John Miller is a first and foremost traditional country singer and songwriter. That he comes from Scotland makes it that much harder to be accepted in certain circles but there is no denying the love and authenticity in his music. He first came to prominence with the band Radio Sweethearts before releasing a number of albums under his own name. All are recommended including the about to be released Loser’s Hall Of Fame. Lonesome Highway have long been fans of Miller’s music and had the pleasure of working with him on one of the rare gigs we promoted. So it made sense to take the opportunity to catch up with Miller and talk about the past as well, as what should be, a promising future
You started out with Radio Sweethearts back in 1996, with an album produced by the legendary Kim Fowley, not a name that may immediately spring to mind to produce a country styled album. Was the experience a memorable one?
Ha! Given that Mr Fowley was involved it was definitely a memorable one.
Kim was in town to work with BMX Bandits whose drummer, Frank Macdonald, was also a Radio Sweethearts member. Frank had the idea of getting Kim into the studio to produce a single for his (Frank’s) Shoeshine Record label. The night before we were going into the studio I was summoned to Frank’s house and confronted by Kim who made me sit with a guitar and sing him every song I had written. He then ranked them all out of 10 on a piece of paper. The day of the recording we were all gathered in the studio with no idea what was happening until Kim sent a Fax (remember them?) to say I want you to record these five songs; two of which the band had never even heard.
We set up and awaited Kim’s arrival. First song we recorded was one of mine, the title track New Memories. After a few nervous takes someone decided we should play a few covers to get us relaxed. After that we no sooner finished a song when Kim would shout ‘NEXT!’. Unknown to us he was throwing everything on to tape. We ended up with 18 tracks recorded and mixed in a one day session. A few weeks later Kim called from the USA to say he had a deal for our album. What album, we asked? And that’s how NEW MEMORIES the debut album came about. I still have that piece of paper somewhere.
There followed a second Radio Sweethearts album that featured another well know name in Alex Chilton. How were those albums received at the time?
Alex was a lovely guy on the occasions I was in his company. We had a great time recording with him and he added some killer backing vocals and guitar to the ‘Lonesome Blue’ record. I confess that, at the time, I had very little knowledge of who Alex was; but I wasn’t long in learning.
Both of those Sweethearts albums were generally well received by the public. As for reviewers, the strange thing is that US reviewers loved them but a few of the UK ones were a bit shirty about them.
Next up there were your first three solos albums 2002, 2003 and then the gap to 2010s Still Carrying A Flame. Now in 2024 comes the next instalment in Losers Hall Of Fame. This all suggests that, as an independent artist, it hasn’t been an easy road to get those albums out there?
It certainly hasn’t been easy. I paid for all of those records out of my own pocket with no funding (or crowdfunding) whatsoever. I was extremely lucky that I have a generous, loving and supportive wife ha ha.
I was also lucky to have a very good friend in Frank Macdonald who agreed to license the first two records for his new Spit & Polish outlet. That gave me the impetus I needed. The records were very well received both critically and commercially and I soon managed to recoup my costs on POPPING PILLS which funded ONE EXCUSE TOO MANY, for which I also recouped my costs.
There then followed a period where for personal reasons I wasn’t very active on the music scene. Then in about 2007 or 2008 I started touring again which inevitably led to me making STILL CARRYING A FLAME. At that time, it was very difficult to get any kind of record deal so I decided I would do it as a self-release and I sold it mainly at gigs. It was a bit of a struggle, but I was pleasantly surprised by how well it was received, critically and commercially, and even without record company backing, I was able to recoup my costs once again.
I had a bit of a falling out with music after that and never touched a guitar for about 7 years. I was persuaded to come out of my self-imposed retirement to play at a fundraiser for a sick friend. I got such a great reaction that, after the show I had a chat with the guys and, we decided to give it another go. That inevitably led to me wanting to make another record which brings us to where we are now.
It has to be said that there was often a negative attitude to UK traditional country music, especially playing original material. Do you think that has changed?
No, I don’t think it has changed. The Country press is generally supportive and, I have to say in my case, probably always has been. The early response to the new record has been very positive and hopefully that will continue after the April 15th release date.
It’s when you get out to the more general press that you need to be armed with your big boy pants (or a hankie) as some of them can display enormous ignorance of the musical road you’ve travelled and be unnecessarily cruel. If you don’t hail from Texas or any other US state beginning with T, then you’re probably wasting your time. Having said that there are a few European friends of mine who are opening doors, although one of them had to move to Austin to do so.
In your own body of work, given the financial restrictions that come with the territory, did you ever feel that it wasn’t worth it?
When you’re an independent artist I think it’s only natural that you occasionally have periods where you wonder if you’ve done the right thing. In the past I’ve sometimes thought I was banging my head off a brick wall. Then one person comes up to you and tells you how much they love ‘that song’; that it means so much to them and made their life richer. That’s when you know it was worth it. I’ve had one or two eye opening experiences hearing people’s stories and a lot of love from folks. That honestly means a lot more to me than the financial return. It is a vicious circle really and, yes, of course, recouping your costs and a bit extra means you can then think about making another album. I’d love to have no financial restraints and I think if I had a big lottery win I’d probably write and record a new record at least once a month, rather than every ten years.
On the other hand, your standard of work hasn’t faltered. The new album being no exception and perhaps the best yet. Would you agree?
I really love the new album, not because it’s the latest one. I like all of them, but this is the first one I’ve made with, what I would refer to as, ‘my own band’. I think it’s the first complete record I’ve made that accurately illustrates where we are musically as a band. If you catch us live nowadays this is the sound you will hear.
Is it difficult to gather and perhaps retain a studio/live band locally these days?
We are no different from a lot of independent bands in that we all need our day jobs to survive. I work shifts and the guys work regular hours and it’s amazing how much that clashes, not to mention the commitment of family life too. It can be very hard to get us all in the same room at the same time but when you do magic occurs. I have such great musicians around me who will put work in at home, so the show comes together very quickly. For a great number of years I didn’t have a regular band, which is why they were called the Country ‘Casuals’ but now I do and it’s a wonderful thing. Occasionally we have to bring in someone to deputise but basically we have our core members and that’s it.
Personally, I feel that there has never been a better time for original music with My Darling Clementine, Dean Owens, Daniel Meade, Ags Connolly and yourself releasing such strong recordings and playing gigs. Do you feel a part of that?
I do know some of those guys and am happy to see them doing good things. I actually contributed to the fundraiser for Ags’ last album. I’ve never really given it any thought but I guess we could all be part of some sort of UK scene even though we are all doing our own thing.
For a long time it seemed like no-one else in the UK was playing my kind of music. I was on the fringe and I often struggled to find good shows. Like my old pal Dale Watson once said I was probably “too Country now for Country” and didn’t quite sit with the Hillbilly/Rockabilly scene. I think people get it a bit more now and the lines have blurred slightly. There are some younger guys than me who have come through and changed things for the better.
Of course, that is true in the wider context in Europe with artists like Sweden’s The Country Side of Harmonica Sam and French singer Theo Lawrence and in the USA. The acceptance for the genre seems to be widening do you think that’s true?
I think Country Music has always been accepted. What’s more accepted now is that you don’t have to be from North America to be an authentic country artist. Take Theo Lawrence, for example. He had written a bunch of songs for my friends The Country Side Of Harmonica Sam so I thought I’d check him out. The first two snippets I listened to, as well as the album cover, made me think he was some kind of doo-wop 50s throwback which didn’t appeal to me. How wrong I was. I was introduced to him and caught his show in Spain. I was immediately smitten and very quickly purchased his entire back catalogue (which I can recommend).
The strange thing is that the Americans have always accepted good Country Music wherever it’s from. It’s people outside the USA who have a problem with it.
With the new album, how difficult is it gain exposure in media terms. Has social media had a big effect on how you go about a release?
When you release your own music it’s often very hard to get decent exposure. Of course, if you want to spend money there are people who will offer to do the work for you. I’m currently trying to work out who would be best placed to do that for me. It’s a difficult choice.
Some people have been enormously successful as a result of social media exposure, but I don’t know if that’s by luck or design. I have a Bandcamp account and a Facebook profile but I really need to get more on the ball with social media. Again, I believe there are lots of folk who could help with that. I just need to stop being lazy and do my homework, (laughs)!
What particular era and artists are your listening preference?
Oh, what a loaded question. Where do I begin? My listening today could be different tomorrow. I obviously listen to a lot of Classic Country music; mainly from the 50s and 60s. Hank will always be my number one, but I like all the old favourites plus some lesser-known artists. Wynn Stewart, George Jones and Merle Haggard are particular favourites.
On the contemporary scene I guess my friends Dale Watson and Big Sandy should get a shout out as well as the previously mentioned Theo Lawrence and my pal Harmonica Sam. I’m a big fan of Nick Shoulders too, you should check him out. I’m an old guy who fought in the Punk Rock Wars and I have a very varied musical taste. I listen to a lot of non-Country stuff, The Beatles, Bowie, Radiohead etc. My current favourites include Tim Smith’s Harp and Michael Kiwanuka.
In terms of your writing, which adheres to those time-honoured themes, are you a constant writer or do you need a specific project?
Since I made the new record I’ve been working on more songs but I’m not a constant, prolific writer except when the occasion demands it. I’ve always assumed, wrongly, there was no point in writing songs if you had no outlet for them. Then I was asked to write for some other people and left it too late. I’ll try to avoid making that mistake again.
Are there any standouts on the new album for you?
The whole album stands out for me. I’d really be hard pressed to name a favourite. I do have a soft spot for My Side Of The Bed which was never scheduled to be recorded and only came together in the studio. A sad song but a happy accident for me.
Vocally I think you have gained depth since the last release are you enjoying playing live?
It’s nice of you to say so. I guess getting older will do that to your voice. I always love playing live, especially to my own audiences. Sometimes it can be hard living up to the challenge of selling yourself to a new audience but I rise to the challenge. It’s great to get your music heard but when folks are actually listening to the songs and there is a lot of love in the room it just becomes a magical thing.
I hope the next album won’t take another fourteen years but I’m well aware of the difficulties involved. What are you hoping for yourself?
What I’m hoping for is that people get to hear and like and, hopefully, buy the new record. I’ve only pressed a limited number but, on paper, the sale of those would allow me to recoup my costs with enough left over to start the whole process again. For the independent artist it all really comes down to finance but, yes, I’m hoping it won’t be too long before we can add another volume to the Country Casuals collection
Thanks for taking the time to talk to me. I really appreciate the support
Interview by Stephen Rapid
The John Miller solo back catalogue is available at https://countrycasuals.bandcamp.com