Lone Justice

Editorial Reviews

All Music Guide - Mark Deming
Few new bands receive the kind of critical buzz that Lone Justice generated prior to the release of their first album in 1985, and one senses the band not to mention producer Jimmy Iovine and Geffen Records wanted to deliver something special to merit the hype. Which was not necessarily a good thing; Lone Justice is an album that tries so hard to be great that it sometimes ends up tripping over its own ambitions. The record leaves no doubt that the first edition of Lone Justice was a very good band; on the best cuts, Maria McKee's voice sounds like a force of nature, bassist Marvin Etzioni and drummer Don Heffington are a strong and imaginative rhythm section whether they ...
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Editorial Reviews

All Music Guide - Mark Deming
Few new bands receive the kind of critical buzz that Lone Justice generated prior to the release of their first album in 1985, and one senses the band not to mention producer Jimmy Iovine and Geffen Records wanted to deliver something special to merit the hype. Which was not necessarily a good thing; Lone Justice is an album that tries so hard to be great that it sometimes ends up tripping over its own ambitions. The record leaves no doubt that the first edition of Lone Justice was a very good band; on the best cuts, Maria McKee's voice sounds like a force of nature, bassist Marvin Etzioni and drummer Don Heffington are a strong and imaginative rhythm section whether they were playing souped-up country shuffles or fifth-gear rock & roll, and if guitarist Ryan Hedgecock isn't quite a virtuoso, he's solid and inspired when he gets to step to the forefront. But guest keyboardist Benmont Tench and the other high-priced help including Little Steven, Mike Campbell, and an uncredited Annie Lennox often overwhelm the group's personality, and while McKee's songs celebrating the heart and soul of rural America are unquestionably sincere, they don't always ring true "After the Flood" and "Pass It On" sound more like writing exercises than narratives centered around believable characters, and they also seem to inspire Iovine's most bombastic production decisions. Where Lone Justice succeeds is on straight-ahead rockers like "East of Eden" and "Working Late," the C&W weeper "Don't Toss Us Away," and the tough "love gone bad" number "Way to Be Wicked," all of which prove that this band really did have the goods. In the wake of the 1990s alt-country movement, in which dozens of bands mined similar musical territory with more satisfying results, Lone Justice sounds like an example of too many cooks spoiling the soup; there's enough good stuff to make it worth hearing, but its hard not to wish Lone Justice had gotten the sort of sympathetic but hands-off production that allowed Wilco and the Jayhawks to do their best work.
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Product Details

  • Release Date: 3/19/1996
  • Label: Geffen Uk
  • UPC: 720642406021
  • Catalog Number: 24060
  • Sales rank: 56,335

Album Credits

Performance Credits
Lone Justice Primary Artist, Primary Artist
Marvin Etzioni Bass, Vocals, Background Vocals
Little Steven & the Disciples of Soul Guitar, Rhythm Guitar
Maria McKee Guitar, Harmonica, Vocals
Mike Campbell Guitar
Benmont Tench Organ, Piano, Keyboards, Vocals, Background Vocals
Tony Gilkyson Guitar
Bob Glaub Bass
Ryan Hedgecock Acoustic Guitar, Guitar, Vocals, Background Vocals
Don Heffington Drums
Steven Van Zandt Guitar
Technical Credits
Bobbye Hall Percussion Overdubs
Joe Chiccarelli Engineer, overdub engineer, Engineering
Greg Edward Engineer, overdub engineer
Jimmy Iovine Producer
Stephen Marcussen Mastering
Thom Panunzio Engineer, overdub engineer
Don Smith overdub engineer
Gabe Veltri overdub engineer
Shelly Yakus Engineer, overdub engineer
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