Customer Reviews

Buddy & Julie Miller

5 star:		(20)
4 star:		(8)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

Still buzzing from seeing Buddy and Julie Miller's pre-Grammys show at the Roxy in L.A. A pack of alt-country stars made their way onstage to pay tribute to this great couple, the highlight being Emmylou Harris, who showed up to re-create her "Forever Has Come to an End" duet with Julie. The Millers got a big laugh out of their Grammy nomination (for this rocking album) in the folk category, and then went on to demonstrate how richly they deserved the award in the right category (rock, country?). Whatever. This is an addictive album, with great originals and covers that don't wear out their welcome. The opening version of Richard Thompson's "Keep Your Distance" is a high-energy blast of country honk that begins a breathtaking five-song run. Julie's "You Make My Heart Beat Too Fast" pilfers the big chords from "Wild Thing" and tops them with the love call of an alpha-female on the make. Even the cover of Dylan's pokey "Wildflower" shines. There's something to say about all of this songs, because this is one of those rare all-killer-no-filler albums. If you appreciate Steve Earle, Emmylou Harris, mid-period Stones, Lucinda Williams and co. this must not be missed.

Buddy and Julie Miller were just names to me till I bought this CD, though of course I knew Julie's often-recorded "All My Tears." Hearing this excellent disc, I want to hear more. To my new ears, they come across as an American Richard and Linda Thompson, by which I mean the highest praise. (Fittingly, they do a fine cover of Richard's "Keep Your Distance.") Like the Thompsons, the Millers have absorbed folk and rock sounds into their skin and bones; unlike the Thompsons, they've added Southern sounds -- at least in their harmonies -- of country and bluegrass. Julie, who wrote all of the originals here (with one co-write with Buddy), is clearly a composer of formidable talent. Her "Forever Has Come to an End" sounds like a long-lost Carter Family song, and the lyrics to "The River's Gonna Run" are almost poetic enough to stand on their own, even before you've heard the melody and the performance. There's also a good choice of covers, including a powerfully rendered version of Utah Phillips's most famous song, "Rock Salt and Nails." Their passionate, old-timey inflected version of "Wallflower," a distinctly minor Dylan composition, makes it sound like a far better song than it is.

If you're not familiar with these folks, Steve Earle has said (repeatedly) that "Buddy Miller is the best country singer there is- period." And Julie's songwriting (like Buddy's guitar playing) is otherworldly. A lot of knowledgeable folks call this couple the "reigning king and queen of country." Listening to these two to learn about alt.country is like sticking your fingers on a high voltage line to experience electricity.

You WILL get jolted, believe me.

But their previous work is a very tough act to follow. The Millers have given us a string of such great albums that anything less seems sort of like a let down. If you had never heard "Broken Things" (officially by Julie Miller, but produced by Buddy with his playing and singing) or you had never heard "Cruel Moon" by Buddy Miller (with Julie's songwriting and vocals) then you would think that this is a ground breaking alt.country "roots" Americana album. The originals are heartbreakers and the covers are really cool.

But apparently there were some problems getting this one "in the can." It was supposed to be out in the spring and in fact, I saw them on that tour and it was called the "We Still Don't Have a Record Yet Tour." Buddy has said on their newsletter:

"Julie and I finished our record on the days off during Emmylou's summer tour. We had to stay up 60+ hours without sleep to finish before I was back on the road. "

But like I said, this is nevertheless an outstanding album. For me, for instance, a real surprise was their version of "Utah" Phillips' "Rock Salt and Nails." It holds up darn well next to Joe Ely's terrific live version.

So if you held a gun to my head, I might say that if you don't already own "Broken Things" and "Cruel Moon"- get them first, but after you do, then get this one!

Now-.... when is that live album coming out...?

This CD is the best of a recent batch of great new CDs that I've come across. Hiatt, the Drifters and Dylan are no slouches, but this inspired set is my favorite of the bunch - the yin and yang of Julie Miller's writing and Buddy Miller's inspired playing (and their vocal teamwork) make for an intoxicating whole. A great balance of rockers and more introspective pieces, this album is either a great introduction to these two talents or an affirmation of their place alongside musical compatriots Earle/Harris/Hiatt/Williams et al. Great stuff and a welcome addition to any collection. The three covers are delights: Richard Thompson's Keep Your Distance, Utah Phillips' Rock Salt and Nails and Dylan's Wallflowers; however, a testament to Ms. Miller's writing is that her songs are as good as any of them. And whoa . . . Buddy plays with an abandon that is a wonderful thing to behold. Get it.

....I can proudly say that after probably 100 listens to it, and one Buddy and Julie Miller concert, this album still holds up tremendously well. I can't belive it. I just haven't tired of it. I even have it on my MP3 player now, still listening to it like a fool. As soon as "Keep Your Distance" starts up--I don't know, a great feeling just fills me. Not that this is a "fun" album by any means (I'm usually not into those), but there's something about the opening to the album that immediately reminds me that I'm in for a wonderful treat, even though I know it backwards and forwards by now.

The entire album is solid from start to finish. Many of the songs are downright transcendent. As I said, the opening "Keep Your Distance" is so irresistable and catchy. "You Make My Heart Beat Too Fast" is sexy and raucous. "Forever Has Come To An End" seems inappropriate (since it obviously doesn't reflect Buddy and Julie's marriage, plus features a third vocal by Emmylou Harris--albeit a glimmering one, as always), but it's gorgeous. "Little Darlin" will be a classic rocker; it's also sexy and raucous, with Buddy taking his voice to heights that will make you want to marry him. Ditto for "Dirty Water"--another great rocker, with a spookier edge to it.

They are both great songwriters. While Julie's beautiful but girlish voice isn't for everyone, Buddy is easily, without a doubt, one of our greatest soul singers today. He can really let it go. I just love him!

Don't miss this one. It's a mystery--it just never gets dull.

If you're not familiar with these folks, Steve Earle has said (repeatedly) that "Buddy Miller is the best country singer there is- period." And Julie's songwriting (like Buddy's guitar playing) is otherworldly. A lot of knowledgeable folks call this couple the "reigning king and queen of country." Listening to these two to learn about alt.country is like sticking your fingers on a high voltage line to experience electricity.

You WILL get jolted, believe me.

Their previous work is a very "tough act to follow." The Millers have spoiled us with such gut wrenching sounds that anything less seems sort of like a let down. If you had never heard "Broken Things" (officially by Julie Miller, but produced by Buddy with his playing and singing) or you had never heard "Cruel Moon" by Buddy Miller (with Julie's songwriting and vocals) then you would think that this is simply a great alt.country "roots" Americana album. The originals are heartbreakers and the covers are really cool.

But apparently there were some logistical problems getting this one "in the can." It was supposed to be out in the spring and in fact, I saw them on that tour and it was called the "We Still Don't Have a Record Yet Tour." Buddy has said on their newsletter:

"Julie and I finished our record on the days off during Emmylou's summer tour. We had to stay up 60+ hours without sleep to finish before I was back on the road. "

But like I said, this is nevertheless an outstanding album. For me, for instance, a real surprise was their version of "Utah" Phillips' "Rock Salt and Nails." It holds up darn well next to Joe Ely's terrific live version.

So if you held a gun to my head, I might say that if you don't already own "Broken Things" and "Cruel Moon"- get them first, but then as soon as you do, get this one!

Now- when is that live album coming out...?

As soon as I hear "Keep Your Distance", a great sensation comes over me. It's the perfect opener to the album. Their warm vocals intertwine and harmonize extremely well together. Not just on this song, but every song on the album. I just happen to really enjoy the opening track, a good jumping start for the album. The song that probably strikes me the most is a tragic song called "Rachel", about the Columbine shootings. Julie's self written "Forever Has Come To An End" is brilliant, another highlight on the album. The songwriting is excellent and resonant, the vocals are brilliant, they work well together. Although they've collaborated on almost all their seperate albums, it's a treat to have them together on this one. Overall this is a strong set, too bad it doesn't get more airplay, this is better than gold!

you'd surely be hearing more of this. The leadoff track, Richard Thompsons' knowing, weary ballad of avoidable-yet-unavoidable marital infidelity, "Keep Your Distance", kept me punching the "Repeat 1 track" on my new car's 6-changer. Another cover, "Rock Salt And Nails", gives Buddy's voice a chance to shine and howl injustice at the uncaring moon. Julie Miller's "Forever Has Come To An End" shows off her songwriting chops on the subject of love beyond redemption. But for me the real centerpiece of this album is another of Julie's songs, her tribute to Columbine High School victim Rachel Joy Scott, "Rachel". It's a rare song that leaps off the disc and into your heart without the maudlin sentimentality that so often causes the country genre to degenerate into self-parody.

It's a good thing I have a multi-CD player in my car: otherwise, I'd keep cycling back and forth between anything and this fantastic, electric album.

This is one of the best albums from Julie & Buddy Miller. There isn't really a clunker on the album, and several of the songs are really outstanding, especially Richard Thompson's Keep Your Distance, and Rock, Salt and Nails, another cover. The orginals are quite good as well, notably Julie's "Dirty Water." If you liked their other albums (together and apart) this one's a must. It really does play to both of their strengths.

Though they've toured together and appeared on each other's albums, the Millers' first album-length collaboration intertwines their artistry more tightly than ever before. From the outset, a duet of Richard Thompson's "Keep Your Distance," their contributions interweave with a balance befitting the billing. Julie Miller's seven solo compositions dominate the disc with songs of love's passionate first blush and loving hearts' last beats, but the Millers' combined musical talents, including Buddy's guitars, Julie's girl-woman voice and the couple's harmonies, produce a single, unified sound.

On their own tunes (including a co-write, "Dirty Water"), and covers of Dylan ("Wallflower") and U. Utah Phillips ("Rock Salt and Nails"), the Millers trade lead, background, harmony and duet vocals as only musical and spiritual soulmates can. Emmylou Harris' guest harmony on "Forever Has Come to an End" meshes like a front-porch family sing.

The production sports mostly guitar, bass and drums (including a few tracks featuring the late Donald Lindley), with touches of fiddle, mandolin and Hammond B3 for atmospheric fills. The tunes range widely from comtemplative folk to upbeat acoustic duets to swampy blues-edge rock. Though the Millers bring rock 'n' roll energy to bear on folk and country roots, they're able to step back to let songs like "Rachel" (inspired by the Columbine massacre) provide an emotional punch.

Their previous collaborations have hinted at the similarities and differences of their work, but none have so fully explored the possibilities of meshing their artistry as this new LP.