing cover of the 1978 single "Teenage Kicks" by the Undertones, performed with pure punk flair over Hedgecock’s distorted guitar soundscape, and in the poignant "Wade In The Water," which revitalizes the band’s gospel-spiritual roots (who remembers the old songs "Don’t Toss Us Away" and "You Are The Light?") with a jubilant song that harks back to the days of slavery. To close the circle is another spirited reinterpretation in country-swing style of "Sister Anne" by the MC5, featuring Tench’s barrelhouse piano and Ralicke’s brass.

Apart from some excess exuberance and a somewhat homemade packaging, Viva Lone Justice is a pleasant album that primarily lives off heartfelt reinterpretations of timeless classics, entrusted to one of the best singers of her generation and her (once) seasoned ensemble. Those who were expecting new songs by Lone Justice, however, may be disappointed and might find solace in listening to McKee's latest excellent solo album, La Vita Nuova (2020). For anyone new to Lone Justice and intrigued by them, it’s highly recommended to listen to their two 80s LPs, Lone Justice and Shelter: their real gems are there. In the meantime, we can only say “welcome back, Lone Justice,” even if it’s just for a reunion among old friends.

29/10/2024