Frankie Miller - 1974 - High Life

Frankie Miller - 1974 - High Life (Flac)

 IN THE EARLY seventies Glaswegian born singer/songwriter Frankie Miller was cementing a solid reputation as a talent to be reckoned with. His gritty whiskey-soaked voice was immediately compared to the true giants of the era such as Paul Rodgers and Rod Stewart. Signed to Chrysalis records, Frankie’s debut caused a stir amongst the cognoscenti but failed to connect commercially. For his follow-up album the label packed him off to America and into the arms of renowned and respected producer/songwriter Allen Toussaint in an effort to further reveal his abilities as a songwriter and vocalist. ‘High Life’ was yet another album of discovery for not only Frankie but also for his growing fan following. Toussaint was almost a deity in the New Orleans soul and funk-rock genres, having produced a litany of acts; including bayou king Dr. John, funk meisters the Meters and Labelle, and developing a recording career as a solo artist. Recruiting a pedigree team of session players, including Atlanta Rhythm Section guitarist Barry Bailey, the record was cut in Atlanta and engages a more refined musical direction yet still propels his gritty, blues-fuelled voice to the fore. Tight, funky and raw the tracks explode with a masterful force, giving the impression that Miller was onto not only to something big but also authentic. If you‘re looking for the perfect combination of Otis Redding and Paul Rodgers then look no further. Songs such as ‘Play Something Sweet (Brickyard Blues)’, ‘The Devil Gun’ and ‘I’m Falling In Love Again’ ooze class and sophistication yet also capture a rawness that unmistakably identifies him as one of the most soulful white singers on the scene. (Horizon's Music)

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Frankie Miller - 1972 - Once in a Blue Moon

Frankie Miller - 1972 - Once in a Blue Moon (2011 Remaster) (Flac)

MENTION THE NAME Frankie Miller to any musician of a certain era and their face will immediately light up regarding his singing ability and subsequent influence on a generation of British vocalists. The owner of one of the finest blues voices of the era, Frankie’s shadow loomed long and hard across a multitude of styles, with enough true grit and authority to carve out a top tier reputation. Compared in the same exalted breath as Rod Stewart, Paul Rodgers, Terry Reid and Joe Cocker, Frankie quickly established a reputation second to none. Originating from Glasgow, Frankie’s first brush with fame came via Jude, a supergroup, including guitarist Robin Trower, which inexplicably failed to connect with the public. It was, however, enough of a career boost to secure him a solo recording contract with Chrysalis records and the release in 1973 of this, his debut album, ‘Once In A Blue Moon’. 

The record was lauded by critics and supporters, yet inexplicably failed to sell at the time. As a mixture of hardnosed blues and gritty R&B it established Miller as a real force in British rock, with most supporters predicting a bright future. The album was record at the famed Rockfield studio in Wales, backed by pub rock stalwarts the Brinsley Schwarz group and produced by their manager Dave Robinson, a man who would later go on to form Stiff Records. With tight arrangements and gritty instrumental support, the album focussed on an earthy blues rock, allowing Miller’s voice to take centre stage. It also highlighted his compositional skills, setting up a reputation for writing material that would find many varied and successful outlets over the years. (Horizon Music)

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Frankie Miller - 1977 - Full House (2011 Remaster)

Frankie Miller - 1977 - Full House (2011 Remaster) (Flac)

With 3 outstanding albums under his belt, but no substantial success, you could have forgiven Frankie Miller for just accepting his fate.

Judging by his genre hopping fourth album, Full House, (1978) he never stops long enough in one place to gain any lasting recognition. From the solid pop of ‘Doodle Song’ to the sweetly soulful ‘This Love Of Mine’, to the country flavoured ‘Let The Candle Shine’, Miller’s interpretation of his self penned material is always impressive. And just when you’re looking for more of that, he gives you something else.

Then there’s the covers: You need to be brave or foolish to interpret a John Lennon classic, ‘Jealous Guy’, or a universally recognised standard, ‘Love Letters’. Miller’s almost tangible heartfelt sincerity amplifies the fragile lyrical quality in both songs. He makes them his own. No mean achievement.

That said, it’s opener, ‘Be Good To Yourself’ that really stands out. Up front of a solid, bolted-to-the-floor rhythm section, the precision and depth of guitarist, Ray Minhinnett’s playing is a wonder to behold. His fiery licks elevate this already great Andy (Free) Fraser song way beyond its starting point. And once the Memphis Brass get on board, we’re on a funky, bluesy, rockin’ journey we hope will never end. (GetReadyToRock)

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Frankie Miller - 1975 - The Rock (2011 Remaster)

Frankie Miller - 1975 - The Rock (2011 Remaster) (Flac)

It was officially credited to The Frankie Miller Band, but The Rock was very much a personal statement. Now, it stands as his definitive album. The title track’s heavy lyrics refer to Alcatraz, on which sits the former penitentiary, which was visible from the studio in San Francisco where the album was recorded. Miller always said he might have ended up in prison were it not for music. 

The realities of his life – the hard times and hard drinking – were also expressed in Bridgeton and Drunken Nights In The City. Upbeat tracks A Fool In Love and Ain’t Got No Money would become signature songs.

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