Sugarland Run by WD Miller Band

men who cry out in pay phones...w/ Jim Opeka on drums, Mark Kelly on bass, and WD and brother Rob on acoustic guitars and vocals. Tom Lowry guested on keyboards and lead guitar most nights. Mickey Blue sat in with the harp on a few shows. The band was short-lived; they played at Vienna Tap and Grill, Lizard Lounge, and other venues around the D.C. area.

1995: Began recording "Sugarland Run" at Shuman Recording in Falls Church VA. Blue Caller stayed together long enough to lay down the rhythm tracks for the album. Guest appearances include my brother Rob providing guitar work and harmony vocals; Mike Melichone of Buckwheat Zydeco on lead guitar; Mike John of Evans John & the H-Bombs on lead guitar and slide; Mike Kelley, keyboard gun for hire; Scott Shuman, tour guitarist for Henry Townsend on guitar; Mickey Blue on mouth organ…and various other sundry musicians. Pressed the CD in early 2000-- 5 years and thousands of dollars later.

2000: CD release party for Sugarland Run held at Jammin' Java & Mr. Smiths respectively.

Also began recording second record, "Whirly Town,” at OpekaStudios in McLean. Brother Rob and drummer Jim Opeka contributed heavily; Mark Kelley and Tom Lowry stopped in to help out; Mike Kelley returned for lots of magic finger keyboard work; Mike Melichone stopped in to lay down guitar on “Kellie” and on another song that didn’t make the final cut; Bill Heid bartered roofing time with me to contribute additional keyboards on “Mockingbird,” “Lauri Lie,” & “Virginian”; Bruce Krombholz flashed his guitar on “Palomino Girl”; Tony Dagget stopped by when we were recording “History”; Gary Gibian plays marimba on “Stealin’ Sugar”; Mickey Blue, God bless him, returned for mouth organ on two songs; Bill Kotapish, from St. John’s Elementary School, plays guitar & bass on multiple tracks; as does James Manion, McLean Virginia’s favorite son guitar slinger. Pressed the cd in late 2006—5 years ands thousands of dollars later.

There are certain moves I would have done differently on both records if I'd had the money, but I still think they’re fine little songs. About half of them are under three minutes. The songs are not particularly revelatory or groundbreaking (favorite themes: girls, escape, lust, girls and redemption), they're just little pop songs hot for car play!

On a presonal note: After burning out Scott S.& Mike M. on Sugarland Run, I needed to find a new victim. Jim Opeka volunteered his services for Whirly Town. He never knew what hit him. Jim engineered, mixed, and played drums on all the tracks. Five years later we finally mastered the new CD and sent it to press. It was a true pleasure working with Jim; he’s a great example of patience and generosity—a real gentleman.

2006/07: WD Miller Band played the CD release party at Jammin’ Java in Vienna on November 12th. Boys in the band: Mike Kelley (played on both CDs and at both release parties), James Manion (played on Whirly Town), and newcomers Peter Locke (bass), and Reid Saunders (drums). Guests included Mickey Blue on harp, Gene Miller sang harmonies, and Ben Miller sat in on an acoustic number. The boys had to learn 14 original songs—after the show they decided to keep going (though Mike Kelley is still a gun for hire around town). WD Miller Band has already played at Iota in Arlington, Bankok Blues in Falls Church, and The 8X10 Club in Baltimore. We play Jammin’ Java on March 4th!

WHIRLY TOWN

email from Brother Rob to his siblings (Dec '06):

Out of the annals of family history emerge some quite interesting heir looms, including, occasionally, art. Whirly Town is not just another CD, it is Miller/Coffman/Kilpatrick family patrimony. We should all be very proud of our brother.

Through his art, our descendents will catch a glimpse of the times, of the family names ("Mary came along, with Cathy behind"), most importantly, of the man himself. Whirly Town is truly a snap-shot for posterity, but a multi-dimensional one, fully texterized, and with a narrative. In many respects, it is an auto-biography.

The title track, "Whirly Town" is minimalist, deliberately under-produced, so that its poignancy is all the more accessible. This song is Dub's portrayal of his early years, a combination of marvel, trepidation and - effectively conveyed through the 'steam-organ' - a degree of insanity....(something we all lived through and can readily attest to).

"Saga on the Side" is an exquisitely-crafted pop song that will slip under your radar if your not paying attention. It is the story of youthful exuberance, the protagonist (WD in early adulthood?) trying to juggle three girls and ending up alone. The lyrics are fantastic, filled with metaphor (when he "Bumped Eileen in the parking lot," was he referring to a fender-bender....or something much more sordid?). And which of us in our youth DIDN'T want our "heart to go ohhhh-ohhhhh-ohhhh"...?

"Super Girl" is quintessentially Dub, a true worshipper of the pop genre.

His vocal is impeccable. The slightly out-of-tune background vocal contribution of you ladies makes me feel better about my own pitch transgressions singing harmony on Whirly Town.

"Mockingbird" is certainly one of the best efforts on the CD, a song brimming with hooks, from the punctuated rhythm to the delightful and irony-laden chorus. The song is a hit by any standard.

"Palomino Girl" is a raucous and textured rock song that contributes significantly to the striking diversity of the material on Whirly Town. Even accomplished solo artists make albums where one song seems to bleed into the next in terms of similarity. Not on Whirly Town.

"Stealin Sugar" is an enjoyable parody of bubble-gum (Mary's favorite song on the CD). One can only chuckle at the tongue-in-cheek when Dub rhymes "nice and Sandy"....with..."I like candy." The blues harp and the xylophones create an interesting musical montage. The Archies got nothin on Dub.

"Kellie" introduces the Country-Western genre to the CD. The backround vocals on this one are the most inventive and complex on the CD, encompassing counter-melody. The song ends with an irresistible fade-out.

"Run Alison" is a welcome respite from the light fair of the previous two songs. Dark and beautiful, it conveys both vulnerability and strength. Duality seems to be the rule on this CD, as the next song demonstrates...

"Just a Little" is absolutely loaded with personality. You girls do a great job in the intro (Treeda Lynn's invective is particularly menacing). The song is a fascinating expression of an addiction and affliction that has consumed every human male (save for the limp-wristed) since the dawn of the cave dweller: WOMEN. Dub effectively parlays the quandary and confusion of men everywhere as he vaccillates between misogyny (verse) and helpless desire (chorus). Thank you ladies, for making life interesting.

"The Virginian" is another quintessentially Double-Dee song....and one of the best on the CD. Jim's congas give it just the right feel. By golly, Walt IS the Virginian.

"History" is - like "Saga on the Side" - a superbly crafted pop song, one Dub wrote in the mid-80s. The English teacher is in full bloom here as he effectively glides between the lessons of history (verse) and a contemporary love affair (chorus).

"My Own Sad Eyes" has become my particular favorite. Lyrically introspective, musically laid back, it is just a fantastic song. Hell, he actually rhymes "guru" with "voodoo" in a contextually poignant way. How much more poetic than one of my own songs, where I ryhme "guru" with "screw-you."

"Lauri Lie" comes off as refreshingly frantic....manic even, pushed by those tom-toms Jim is banging on. Yet the song somehow retains its charm.

Mark Kelly's bass-line is nothing short of excellent.

"For Kayne" speaks for itself, a beautiful expression of love and hope.

"Buffalo Nickels" is a gem of a song, with multiple shades and colors. The harmonies drop in and out at just the right moments. And Walt employs some very effective vocal inflections. Great pop/rock.

Well done Dub! We's all proud of you.

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