Maria McKee: Gulpin' Down Communion Wine

Consider this an addendum to my Lydia Loveless post. When I first started writing about "Jesus Was A Wino," "Drinkin' In My Sunday Dress" was a natural point of reference. Unfortunately, after roughly 27 drafts, I realized that the post worked better without it. However, I think the comparison makes sense.

Maria McKee is an obvious antecedent to Lydia. When Maria was 20-21 years old (1984-85), she was a badass country singer/songwriter with a great voice, gleefully mixed punk with country, and was backed by a solid roots-rock band (Lone Justice). By the time "Sunday Dress" came out in 1989, Maria had (sadly) moved on from country music into more earnest, sensitive, almost proto-Lilith Fair territory a thousand miles from the cowpunk golden age. "Sunday Dress" was a kickass throwback, and I previously addressed it in 13 Songs: 1989 Reconsidered. I stand by what I said then.

"This is the Maria McKee I want cloned and kept in a vault. That Voice, plus her spirited appreciation for classic roots music from Hank Williams to X is/was a potent combination. Unfortunately, the woman who could've been the cowpunk Patsy Cline was knee deep in her Stevie Nicks phase in 1989. Thankfully, "Sunday Dress" escaped the industry's lacy, twirling subterfuge. It pays stylistic homage to the heady early days of Lone Justice and looks ahead to 1993's outstanding You Gotta Sin To Get Saved album."

FWIW, about a year after the "13 Songs" post, I put together a 40-45 minute audio documentary on early Lone Justice. We're talking the real deal country-punk stuff that gives their legend some balls/ovaries. The doc is a mix of recordings, live stuff, and radio/ TV appearances. Check it out:

Lone Justice and the Workin' Man Blues: 1983-85

I'VE HAD MY FUN AND NOW I MUST CONFESS

Our reverend is a kingly soul, repents 'em on a dime

His bible is not inked in gold, he is not the cheatin' kind

One Sunday after meetin' I was in the greetin' line

He said I've seen you from the altar

Gulpin' down communion wine

Just remember who's beside you when it's no business of mine

Returning to the song of the day, this verse represents the fundamental difference between "Sunday Dress" and "Jesus Was A Wino." Both Maria and Lydia use country music to build narratives about drinking, sinning, and how religion intersects with both. But, that's where the similarities end.

For McKee's character, religion offers hope and a possible safe place. The reverend is a kingly soul, not a mooch, and extends his support even while knowing that some things are none of his business. By contrast, Loveless' character sees religion as an overbearing, judgmental presence in her life. The narrator of "Wino" knows that people look down on her for being a drunk, and there's nary a safe place in sight. What's interesting to me is that though these songs were written roughly 22 years apart, both women effectively use the vision of wine as alcohol and sacrament to make their respective points. Maria above and Lydia below:

They're gonna feel almighty when I can barely stand

I just tell them I couldn't turn down

One more glass of the blood of the lamb

Please note: I'm not claiming that from these songs you can extrapolate each singer's individual views on religion. They could be snake handlers or atheists for all I know and frankly, that info is besides the point. A singer can use "I" without it being autobiography and fictional narratives can just as easily speak to larger cultural truths as non-fictional narratives. But hey, all this talk of wine has made me thirsty. Is it just me?

Lydia Loveless and the Blood of the Lamb

Lydia with old friend, Fender Telecaster

"They're gonna feel almighty
When I can barely stand
I just tell them I couldn't turn down
One more glass of the blood of the lamb."

About a month ago, I had the good fortune to see Lydia Loveless and Wild Flag on the same day (October 29). I actually saw Lydia twice. She and Ben Lamb, her standup bassist/husband (not necessarily in that order) played a 30 minute in-store at End Of An Ear, followed a few hours later by a 45-50 minute opening slot at the Hole In The Wall. The timing was perfect because once Lydia finished at the Hole, I had time to get to La Zona Rosa to see the Flag kick out the jams. All in all, a formidable day of music and one so female-centric my estrogen levels were through the roof for like 48 hours. Trust me, I know my body.

I've waved the Wild Flag on a couple of occasions [here and here], but Lydia Loveless was a new discovery. After hearing two sets, two albums, and a few random bits online, I have to ask, "What the hell am I not supposed to like?" She sings plainspoken country songs almost equally informed by punk rock fuckyouness and folkie singer/songwriter angst I usually mock. But, in her hands it works. On record, I'd say her sound is about 50/35/15 country/roots-rock/folk, but when I saw her and Ben, it was just driving acoustic guitar and thumping standup bass. Straight up Sun Records. Oh, and have you actually heard Lydia's voice? Yeah, that might help.


Shake It Records, Cincinnati, OH
September 22, 2011
(Might have to turn up volume and treble)

I wish this recording were about 20% better, but regardless, Lydia's voice jumps out like a brassy horn in front of a freight train.

I chose "Wino" for two reasons: 1) I love the word "wino." People don't say it nearly enough. Do they think they're making a Sanford And Son reference? Winos are all around us, usually in minivans driving kids to soccer practice. Plus, the word "wino" is so much fun to say. Props to Lydia for being a positive ethno-linguistic role model. 2) "Wino" is my favorite song on Lydia's new Bloodshot album, Indestructible Machine. I love how it uses a fairly traditional country/rockabilly framework to flip a lyrical bird, like a 2011 version of "Fancy" (YouTube) or "Harper Valley PTA." (YouTube)

Lydia Loveless - Jesus Was A Wino [buy]

Indestructible Machine
2011

"I grew up in a strongly Presbyterian area, and I was around people all the time judging other people who drink or smoke. It's not an anti-Jesus song, it’s more an anti-uppity-Christian-attitude song."
--Loveless to Greg Kot, Chicago Tribune
 
Clearly, the album version is more polished and roots-rockin' than the live duo version, but that only makes it excellent for different reasons. There's the same boom-chicka-boom foundation, but here it's fleshed out with giddyup drums and a sinewy Telecaster lead. It's like Marty Robbins on speed. Oh wait, Marty Robbins on speed was named Johnny Cash. My bad.

On a personal note, as much as I hear Neko Case (specifically "Mood To Burn Bridges" from Furnace Room Lullaby) and as much as I get the Loretta Lynn, Wanda Jackson, and Rose Maddox references, this recording reminds me more than anything of the Old 97's.

Old 97's - Timebomb [buy]
Too Far To Care
1997

If "Jesus Was A Wino" came out in 1997, it would've been instantly labeled alt.country just like the Old 97's were.

Johnny Cash train beat: check.
Economical, but effective Tele work: check.
Booming lead vocal from hot chick lead singer: check and HEY-OOO!

I would've pointlessly argued that "Wino," like "Timebomb," is really just a country song, so we should just call it country, but if we absolutely had to qualify it, wouldn't roots-rock or country-punk make more sense than alt.country? Alt (or alternative) doesn't mean anything. At least punk evokes urgency, the aforementioned fuckyouness (in content and production), and a general DIY spirit, all of which might describe Lydia. What the shit has alt (or alternative) ever meant? Alt is amorphous to the point of formlessness.

"Having her on my brain's like getting hit by a train."

While I consider my argument technically sound, the alt.country tag would've stuck for the same reason every other tag sticks. People don't care about taxonomic accuracy, they care about talking in the same language. Therefore, if enough people agree at a specific moment in time that alt.country describes "Timebomb" or "Jesus Loves A Wino," then alt.country will stick, and I can just put that in my roots-rock/country-punk pipe and smoke it.

Damnations - Corona [buy]
Where It Lands
2002

I'm including this third song because it completes the twangy punk rock trilogy. Most people recognize this as the Jackass theme song. Of course, they SHOULD know that it's one of the hidden gems on Double Nickels On The Dime by the Minutemen, probably one of the 10 greatest rock albums ever made. I like the Damnations version because it expands upon the song's tex-mex engineering with Austin, TX, know-how. The Damnations typically showcased sisters Deborah Kelly (vocals, acoustic guitar) and Amy Boone (vocals, bass,pi) on angel harmonies, but "Corona" features Deborah singing with guitarist (and future husband), Rob Bernard.

Damnations L-R: Amy Boone, Deborah Kelly, Rob Bernard

I love the gloriously ragged harmonies, but this tune is all about Bernard laying down the sweet D. Boon/Curt Kirkwood guitar riffs over the underrated Boone and Conrad Choucroun (drums) rhythm section. I probably should point out a couple things. First, Rob is probably best known around these parts for founding Prescott Curlywolf. Also, he plays a Tele largely because of the Boon influence (well okay, along with Keith Richards). So, there's that.

"The people will survive ... in their environment."

"Corona" is also important for tapping into the beautifully ramshackle nexus where punk rock meets country and it's that territory that unites The Damnations, Old 97's, Minutemen, and Lydia Loveless. They're all part of the same badass continuum leading back to Cash, Carl Perkins, Elvis, etc.

Lydia's voice is a powerfully elegant instrument and I chose my final track largely because of it. However, I'm including this third version of "Wino" to illustrate a point about songwriting. When a song is so versatile that you can hear three different versions and they all work, it's a reliable indicator of quality. In this case, I think that's true of the song and the songwriter.

  Lydia Loveless "Jesus Was A Wino" Live at KDHX 11/18/11 by KDHX
 

"This $6 bottle is just about all that I can afford
And if I can't find a corkscrew
I'll just smash it open right here on the floor."

A beautifully stark version of "Wino" that's about as pure country as you can get. No rock, no rockabilly, maybe incidental folk. You really need to hear the entire KDHX webcast, which is Lydia performing three songs solo. I also recommend listening to her Daytrotter session, recorded on October 18. Girl's got game.

I'M LOVELESS, I'M LOVELESS 

Lydia Loveless home page

Lydia Loveless on Bloodshot Records

Buy Indestructible Machine (available on vinyl, CD, and MP3)