Lone Justice fans lured back into the Maria McKee fold by her 2005 disc Peddlin’ Dreams probably won’t cotton as much to her sixth studio album, although it includes quieter moments, particularly the gentle pull of the spare “My First Night Without You” and the intimate acoustic introduction to “Power On Little Star”. And McKee does look back, in a manner of speaking, by reclaiming her original “A Good Heart”, recorded by former Undertones vocalist Feargal Sharkey back in 1985. While that version, a peppy #1 U.K. chart hit, was slickly produced by Eurythmics’ Dave Stewart, the author slows it down and scuffs it up, taking a more relaxed approach.
But acolytes who long ago accepted that loving McKee means simply holding on tight as she whips this way and that in pursuit of her muse are in for a hell of a ride. Late December picks up where the thrilling (and controversial) High Dive left off in 2003. “Too Many Heroes”, with its glam-rock guitar chug, swaggers like a first cousin of David Bowie’s “Queen Bitch”. The title track combines finger snaps, spoken asides, flourishes of wah-wah pedal, and gospel backing vocals; in lesser hands, this mish-mash might be an embarrassing shambles, but McKee puts it over with the familiar assurance of a ’70s soul oldie.
The chords and cadences of the piano-driven “Destine” recall Kurt Weill, while “Cat In The Wall” is as eccentric as Kate Bush or Tom Waits in their prime. Despite the finality of its title, Late December marks not an ending, but another thrilling twist in McKee’s mercurial career.