Justice

I had downloaded a couple of justice songs and loved them after a few days for them to grow on me but Cross just blew my mind. At times the tracks sound discordant and chaotic but all of them falll into a beat eventually. Most people dont like "ttthhheee parrrtttyyy" but there is something about it that i love, just an afterthought.

Although clearly going for the title next Daft Punk by exerting a highly refined, expertly produced signature sound of glowing keyboards and pulsing beats, this disc, especially in the latter half, falls short of lofty ambitions and becomes a clear-cut party disc without the benefit of it being much past that.

Got introduced to justice when i got introduced to the song Street Justice by MSTRKRFT. At first, i listened to their cd at hmv but i thought it sounded childish & amateurish. I forgot about it until I listened to boys noize.

I thought BN was a more professional in production & sound. After seeing BN in concert w/ mstrkrft where mstrkrft was very girly-man
house sounding, BN just powered through the crowd where 90% couldn't dance to bec they onlyknow girly-man house music. I had a blast. I think boys noize is phenomenal & it brought me to liking justice style of music.

justice, esp on their remixes, like to use distortion guitar/funk-based bass playing. Interestingly, when I listen to Chemical Bros' s songs, "in dust we trust" & "dig your own hole", i feel that I can hear justice. In addition, Chem bros' "these beats are made for breakin" & Daft Punk's "harder, faster breaker beat remix" are being recycled by Justice, boys noize, sebastiAn,surkin. It's interesting that Chem bros has lost its way & Justice is continuing their pioneering sound from their first 2 albums.
Prodigy's always outnumbered but never outgunned album is also being recycled by buzz-synth DJs which was ahead of its time.

When I first heard Justice cd, stress was my favorite track. I didn't like "dance" at all & i think mstrkrft's version is the best. Boys Noize remix of phantom totally rocks as well.

I got the album on vinyl & i think it sounds more "alive" than on CD. Songs like NewJack, let there be light, Stress & waters of nazareth totally rocks. I esp like the guy exhaling on "waters of nazareth".

When I saw their live clips, I see them trying to recreate 80s metal stage sets.

Cet album gouverne. C'est dommage la division de Basillios d'eux juste avant le relâchement de cet album. Bien que Basillios > l'album est solide... il n'a pas juste le même succès commercial comme la Justice. Il semble comme il sera le Dave Mustaine de musique électronique.

Bon Album.

This was one of the best electronic music albums I have ever listened, I just loved every single track in it. Definitely worth the money!

I recently got into dance music, and quickly discovered acts like Daft Punk, Justice, and Kavinsky. At the same time, I've been getting back into vinyl records. I did a search here on Amazon for Justice, thinking I would buy their 'Cross' album, and found this in the search results. A brand new vinyl maxi single for under $10? I'm there. I was disappointed that it didn't have the Carpates track. Strangely enough, this didn't have the same tracks as either of the releases Wikipedia mentioned. Rather odd. According to wikipedia, the tracklisting should be as follows:
12" (First Release)

1. Waters Of Nazareth
2. Let There Be Light
3. Carpates

or
12" and CD (Second Release)

1. Waters Of Nazareth
2. Let There Be Light
3. Carpates
4. Waters of Nazareth (Justice Remix)
5. Let There Be Light (DJ Funk's Bounce Dat *SS Remix)
6. Waters of Nazareth (Erol Alkan's Durrr Durrr Durrrrrr Re-Edit)

But this only contains THe original song, a Justice remix, an Erol Alkan remix, and a DJ Funk remix of Let There Be Light (in that order)



All in all, Waters Of Nazareth is a pretty good song. If you don't like loud analog noise, I wouldn't recommend it. But if you do, it's worth a listen. It is nowhere close to being their best song, but it is nonetheless listenable and danceable.

The Justice remix is just a rework, really, and to me is just about as good as the original.

The Erol Alkan mix is fantastic! It sounds almost better than the original, and puts some interesting twists on the original song without really adding anything else.

The DJ Funk Bounce Dat @$$ remix sucks Dat @$$ just as much as it bounces it. Seriously. It totally destroyed everything good about the song, and added some freakish rap thing to it. F-. This song makes me want to lower my score to a 3, but I know that wouldn't reflect on everything else, so I'll let it slide.

Final breakdown: If you like dance music, Justice, and have a turntable, this is a must buy! The album art is superb, and listening to the record is fun :D 4/5

if you are to buy this wonderful cd then buy it in cd format because it comes with 6 songs instead of 3 and all at near the same price

Yes it's good. If you're questioning whether you should buy this or not you should slap yourself as hard as you can, in the face, with an open container of used hypodermic needles. For a few bucks, Waters of Nazareth is totally worth it.

Although its different from Justice's hits of D.A.N.C.E. and We Are Your Friends, this album showcases that justice has their own unique style that will blow you away, it will take some getting used to but the songs on this album are quickly becoming a song that every club will play.

*FAST* delivery and easy to deal with, highly recommended seller, A++ (Thanks!!)

Compared to Maria McKee's other albums, one can tell this was when she was young, somewhat inexperienced, and not quite developing songs with the high standards of her future offerings. The first Lone Justice album is a lot of fun, high-energy, and a good listen. However, I like the sophmore Shelter release A LOT better, and Maria's post-Justice solo albums clearly show how she progressed from a California country punk-in to an extraordinary singer and artist. Of course it's her voice that stands out on this CD, and she makes even the trite, nursery-rhyme-esque "After The Flood" sound acceptable. The shout-along, call and response of "Should I go west...? NO!" on the lead track is annoying the first time, and becomes downright irritating with repeated listens. If you're a Maria McKee fan I guess this is a "must have" because it's her debut, but I'd put it at best 3rd or 4th on the list. There is a huge leap for the better from this debt Lone Justice album to the second, and final using that band name, Shelter CD.

I purchased this CD after years of fond memories of the album and cassette--it hearkens back to college years. Maria McKee & her band have terrific energy, and this is a perfect soundtrack for cleaning the house, baking, and singing along at the top of your lungs. I've always enjoyed and appreciated this recording for its production value--some impressive special guests, and the song order embodies the best of what an "album" used to be.

The first Lone Justice Album has an edgy, slightly raw feeling that showcases Maria McKee's vocal prowess better than any of her other efforts. While I have everything she ever made this remains my favorite. And the group rocks. I had the privilege of seeing them in an LA club shortly after this album came out and they were fantastic live.

This is one of those CDs that just keeps getting better every time you play it. A must have for any fan of rock music.

Thought I'd review other's reviews before submitting mine, and it seems like a lot of people wonder why this album didn't get much notice, didn't sell.....I'm just glad I found it 20 years ago or so. It's as emotionally riveting to me today as the first time I ever heard her voice. I sang along with her songs during some dark & sunny days in my life. I dreamed of the day I would became a mother so I could sing her songs to my baby girl. I sang Maria's songs to my baby girl when she was still inside me, and I do to this day. Her voice is immensely appreciated by those that listen to her, whether we are 1 or a million.

I was on the east coast and so had no direct access to the early-mid 1980s 'cowpunk' wave that provided real music worth hearing to Southern California club audiences. At the time, both commercially backed Country and rock 'n' roll were going downhill at an alarming speed. But prospects for a brighter future were on the horizon.

I first heard Lone Justice on one of the then few surviving 1970s-style FM stations: the ones that focused all energy on discovering great music, whether newly recorded or overlooked from the past. Maria's voice knocked me over; it struck me then as like a cross between Loretta Lynn and Tammy Wynette that was then revved up to the fastest rockabilly speed and energy level. When I finally got to see Lone Justice in concert, I was not disappointed: Maria was all in person that she seemed to be on record.

The self-titled Lone Justice debut is a classic of Country Rock. Not a single song is a throw away. Perhaps the best way to understand how great the album is, and how powerfully evocative Maria's voice is, is to listen to 'Don't Toss Us Away' (which was written by Maria's half-brother Bryan MacLean). When I first heard it, I declared that it should be a #1 Country hit, and later it was for Patty Loveless. I like Patty Loveless a great deal, but I have no hesitance in asserting that the Lone Justice version of 'Don't Toss Us Away' is superior to the Country hit. That a slip of a young girl pulled it off is simply amazing.

Perhaps my favorite song on the album is 'After the Flood,' which Maria wrote. It is a California version of agrarianism in song, one that rocks. 'Soap, Soup, and Salvation' shows Maria as writer to have a keen sense of humor and eye for detail. On bassist Marvin Etzioni's 'Working Late,' Maria also shows her comic chops as a frustrated young wife who sounds as if she is about to hunt bear when he does get home from the alleged working late. 'Sweet, Sweet Baby,'which Maria co-wrote with Heartbreaker Benmont Tench (who plays keyboards on the album) and E Street Band member Little Steven VanZandt, shows her ability to belt blue-eyed soul in the mold of a Linda Ronstadt. Etzioni's 'You Are the Light' is an ideal album closer.

This album should be owned by anyone with anything more than a passing interest in Country rock or rockabilly or the 1980s Country revival, which featured Maria's friend Dwight Yoakam (she sings on his debut album) and Steve Earle. The dirt-cheap price means you can purchase several copies to give as gifts.

Unlike many Lone Justice and Maria McKee fans, this is my favorite album. Maybe because the first time I heard of them was the performance of Shelter on SNL. That song inspired me to buy the album way back in '85 and I've listened to it consistently ever since. Amazing vocals throughout, and music that fits the songs perfectly in my opinion. I never skip a track on this one, but standout tracks include the title track, Belfry, The Gift, Dixie Storms, and Wheels.

Sing to me. I can't get Belfry out of my head. You Lone JustiCe rider. A woman against the world is what this sounds like. Holy Shiite Batman..I think I want to own the world and take up much of the darkness with my love. I wonder if Sarolta has this. It might be good..(Wink..)I love this. The tiny woman with the big guitars and voice and drums and heart. Kind of like a Tom Petty "Southern Plantation" kind of album. Don't come around here no more..Love to those freakin rockers and Maria who saved my lifE tonight if I have a crises! Love..Ahh..Is it a strong enough expression? I wanted to buy a poetry book. But I just wanted inspiration. And here it is.."Inspiration"'s the song that put Maria on aN undeniable sacred place in the hearts of the loving life changers of ths worlD!

Back in the late eighties, early nineties, I was going through a transition in my taste in music. I was discovering new music that my peers in high school would never listen to. It was definitely an alternative to the metal and r&b/hip hop music that they listened to. One of the greatest discoveries was Lone Justice's "Shelter". I bought the cassette version not long after I heard the country-ish title track on a local radio station. What really stood out for me was the keyboards in this particular song. I still love listening to "Shelter" to this very day. I really didn't care for the opening track "I Found Love". It was one of the weaker tracks on the album I thought. It lacked the lush melodies of "Shelter" and "The Gift" (another great song). Maria McKee's vocals are a bit high pitched but compare her to Britney Spears, Maria sounds like Maria Callas. Maria McKee definitely had a distinct voice all her own that you rarely hear nowadays in music. The album itself doesn't really have one particular sound. At times it sounds rather country-ish with a little folk thrown in for good measure, and other times it is more rock. Some of the songs worked for me, and some like "Beacon" and "I Found Love" didn't work for me. Nevertheless, Lone Justice did have a sound of their own.

The first Lone Justice album was a masterpiece. It was consistent and cohesive. But for a few songs, this one is, in contrast, an incoherent letdown. I'll never forget seeing this band perform in person or on SNL during the "Shelter" tour. They were distilled energy, absolutely brilliant, and Maria McKee prowling the stage or bouncing in place was ready to devour the world and the audience. "I Found Love", the first track on this CD, was the highlight of their shows. Despite the overproduction here, it remains a great song, and Lone Justice was one of the musical high points of the 80's. Maybe that doesn't say much, but I'd put the early Lone Justice in the same class as the early Pretenders or Pixies, without the commercial success of the former or the fan base of the latter. I thought one reviewer's comparison with Patti Smith's band was apt - Maria McKee shook up rock in the mid-80's for me about as much as Patti Smith did in the mid-70's.

Of course, Maria McKee turned out not to be a rocker at heart, and Lone Justice was soon gone. You can hear them fading on this CD. At the time, I didn't enjoy this recording much, with its departure from the band's original fiery sound, though "Shelter" and "Dixie Storms" seemed like good enough ballads. With the passage of time, listening to it today, it seems more consistently interesting, with moments of true pleasure in many songs, though none beyond the first are much more or much less than mediocre lyrically or musically. Bottom line - this doesn't begin to measure up to the first Lone Justice album, but then Lone Justice fans like me might think that Maria McKee's later, quieter work doesn't measure up to this CD. It's a middle ground or a transition point.

The reviewers below mention many good points about listening to "Shelter" in the 21st century. The production makes it sound dated, unlike their debut album. The quality of the songs is inconsistent. This was a stunning band live, but this recording didn't come close to capturing their sound. Still, underneath, there is Maria McKee's voice and passion. She is in fine voice here, and even if this was a poor Lone Justice album, hearing her remains worthwhile. If you're a fan of her later work, this may be a good addition to your collection. If you know the band only from the first Lone Justice album, this may be a disappointment. Then again, for $7 you really can't lose.

Let's get it out of the way - this is not Maria McKee's best record. However, it is far from being a bad record. Some of her most accessible songs and uplifting work is here.

I think Maria must've had her eyes on the pop prize, and in 1986, that meant dressing up your sound in whacking drum machines and icy synthesizers. Yet, if you're willing to cut through that mess, there's some very rewarding stuff here. Her producers replaced the country-rock of the first Lone Justice record entirely. The rock that results, however, results in letting her voice and lyrical ambitions reach to heights not possible in the old milieu.

Cases in point: "The Gift" and "Inspiration" revel in their reaches for a higher plane. On "Inspiration" especially, Maria's voice is the vehicle that's going to take you there. Her career is full of vocal high points, but this one stands out. She stretches her voice to reach over the rock wall and succeeds mightily. It's like Tina Turner battling Phil Spector's "Wall of Sound" on "River Deep Mountain High-" the artistic tension between the clash of styles results in amazing work.

Maria's songwriting stays on point, as well. "Shelter" should have been the hit that made her rich, but...the same thing that's wrong with radio today was the same thing that was wrong back then. "I Found Love" is a stomper, and "Dixie Storms" closes the record sweetly.

The "Maria McKee" record is probably the best distillation of her sound, but you won't go wrong with this one. Get it now before it goes out of print.

As a fan of the radio program, Axis of Justice, I was not dissapointed with the album. There was a good balance of covers (Bob Marley's 'Get Up, Stand Up"; Bob Dylan's "Chimes of Freedom") and original songs (Tom Morello does a great job as The Nightwatchman on Until the End" and Serj Tankian's songs were good). I could take or leave the DVD. The songs are the same on the CD as they are on the DVD and there aren't a lot of DVD extras, but its a nice bonus regardless. Anybody interested in System of a Down, Tom Morello, Flea from the Red Hot Chili Peppers, Bob Dylan, Bob Marley, Elvis Costello, and/or social justice should give this a look.

This was very ill organized and it was not good to watch or listen to. I really like Serj and all, but someone with me of Jamaican descent was offended when he heard Serj assume a Jamaican type accent for his Bob Marley cover of "Get up Stand up". He found it somewhat racist and was offended by that. It seemed like a good cause would bring the better out of people, instead of covers, they might offer some of their own material, other than Serj.

If you like alot of artist getting together to form a unique group like Axis of Justice this is the item to purchase. One of a kind CD with great music. I definetly reccommend this product!

I really liked this album, I never knew that Tom Morello could sing. I wish you could hear Maynard on the U2 cover or the duet he did with Cornell but they are still good covers. This is worth buying as long as you do not expect a meavy metal album. The theme is peace and that is hard to expresse when playing heavy metal.

i preordered this cd not knowing exactly what to expect with serj, morello, maynard, cornell, etc. teaming up so i just put faith into serj and what i got was some good, easy listening music for a sensible cause. i wish maynard could have flaunted his vocals more but his duet with cornell is great. the DVD is pretty packed with video/audio interviews which is really nice so you can watch what you hear on the cd and it has some added songs too. the songs will grow on you if you don't like them at first as they can be pretty catchy. overall, i'm pretty happy with it.

Here, Maria's sweat flows from this combined best-of/rarities collection as if from her brow, and her heart ... hell, her heart beats like a rhythm section all its own. Check out the live version of "Sweet, Sweet Baby" for one example. For another, skip back to the early demos which lead off the disc ... or the re-mastered version of "Shelter" that seduces you into its groove. Other gems include the Bob Dylan-penned "Go Away Little Boy" (featuring Dylan and Ron Wood on guitars) and an in-concert duet of the Velvet Underground's "Sweet Jane" with U2's Bono. As good and strong as those songs are, it's the band's previously unreleased demos that prove most earth-shattering. The Maria-penned "Drugstore Cowboy," for example, is a shotgun blast of authentic cowpunk-and far, far more. An infectious psychodrama framed in a country twang, it hints at everything to come, both for Lone Justice and Maria on her own.

When I heard this band in the early 1980s The were HOT. The Original Rhythm section of David Harrington & Donny Willens was like a runaway locomotive. The original Lone Justice was akin to Sister Rosetta Tharp meets Creedence Clear Water & The Stones. Due to an inexperienced manager's poor advice, Ryan & Maria signed with David Geffen. U-2s Producer Jimmy Iovine who was already bought and paid for, was plamed off on Lone Justice. the rhythm section was sacked and the resulting albums were a poor excuse for what the band had previously strived so hard to sound like. The self titled first album "Lone Justice" was a milk-sop album of middle-of-the-road, wimp-rock! The only saving grace of any of the Lone Justice recordings ever released is this album "This World Is Not My Home" and it's previously unreleased cuts that feature the band in the early original form of their 1980s "Heydays." As of late, Maria Mckee can hardly carry a tune in a bucket, and it's hard to determine which is worse Ryan Hedgecock's voice or guitar playing.Neither of which were ever very good to begin with!

The castoff collection sounds just like a collection of b-Sides, which is, I suppose, what it is. The album is simply not as good as LJ's albums. Maria McKee's cowgirl posturing is off putting, and her screeching will make you beg for mercy. McKee is a great singer, but you'd never know it from this album. Everything here is a bit off kilter, if you doubt, compare her version of "Way's To Be Wicked' with Tom Petty's vastly superior original. Stick with LJ's actual albums, or better yet, McKee's solo work.

While it often seems today as if No Depression icons Jay Farrar and Jeff Tweedy invented the idea of melding punk rock and country music in the early 1990s with their band Uncle Tupelo, the idea had actually been around long before that. In the 1980s, Lone Justice were perhaps the most visible practishioners of the form, managing to rise to the cusp of a breakthrough to stardom but not quite succeeding. So along comes "The World is Not My Home," to summarize the career of a band that recorded a mere two studio albums and exactly half that many hit singles.

The hit "Shelter," is here, of course. But what is particularly notable about this summation of the band's career is how few memorable songs they recorded overall. After "Shelter," the number two in this collection would probably be the rousing "I Found Love." Lead singer Maria McKee has an excellent voice, but without much in the way of strong hooks or catchy choruses, she mostly labors in vain. Even the live cover of "Sweet Jane," a duet with Bono no less, is much inferior to The Cowboy Junkies' memorably haunting version of the song that appeared a few years later.

Overall, a middling anthology from a band whose conception greatly exceeded its execution.

What a refreshing change from the slick-sounding "Lone Justice" and "Shelter" LP's (which I love). The early cowpunk stuff is outstanding and the re-released standards (Shelter, I Found Love, etc) are good for the uninitiated.

BDP-JUSTICE. I LOVE THIS CD HE TELLS HIS LISTENERS HOW TO EAT TO LIVE. VERY DEEP BROTHER. THANKS JUST FOR THE MESSAGES. SHAKIM ALLAH OF PGH

JUST-ICE's influence on music cannot be understated. Although his most immediate impact was on his fellow heads, his music has been sampled by artists from Sublime to Thievery Corp. Do yourself a favor and try to track down the 12" vinyl version of Na Touch Da Just/ Freedom of Speech '88, it contains a full-on 7 & 1/2 minute version of Na Touch that kills. If you are here lookin' you must be doin' something right, now buy it. We need more peace and love in '07. Keep on rockin' to '08.

Just-Ice's first album, "Back to the Old School" was released in 1986. The follow-up, 1987's "Kool & Deadly: Justicizms" continued the trend of street-and-jeep-friendly hip-hop anthems from Just-Ice, a.k.a. `Sir Vicious'. His first album was produced by Kurtis Mantronik, but "Kool & Deadly" was produced by Boogie Down Productions' KRS-One (the late DJ Scott La Rock was supposed to be involved, but was tragically murdered before the studio sessions began). After years of being out of print, Traffic Recordings revived the Sleeping Bag/Fresh catalog to the joy of 80's era hip-hop fans.

Pros:
As produced by KRS-One, all the nine songs (eight originals plus a CD-bonus remix) have a sonically-sparse, unadorned sound that can be summed up as `beat--bass--scratch'. But with Just-Ice's forceful baritone, that's all that's needed (special acknowledgement to Just-Ice's human beat-box man, DMX, not to be confused with the famous rap artist of recent years). Most of the songs are effective battle-raps, though Just chooses to open the LP with "Going Way Back", giving an oral history of hip-hop's origins in the Bronx, NY. The artist's dancehall reggae influence shows up on several cuts, the best of which is "Moshi*up", with KRS-One. KRS-One chimes in on several songs, but this is far from the guest-star heavy hip-hop releases of today. You really get a full dose of Just-Ice's personality, warts and all.

Cons:
The casual sexism of even golden-age hip-hop creeps into the beat-box-driven "The Original Gangster of Hip-Hop" (on this dirtier, alternate take of his first LP's "Gangster of Hip-Hop", Just goes into lurid detail on how he gets down with a lady) and is blatant on "Booga Bandit B***h". The inclusion of only one 12-inch remix "Freedom of Speech `88" is rather conservative (the album still runs at barely 50 minutes); perhaps not all of the masters were readily available, but there were probably at least a handful of 12-inch/EP cuts to choose from (radio edits, instrumentals) during the album's original release. Also, there was definitely a music video produced for "Going Way Back"--that would also have been a good inclusion (in CD-Rom or DVD-Rom form).

Overall rating: A-

Lyric Lickin!!! Thats all I have to say! WoW, what a great record. Of course though, when KRS-1 looks at you as one of his favorites its for a good reason. This dude is one of the illest to ever bless the MIC. A MUST HAVE for all hip hop lovers!!!

Just-Ice is one of the best lyricist to date. His raw sound is very real and his grammar consistent. "BACK TO THE OLD SCHOOL" which is his debut album is what hook me to "THE JUST". I think KRS-ONE brought something out of Just-Ice that Mantronik didnt bring out!! Mantronik (even though he is a hell of a producer) didnt out do KRS on production they both did a good job with Just-Ice!!!!!! A real hip hop head most have this cd or dont call yourself a hiphopper at all!!!!!!!!!!!!!!!!

I purchased this product with anticipation to see how No Justice does in concert. Well, if you listen to the audio cd rather than watch the DVD you will enjoy the music. They came across well on the cd with great vocal and good instrumentals backed by a great drummer. Their stage presence wasn't much but didn't hurt their musical performance. (Reckless Kelly or Cross Canadian Railroad on stage they aren't.) The songs are a great cross section of their music released to date with a couple new to me numbers. The DVD is a whole different story! The sound quality is excellent but the video leaves much to be desired towards the end. In about the middle of the performance the DVD freezes for a couple seconds then picks up again with the video out of sync with the music. Really weird!