The Wildhearts man on ‘the bizarre case of Maria McKee’. Check out Ginger’s past Secret Of Rock’n'roll entries.

Maria McKee
Maria McKee
Geffen, 1989

Possibly the strangest tale of underachievement in the history of criminally ignored talent is the bizarre case of Maria McKee. This stunningly beautiful, multi-instrumental songstress not only wrote her own material but was – and still is – the owner of the such a powerful voice and limitless range that the fact people only know of her via the execrable fluff that is ‘Show Me Heaven’ and Fergal Sharkey’s ‘A Good Heart’ (both of which she penned) only heightens the mystery of why Maria McKee isn’t a name held in the same regard as Dolly Parton.

Born in LA in July 1964 (same year as me, and, as well as sharing the birth year with Maria, her seemingly stuttering career is also something I’ve also taken great comfort in, musing that if someone of her immense talent isn’t hugely successful then what right have I?) she carved out a reputation in the early 80s as the explosive singer for Lone Justice, who spilt in 1986 shortly after the release of their second album Shelter, to which this self titled solo debut plays as a wonderful companion piece in its lyrical stylings and musical twists on the pop theme.

1989’s Maria McKee album begins much as ‘Shelter’ began with a rhythm led pop number, this time with ‘I’ve Forgotten What It Was In You (That Put The Need In Me)’, where after the album settles into it’s comfortable settings. Maria soothes and seduces with the masterful balladry of ‘To Miss Someone’ and ‘Nobody’s Child’ and the classic country rock of ‘Am I The Only One (Who’s Ever Felt This Way?’) before hitting the listener with the album’s shining and gloriously defining moment of absolute class, ‘Panic Beach’. Every touching word, every swooping chord progression and every detailed character, candidly painted in voyeuristically twice stolen tales, establish this song as a modern classic and quite simply a lesson in songwriting.

After this awesome moment only a truly great album could regain its composure and carry on with anything resembling confidence, but the tunes just don’t let up. ‘This Property Is Condemned’ recalls Chuck Berry’s emotive performance of ‘Cottage For Sale’ on the Hail Hail Rock’n’Roll movie before the blustery Tom Waits vibe of the chorus suggests yet another hit playing in an alternative and just universe, while ‘Breathe’ serves up generous inspiration for much of Tori Amos’ ‘Little Earthquakes’ album, some ten years later.
Then, just as ‘Shelter’ ends on ‘Dixie Storms’, as delicate a piece as human hand and voice could weave, ‘Maria McKee’ departs on a Richard Thompson composition, ‘Has He Got A Friend For Me?’, almost outdoing its former counterpart with awesome fragility and fine beauty. This song has the power to wring out a healthy flow from the most stony heart and haunt the listener long after the last, plaintive piano kisses.
And then it is over.*

An album of immense emotional breadth and panoramic musical scope by an artist fit to be labelled as a legend.

Legends don’t come around too often, and are often ignored until long after the point has been made.
Maria McKee is such a talent. Authentic, magical and quite unlike any other voice.

Let’s hope that the history books will be kinder to Maria than the foolish music industry that sadly missed this shining star in its ascension.

Check out Ginger’s past Secret Of Rock’n'roll entries.

* CD reissues of Maria McKee actually end with the awesome Drinkin’ In My Sunday Dress but Ginger has no truck with that. “Has He Got A Friend For Me is actually the final track on the vinyl,” says he. “I won’t acknowledge bonus tracks on CDs, I’m afraid. For me they ruin the running order.” Someone called Susan Haynes recently covered it. It’s decent enough, but faithful to the point of being, well, pointless: http://video.yahoo.com/watch/2072488/v28589437

See Maria McKee interviewed in 1989.

See Maria McKee doing Shelter last year.

This Property Is Condemned is also a movie starring Robert Redford and Natalie Wood.

Read the lyrics to this album here.