10 Maria McKee Songs That Will Leave You Mesmerized

Maria Mckee Songs

Photo: By Karl af Geijerstam (Own work) [CC BY-SA 3.0 (http://creativecommons.org/licenses/by-sa/3.0)], via Wikimedia Commons

I have been holding off on publishing this list for years simply because I could never find the words to express how stunningly beautiful these songs are. I have started this list multiple times and written about so many of her songs as descriptively as possible, but, as always, in every attempt, I felt I could not do justice to the material. Justice is a funny word to use, as anyone who knows Maria McKee’s history would understand.

I first discovered the wonder of Maria McKee when I heard her singing in a band called Lone Justice. After hearing just a few songs, one being Tom Petty’s “Ways To Be Wicked,” I fell in love with the band—or, I should say, the voice and persona of Maria McKee. The first Lone Justice album was released in 1985. This band crossed so many musical genres, from country to rock to punk to who knows what. However, none of that seemed to be intentional; it was a group that seemed to be just doing what came naturally to the musicians.

At the time, Lone Justice consisted of Maria McKee on vocals, guitar, and harmonica, Marvin Etzioni on bass, Ryan Hedgecock on guitar, and Don Heffington on drums. McKee, Etzioni, and Hedgecock all contributed to writing 9 out of the 10 songs on the album, along with some songwriting contributions by Benmont Tench and Steven Van Zandt. The lone cover was the Tom Petty song. It was, hands down, a brilliant album. For me, it was one of the most played records I purchased in the 1980s.

The second Lone Justice album featured almost a completely new band, with Maria McKee and Ryan Hedgecock being the only members from the first album still along for the ride. One thing was very clear: even though it was a group, this was all about Maria McKee. Her talents as a songwriter, singer, and performer were blowing away anyone who was lucky enough to have seen or heard this band.

The second album, Shelter, sounded significantly different from the debut. It was easy to hear what Steven Van Zandt was attempting to do with the group, especially for those familiar with his musical career. However, what we would also soon discover was that Maria McKee was growing up, and her talents were not to be tamed or molded by anyone. After two albums, Maria McKee would break up the band and begin her magical solo career.

It was easy to write about Lone Justice. Her solo career is so wide in scope that it made writing about her solo path far more challenging than covering her work as a member of Lone Justice. The group had gained a massive cult following, leaving many fans wondering why they never broke through worldwide. Yet, the decision to leave the band made perfect sense to anyone who purchased Maria McKee’s first solo album. In Lone Justice, she had to compete onstage with a loud rock and roll band. As a solo artist, she could place her stunning voice front and center. This was no ordinary voice—her control, resonance, and pitch mesmerized listeners in both the lower and higher registers.

Maria McKee’s first two solo albums were filled with a mix of cover songs and originals, both released on Geffen Records. These were two major label albums, with promotion, videos, and all the hoopla surrounding such releases. Both albums are wonderful; most artists dream of releasing records like these, filled with beautiful songs, stellar production, and incredible performances from her band and, of course, Maria herself. Yet, Maria McKee was no ordinary artist. Anyone who listened closely to what she was doing could hear that she was a once-in-a-lifetime talent. The problem is that the powers in the industry who have the ability to help break artists aren’t always listening for what they should be.

It was on Maria McKee’s third album, Life Is Sweet, that we see the emergence of an artist creating music for the history books. From that point on, through her astonishing albums High Dive, Peddlin’ Dreams, Late December, and La Vita Nuova, Maria McKee ascended to a level of brilliance that few artists ever attain. This brings us back to our original dilemma: how does one write about songs that stand as works of art and make any meaningful contribution to the examination of these works? The answer is simple: it can’t be done. However, what I can do as a fan, journalist, and historian is to introduce some of these songs to an audience who may not be familiar with her material, presenting the story behind them. As I write this, I can’t help but think of the old Wayne’s World skit in which Mike Myers and Dana Carvey drop to their knees, chanting, “We’re not worthy, we’re not worthy.”

This list will focus only on the songs Maria Mckee recorded and released on her solo albums. Her work with Lone Justice has already been covered in our Lone Justice songs article.

# 10 – To Miss Someone – Maria McKee

Our Maria McKee songs list opens with the hauntingly beautiful ballad “To Miss Someone.” Released on her 1989 self-titled debut studio album, Maria McKee, the song captures the vulnerability and emotional turmoil McKee experienced following the breakup of both her band, Lone Justice, and her relationship with her boyfriend. McKee has described that period as “an all-time low,” having left behind her band and her boyfriend in Los Angeles to start anew in New York City. However, if you were to ask any artist what fuels the creation of beautiful music, they will almost always say, simply, “pain.”

Maria McKee’s “To Miss Someone” is not just a song about heartbreak and loss; it’s a showcase of her ability to take a personal tale and weave it into a work of art. The song’s beauty is evident both in the recorded performance on vinyl and in the evocative video directed by Jesse Dylan. The poise that McKee holds throughout the video depicts an artist releasing music not for the sake of record sales and fame, but for the art form itself. It’s here, on this album and especially in this song and video, where one can see the growth of an artist ready to transcend the music industry’s shallow agenda and establish deeper creative roots.

# 9 – Breathe – Maria McKee

What you’ll notice instantly about this one is the deeply cinematic qualities that surround Maria McKee’s music. The opening guitar sound from Richard Thompson hits you hard, grabbing your attention immediately. The minor chords settle in, confirming a haunting mood — a mood not focused on the past, though that likely plays a significant role, but rather on the uncertainty of the love that lies ahead. This is where the cinematic Celtic film noir begins to resonate. As the follow-up single to “Show Me Heaven,” Maria McKee’s “Breathe” reveals another side of her — a side that would become much more prevalent in her future releases. Featured on her debut album, “Breathe” is the song that truly captures her spirit more than any other track.

Up until this point, she was known as a much loved rock-and-roll cow-punk style singer with a number one single in “Show Me Heaven,” an incredible voice, fantastic songwriting skills and striking looks. But in “Breathe,” the future artist we would soon come to know winks at us, teases us, and leaves us spellbound. Don’t miss the video below — you’ll understand why.

# 8 – I’m Gonna Soothe You –You Gotta Sin to Be Saved

The pop style rooted in Americana, country, rock, and punk still holds steady at times on Maria McKee’s sophomore solo album, You Gotta Sin to Be Saved. That is not a bad thing; in fact, this is a fabulous album that continues to show artistic growth while presenting listeners with some extraordinary songs and performances. The album is filled with a combination of cover songs and originals. Opening the album, “I’m Gonna Soothe You” was an original track composed by Maria McKee, Bruce Brody, and Marvin Etzioni. The song was released as the album’s debut single. It received some fair airplay on MTV at the time but failed to make a big impact on the U.S. charts. However, it did become a Top 40 hit in the United Kingdom. Overall, You Gotta Sin to Be Saved would become the highest-charting album of her solo career.

Leaving behind all the statistics, what we have here is a song that does exactly what its title suggests: it makes you feel good. How could you not enjoy this one? It’s a soulful pop-meets-country blend that is incredibly captivating and addictive. At the time, we had no idea where Maria McKee was heading musically. If she had stayed the course and continued releasing music like this, that would have been fine with us, but we do love even more the eventual direction she turned to. If you’re in the mood for a sweet-sounding, feel-good tune with a vocal that will make you smile, take a listen to this one.

# 7 – Good Heart – Late December

Now this is a really interesting one. Maria McKee composed “A Good Heart” back in the early to mid 1980s.  The song was about her relationship with Benmont Tench, the keyboardist for Tom Petty and the Heartbreakers. Former Undertones lead singer Feargal Sharkey released it as the lead single from his self-titled debut album in September 1985.

A Good Heart” reached number one on the UK Singles Chart for two weeks in November 1985, marking Sharkey’s only chart-topping single, although its success in the United States was more modest, where it peaked at number 74 on the Billboard Hot 100. In addition to Sharkey’s hit version, the song was later covered by Kris McKay for the soundtrack of the 1989 film Road House. The version below, which is  just incredibly stunning, was released finally by Maria McKee herself on her 2007 album Late December.

# 6 – Be My Joy – High Dive

When writing about the exhilarating song “Be My Joy,” it is essential to mention that Maria McKee’s half-brother was Bryan MacLean, known for his work as a member of the phenomenal 1960s band Love. Although I did not bring this up in the introduction, as it initially seemed outside the scope of this discussion, I feel it is important to highlight this family connection here. Listening to this song, it becomes apparent that MacLean likely had a profound influence on McKee’s songwriting. One can easily detect the impact of a band like Love in this piece.

Of course, there is a soulful country aspect to McKee’s writing present here, but there is also a 1960s psychedelic echo that weaves through the melody and chord changes, creating a haunting yet captivating effect. This element is clearly present in her later solo work, which I believe is some of the most compelling material she has ever released.

# 5 – Show Me Heaven

Just as we were starting to dive deeply into her later work, we bounce back to the most commercially successful song of her career. As an artist with such incredible integrity, it seemed that at first, Marian Mckee ignored the success she had with this song. She rarely performed it in concert. However, over the years, she seems to have seen the song in a much more favorable light. It’s a beautiful song, and her vocal performance on the track is simply out of this world.

Show Me Heaven was recorded for the soundtrack to the 1990 Tom Cruise film Days of Thunder. The song achieved significant commercial success, topping the UK Singles Chart for four consecutive weeks and becoming the sixth-best-selling single in the UK for 1990. Beyond the UK, “Show Me Heaven” became a global hit, reaching number one in Belgium, the Netherlands, and Norway, and securing top-five positions in Australia, Ireland, Sweden, and Switzerland.  The track was written by Eric Rackin, Jay Rifkin, and Maria McKee, who rewrote the song’s original lyrics.

# 4 – I Should Have Walked Away – La Vita Nuova

There is a reason why we followed the song “Show Me Heaven” with her latest recording from her 2022 album La Vita Nuova. Released over thirty years after “Show Me Heaven” was recorded, the contrast between “I Should Have Walked Away” and “Show Me Heaven” underscores McKee’s artistic growth and personal evolution. While “Show Me Heaven” reflects the optimism and emotional openness of a younger artist searching for connection, “I Should Have Walked Away” reveals a seasoned songwriter who has grappled with more profound, possibly painful life experiences. Through evocative and vivid imagery, McKee explores themes of obsession, unfulfilled longing, and the inner conflict that arises from being drawn to someone or something that ultimately brings more pain than solace. The song is filled with rich, poetic language that mirrors the emotional intensity and complexity of her experience.

In the first verse, McKee uses the metaphor of “kinetic architecture” to describe a person whose dynamic and shifting nature fascinates and perplexes her. The “geometry” and “lack of stillness” she mentions suggest that this person is unpredictable, ever-changing, and difficult to understand. She observes their movements, comparing them to the ebb and flow of a tide—an image that evokes both beauty and danger. McKee admits that she “should have known better” than to engage with this person, implying a sense of regret. She realizes she should have “looked away” long ago, hinting at the emotional cost of becoming involved with someone so elusive.

In the second verse, McKee’s language becomes even more layered, describing the person’s “beauty” as a “study of aesthetic / Peak and failure from one moment to the next.” This suggests a complex duality, where the subject’s allure is both captivating and fraught with flaws. McKee acknowledges that she has tried to “dignify it most respectfully” by attempting to avert her gaze, but ultimately, her curiosity and fascination draw her back in. She reveals a sense of helplessness in the face of this powerful attraction, comparing it to being “tethered to your unknowableness.” This line captures the paradox of being bound to something she can never fully grasp or control, indicating that the pull of this person has been so strong that it has kept her grounded through a tumultuous emotional period.

The third verse shifts to a more personal and physical expression of the pain and longing McKee experiences. Her “heart is draining out along my arms down to the fingers,” a visceral image that suggests emotional exhaustion and vulnerability. The mention of her “fingers which have toughened at the tips” from playing instruments indicates that music has been both a refuge and a source of anguish. She finds herself once again drawn back into making music, despite her internal plea to “let me be.” The act of laying her head on the piano keys and weeping symbolizes surrender and a desire for release. Yet, her hands instinctively find their way to “another melody,” showing how her connection to music—and perhaps to this person or experience—continues to compel her forward despite the pain.

Anyone who has ever picked up a pen, written a lyric, or composed a melody should listen to music like this to truly understand what the term artist can truly mean. 

# 3 – Absolutely Barking Stars – Life Is Sweet

In the number three spot on the Maria McKee song list, we step back a few albums and nearly twenty years. Released in 1996, McKee’s Life Is Sweet marks a significant turning point in her musical career. I remember when I first bought this album; I was astonished by how different she sounded. Her voice remained incredibly gorgeous and breathtaking, but the songs themselves had evolved. This was songwriting on an entirely different level from what she had done before, which was already impressive.

It’s on Life Is Sweet that we witness the birth of a more mature Maria McKee. We must remember that she started in this business at a very young age and achieved incredible success while still a teenager or in her early twenties. Just think about how little any of us knew at seventeen or eighteen years old. She had already become a stunning artist. Yet, a decade after her debut with Lone Justice, we find Maria McKee delivering songs on the level of greats like Tom Waits or Joni Mitchell.

The song opens with a single guitar strumming in a way reminiscent of Neil Young’s earlier work. Yet that compassion ends quickly as Maria Mckee approaches that microphone and begins delivering another stunning vocal. The guitar lines between the chord changes seep in, offering a taste of early 90s grunge layers with drips of 60s musical sentiment. It’s just perfect. Here we have Mariah McKee growing with the times and being musically reflective of the era she’s writing in while also contributing more than she takes.

# 2 – Turn Away – Peddlin’ Dreams

Continuing with our Maria McKee list, we jump ahead into the 2000s, almost ten years after Life Is Sweet was released in 1996. In 2005, Maria McKee released the Peddlin’ Dreams album. I remember reading reviews of this album when it first came out and shaking my head in disgust, as critics not only seemed unable to grasp what she was doing, but were also unable to recognize just how brilliantly these songs were written. Maria and her husband, Jim Akin, had created an album of songs that did not adhere to any conventional styles. These songs weren’t crafted to be hits; they were simply written to be great songs.

The music, lyrics, production, and musicianship on this album produced a collection of songs that became cinematic adventures, much like the way Springsteen crafted his early work. As we started to run out of room on this list, it became increasingly difficult to pick just one song from this record to represent this magnificent work. The first three songs on the album are mesmerizing, and each one is entirely unique. In the end, we chose the third song, “Turn Away.” For this one, we won’t say anything further—just listen to it, and you will instantly understand why it made our list.

# 1 – Courage – La Vita Nuova

Closing our list of the Top 10 Maria McKee Songs is “Courage,” a poignant and introspective piece from her 2020 album La Vita Nuova. Recorded in Dublin, Ireland, with McKee herself at the helm of production, “Courage” reveals McKee at her most vulnerable and poetic. As we said in the opening paragraph, We spent years thinking about this article because of how much Maria McKee’s music means to us here at the site. When I first heard this song on her latest album, which has been out for four years,  I knew this was the one I would place at the top of the list. The chorus is simply breathtaking. This is her finest work.

Lyrically, “Courage” defines the challenge that so many of us have been tormented by throughout our lives. The inability to speak about how we truly feel about someone for whatever reason. McKee uses the example of “Sweet Beatrice,” a figure whose beauty and presence provoke both admiration and anguish. “I will never have the courage to tell her,” McKee sings, her voice wavering between resignation and yearning. The song is rich with imagery, from “a magnetic pulse” that grounds Beatrice to the narrator’s own confessions of emotional paralysis. The lyrics delve into the human condition’s most private spaces, where love is hoarded “among my ruins,” and the possibility of expression remains painfully out of reach. It is a meditation on the nature of desire, secrecy, and the self-imposed barriers we erect out of fear and uncertainty. The song is hauntingly beautiful yet highly devasting because we can all relate to it.

As the final entry on our list, “Courage” is a fitting conclusion that showcases Maria McKee’s artistry at its most refined and fearless. It is a song that speaks to the complexities of love, the bravery needed to confront our deepest fears, and the quiet strength found in accepting what cannot be changed. McKee’s performance on “Courage” is a reminder of why she remains one of the most compelling voices in contemporary music, capable of blending poetic lyricism with musical sophistication to create something truly timeless. In “Courage,” McKee offers a glimpse into the very soul of an artist who continues to push boundaries, both within herself and in the world of music.

maria mckee

Maria Mckee Songs

Photo: By Cabaret Voltaire [CC BY 2.0 (http://creativecommons.org/licenses/by/2.0)], via Wikimedia Commons

10 Maria McKee Songs That Will Leave You Mesmerized article published on Classic RockHistory.com© 2024

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