Gary Miller Songs

"As a song poet there are few in the world today to match him"
Green Man Review, USA

 

Gary Miller (with Keith Armstrong, Iain Petrie & Friends) - 'Mad Martins'

Released: 2017

Label: Whippet Records

Format: 3xCD housed in Deluxe 104-Page Book

Cat. No.: WPTCDB24

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4. God and Air (5:35)
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6. In Dreamtime (3:12)
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7. Inventions (0:47)
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8. The Dandy Horse (5:49)
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9. On Libraries (1:15)
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11. Cholera Morbus (1:07)
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12. Medals (3:15)
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15. Reflections (1:21)
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18. "Shoot The Bishop!" (6:14)
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20, Four Bare Walls (2:32)
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21. Escape (2:21)
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23. My 'Life' (4:00)
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27. Maria's Testimony (4:58)
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29. At the Assizes (3:07)
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30. Madhouse Martin (3:27)
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33. John's Song (0:44)
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36. Lightning Strikes (0:49)
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38. That's Me! (1:50)
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39. I Saw the Signs (1:07)
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40. In my Hands (3:21)
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42. Drainage Scheme (3:15)
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43. Facing-Both-Ways (1:20)
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44. A Thin Veneer (4:24)
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46. Wicked Old World (4:29)
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48. Pandemonium (4:40)
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50. At Anchor (1:29)
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Credits

Performed by : -

Songs : -
Gary Miller - Lead & Backing Vocals, Acoustic Guitar, standard & octave Mandolins, occasional Electric Guitar, Bouzouki, assorted traditional & invented Percussion
Iain Petrie – numerous Electric & Acoustic Guitars, Piano, Keyboards, Ukeleles, Glockenspiel, Bass, Drums, assorted traditional & invented Percussion, Backing Vocals, Harmonies, Programming, Orchestral Arrangements, etc…

Poems and spoken word pieces : -
Keith Armstrong - Voice (Poetry Recitation, Narration)
Richard Doran – Bouzouki, Dulcimer
Glenn Miller - Accordion
Mick Tyas - Mandolin
Ann Sessoms - Northumbrian Pipes
Iain Petrie - Additional Keyboards, Programming & Effects

Guest Lead Vocalists : -
Mick Tyas - Lead Vocals on 'The Dandy Horse' and ‘In The Navy’ (plus Backing Vocals on ‘The Leaping Swordsman’, ‘Shoot The Bishop!’, ‘Four Bare Walls‘, ‘Escape’, ‘A Painting For Charles’)
Marie Tucker - Lead Vocal on ‘Maria’s Testimony’
Karen Ross - Lead Vocal Duet with Gary on ‘A Thin Veneer’
Sylvia Doran - Lead Vocal on ‘Wicked Old World' (plus Backing Vocals on 'Three Mad Martins (Prophecy)')

Additional Guest Musicians : -
Jennie Beasty - Fiddle on ‘The Leaping Swordsman’, ‘Maria’s Testimony’ and ‘Shoot The Bishop!’
Trevor Kinsel - Trumpet on 'Medals'
Frank Meadley - Bodhran on 'In The Navy'
Glenn Miller - Accordion on 'Three Mad Martins (Prophecy)', ‘The Leaping Swordsman’, ‘The Dandy Horse’, ‘In The Navy’, ‘Shoot The Bishop!’
Mick Tyas - Mandolin & Percussion on 'In The Navy', Harmonica on 'A Painting For Charles'

Additional Guest Vocalists : -
Tamsin Davidson - Backing Vocals on ‘God And Air’
Anna Emmins - Backing Vocals on ‘God And Air’
Barbara Petrie (R.I.P.) - Harmony Vocals on ‘Shoot The Bishop!’

With : -
'The Press-ganged and Beleaguered Crew of The Good Ship Hercules' (Richard Doran, 'Glasgow' Jimmy, Frank Meadley, Gary Miller and Iain Petrie; ably led by 'Captain' Mick Tyas) - Backing Vocals, plus various shouts, "heave-ho's", hoots, hollers and hearty howls on 'In The Navy'

Featuring : -
The Albert Ness Ensemble - Orchestration on 'In My Hands'
The Lick Spittals - Horns


Title & Initial Project Concept by Keith Armstrong

Musical Direction by Gary Miller

All songs arranged by Gary Miller & Iain Petrie
All accordion tunes arranged by Glenn Miller
All mandolin, dulcimer/bouzouki tunes arranged by Richard Doran & Mick Tyas
All northumbrian pipe tunes arranged by Ann Sessoms

Recorded at 'Awake Music!' Studios in Berwick-upon-Tweed & Spittal during 2013-14, with additional 'field' recordings using the 'Awake Music!' mobile studio at The Bridge Hotel, Newcsatle-upon-Tyne on 11th December 2014.

Produced, Engineered and Mixed by Iain Petrie at Awake Music.

Mastered by Garry Boyle at Slate Room Studio, Pencaitland, April 2015. 

Original artwork, design & layout by Helen Temperley at Winking Bitsy.

Interlinking text written and compiled by Keith Armstrong and Gary Miller. 
Typesetting by Gary Miller.


Select Bibliography / Further Reading:

Adams, Max (2009), The Firebringers (later published 2010 as The Prometheans). London, Quercus.

Aylmer, G.E. & Cant, Reginald (1977). A History of York Minster. Oxford University Press.

Balston, Thomas (1945), The Life of Jonathan Martin: Incendiary of York Minster (with some account of William and Richard Martin). London, MacMillan & Co. Ltd.

Balston, Thomas (1947), John Martin. London, Duckworth.

Dickens, Charles (1866), All the Year Round: A Weekly Journal (Volume 16). London, Chapman & Hall.

Johnstone, Christopher (1974), John Martin. London, Academy Editions.

Jones, Keith & Shepherd, Richard & Hampson, Louise (2008). York Minster - A Living Legacy. Third Millenium Publishing Union.

Martin, Jonathan (1826), The Life of Jonathan Martin, of Darlington, Tanner, Written by Himself. Barnard Castle: 2nd edition.

Martin, Jonathan (1829), The Life of Jonathan Martin the Incendiary of York Minster, Written by Himself. Leeds, Robinson, Hermann & Woods: 6th edition.

Martin, Jonathan (1829), The Life of Jonathan Martin, Written by Himself. USA, Nabu Press: Print on Demand 2012.

Martin, William, (1821), William Martin's Challenge to All the World as a Philosopher & Critic, on the Principles of Perpetual Motion. Newcastle upon Tyne: 2nd edition.

Martin, William (1827). A New Philosophical Poem Book, Called The Northumberland Bard, or The Downfall of All False Philosophy. Newcastle upon Tyne, Thomas Blagburn.

Myrone, Martin, (2011), John Martin: Apocalypse. London, Tate Publishing.

Myrone, Martin (ed.), (2011), John Martin: Sketches of My Life. London, Tate Publishing.

Peacock, A.J. (ed.), York History No.2. York, J. Farr & Son.

Pendered, Mary Lucy (1923), John Martin, Painter: His Life And Times. London, Hurst & Blackett.

Feaver, W (1975), The Art of John Martin. Oxford, Clarendon Press.

Martin, William, (1832), The Defeat of Learned Humbugs and the Downfall of All False Philosophers. Wallsend.

Martin, William, (1833), A Short Outline of the Philosopher's Life from being a Child in Frocks to the Present Day after the Defeat of all Imposters, False Philosophers since the Creation. Newcastle upon Tyne.

 

Notes

'Mad Martins' depicts the extraordinary lives and times of the notorious Martin brothers, William, Jonathan and John, who were born in the late Eighteenth Century in the South Tyne area of Northumberland.

Eldest brother, William was the self-styled ‘Natural Philosopher and Philosophical Conqueror of All Nations’, a doggerel poet, pamphleteer, engraver and inventor. Like his younger brothers, he aspired to be ‘Renaissance Man’ and aimed for the ‘defeat of learned humbugs’.

Jonathan Martin has gone down in history as ‘the notorious incendiary’ of York Minster. Frequent fits of rage against the clergy, including a plot to assassinate the Bishop of Oxford led to his committal to several lunatic asylums, from which he escaped twice before setting fire to York Minster in 1829, for which he was again committed to bedlam, where he later died.

Youngest brother, John, the eminent painter, engraver, town-planner and host, was, like his brother William, an 'all-rounder', devising sewage schemes for London, along with a number of other inventions but is most famous for his epic New Romantic paintings of Biblical scenes. One of these, 'Pandemonium', based on Milton's 'End Of The World, sold in 2003 for a record £1.65 million.

 

Reviews / Quotes

"Mad Martins is an ambitious, and rather special, project. Essentially the brainchild of Tyneside poet and cultural historian Keith Armstrong, it depicts the lives (and, by extension, the times) of the three Martin brothers – William, Jonathan and John – who were born in the late18th century (in 1772, 1782 and 1789 respectively) in the South Tyne area of Northumberland. Each of the brothers was a visionary who nevertheless achieved a degree of notoriety (in Jonathan’s case also embracing a certain status of madness) during his lifetime. William, “The Lion Of Wallsend”, self-styled “Philosophical Conqueror of All Nations”, was an engraver and inventor; Jonathan, a religious fanatic, was “the notorious incendiary” of York Minster; and John was both a town planner and an acclaimed painter of epic scenes of cataclysmic Biblical events.

The project tellingly brings together songs, poems, narration, music and art. Thus, in order to appreciate its scope and splendour, you definitely need to experience the whole package – a set of three CDs housed within a deluxe hardback book. A useful adjunct in the form of a complementary (fourth) disc presents all the instrumental backing tracks to the various spoken-word pieces on the main triple-CD set, together with the orchestral backing track to the song In My Hands. And there are plans for a full-blown 2½-hour theatrical performance of Mad Martins in 2018…

Mad Martins’ musical director and coordinator is songwriter Gary Miller, whose principal claim to fame is the founding, in 1985, with his twin brother Glenn, of cult folk-rock legends The Whisky Priests. The band lasted through until 2002, shortly after which Gary was approached by Keith to update and develop his own original concept (poetry and music with accompanying slideshow) for a new audience. Quickly enthused, and armed with a wealth of research material supplied by Keith, Gary proceeded to pen (in the space of about a fortnight!) around a dozen songs to add to the poems Keith had previously written for the project, making up a 90-minute set list of material for presentation to a live audience. This was premièred in October 2002 as part of the Northumberland Traditional Music Festival, featuring performances by Keith and Gary accompanied by Glenn on accordion and Chris Ormston on Northumbrian pipes. A handful of further minor revivals followed (albeit with a long hiatus due to various personal circumstances); Gary was then inspired to conduct further research into the Martin Brothers and to write an additional batch of songs.

Finally, at the beginning of 2013, Gary decided it was time, at last, to accord the project what he felt was its rightful due, and began recording sessions for the Mad Martins album with his friend and former collaborator Iain Petrie producing. These sessions continued sporadically well into 2014, with additional contributors Glenn Miller, Mick Tyas, Richard Doran and Ann Sessoms coming on board. By which time, the initial plan to release the project as a single CD had expanded to a full three-act enterprise necessitating a triple CD with an accompanying book, for which acclaimed artist Helen Temperley was commissioned to provide the design. The high production values of the visual package are mirrored in the engineering, which sports fabulously detailed sound (expansively widescreen where necessary) that nowhere fails to make an impact, chiming closely with Keith’s artistic vision and Gary’s musicianship in ensuring the listener is kept engaged throughout.

The portraits of the three Martins, involving a broad gamut of emotional situations, naturally afford ample opportunity for the exercising of Gary’s proven songwriting skills. Gary has a real flair for conjuring imagery from the past with a gritty reality. He possesses an inbuilt and empathic understanding of social history, which is voiced in direct tell-it-like-it-is language (not lacking in literacy or lyrical expression, however), boosted by a keen sense of melodic invention, manifested in canny tunes and often seriously catchy choruses. There’s also a strong regional (north-east) folk sensibility within Gary’s songwriting that’s key to the memorability of his songs. Yet while he utilises basic elements of traditional instrumentation (acoustic guitar, mandolin, accordion, dulcimer, bouzouki) to provide a feisty bedrock, he’s also not afraid to stir things up imaginatively with the judicious incorporation of extra instruments (here, individual guest musicians playing occasional fiddle, trumpet and bodhrán as well as some “improvised percussion”, a horn combo and an orchestral ensemble, and Iain himself supplying a whole array of less-traditional textures including rhythm section, electric guitar, keyboards and a modicum of programming). All of course effectively tailored to the mood and character of each episode of the protagonists’ life-histories.

Act One (William) opens with a scene-setting introductory Prophecy, jauntily done in the manner of a street-corner broadside-ballad; The Leaping Swordsman is replete with swashbuckling derring-do; God And Air is a full-on anthemic declaration; In Dreamtime is a tender vision of inspiration; The Dandy Horse (an early “travelling machine”) trots forth with pompous tread; Medals takes a cheeky Johnny Cash riff and a punk charge in its portrayal of William as a figure of ridicule proudly wearing his inventions on his chest; and finale-summation William, You Were Really Something is an almost jolly, affectionate singalong-pop-style tribute to the man’s enterprise. The seven sung tableaux are interspersed with complementary spoken-word narrations expounding different aspects of William’s interest-base, involving idiosyncratic observations on other disparate matters such as libraries and a cure for cholera. Together these items provide an entertaining and well-rounded portrait of William Martin, a complex character with many facets and concerns who’s been (perhaps unfairly) dismissed or widely ridiculed.

Act Two (Jonathan) presents a less overtly lovable eccentric, a religious fanatic of an altogether more self-destructive bent. Individual episodes in his decidedly picaresque life are vigorously presented here. Jonathan’s early experience In The Navy is done as a rollicking heave-ho shanty-hornpipe; “Shoot The Bishop!” recounts Jonathan’s failed attempt to assassinate the Bishop Of Oxford; Four Bare Walls sees his committal to an asylum; Escape gallops away with the whip-crack of a spaghetti western; My “Life” apes the style of a Joe Meek story-song (complete with cheesy Tornados organ solo!); the Dylanesque Blood, Fire And Smoke is the epic Ballad Of An Incendiary that loudly curses and denounces; Maria’s Testimony (with guest vocal by Maria Tucker) is a lyrical Irish-folksong-style character portrait; the a cappella At The Assizes sets Jonathan’s defiant pre-indictment “Bring it on!” speech, which is further developed by his self-assessment Madhouse Martin; and A Painting For Charles voices Jonathan’s vindication (to Charles Dickens) of his actions in setting fire to York Minster – on the instruction of a vision. Once again the passages of spoken-word narration inform the principal biographical narrative, and the whole is a satisfying sequence that presents the story of this potentially unsympathetic man with insight and sympathy.

Act Three (John) differs from its predecessors in that it depicts a personality who (at least for a time) achieved a healthy measure of recognition for his good works and successful accomplishments. Searching For The Waters Of Oblivion conveys the humility of John’s awe-struck artistic inspiration; The Paint And The Pain, with its strutting Pete-Townshend-style guitar riffing, well conveys the proud yet tortured artisan; the folksy The Thin Veneer (a duet with Karen Ross) takes its cue from rueful reflection on later penury brought on by providing financial assistance to bail out his brothers’ misfortunes; and Pandemonium explores the much more recent resurgence of interest in John’s apocalyptic paintings. These are some of the strongest songs in the project, the downside of which is that this third portrait seems, by comparison, less consistent and more uneven in its invention as a result. Weaker songs don’t entirely convince – the swaggering Picture The Scriptures may be an honest self-assessment, but its throwaway setting has a slightly hollow ring to it, and the would-be-epic big-production number In My Hands is set to a mock-baroque sinfonia and feels a touch too pompous, underplaying John’s humility in his moment of triumph.

So there we have it. Mad Martins is a concept album, yes, in the grand tradition – but largely without the more unfortunate excesses and trappings of that (sometimes deservedly maligned) genre. Aside, that is, from a small degree of over-indulgence, in places, in vérité sound effects (exploding fireworks, bubbling sewage etc), which to my mind undermines and needlessly clutters the listening experience. Importantly, Mad Martins sports a splendid package that fully befits its major-project status and the epic scope of its subject. It’s housed in a sturdy, lavishly illustrated 104-page book that includes full lyrics for songs, poems and linking text, also a valuable, and admirably comprehensive, “select” bibliography for further reading, all set attractively amongst relevant artwork, period illustrations (all listed and fully credited) and sundry ephemera. In particular, those listeners who are not familiar with John Martin’s paintings will find the reproductions a revelation – even if their full magnificence and splendour is not revealed in monochrome (but hey, I can well appreciate that the extra cost of colour reproduction would have been prohibitive). I might say that if fRoots magazine was still offering an Award Category for Best-Packaged Albums Of The Year, then Mad Martins would be a very strong contender indeed, if not an outright winner.

Mad Martins is no one-dimensional portrayal hastily cobbled together to cash in on some spurious anniversary, but a genuinely stimulating cultural artefact, born of an inspired collaboration of like-minded creative artists. The device of integrated narrative backed by traditional tunes provides a highly effective unity and consistency. For, out of the energising catalyst of Keith’s poetry and narration, Gary and Iain have together produced an extraordinary work, an educational experience that both informs and (royally) entertains (now where have we heard that dictum before?). It also happens to contain some great music and songwriting that bears both specific relevance to its subject and a definite resonance for our times."

(David Kidman, fruk, December 2017)

www.folkradio.co.uk/2017/12/mad-martins-album-review




"The Martin Boys Are Back!

Many of you will remember the twin brothers Gary and Glenn Miller of the cult Folk/Rock band "The Whisky Priests" and their interpretation of the Haydon Bridge Martin family's history in song at previous celebrations here in the village.

Now Gary Miller et al. have undertaken a mammoth task in producing a 3 CD set of his material presented in a deluxe hard back book-format packaging. There are 104 pages featuring lyrics to all 50 tracks, additional interlinking text, a host of excellent pictures and illustrations throughout, as well as a comprehensive list of the credits and acknowledgements. The album features a host of musicians, pipers and 'Jingling Geordie' poet Keith Armstrong (who has also done much to keep alive the Martin story himself) with recording produced and well engineered by Iain Petrie.

The book presentation has been designed by Helen Temperley and best described as a true 'labour of love'; a real work of art in its own right.
The story, in three CD 'acts', is that of the best known Martin brothers, William (The Lion of Wallsend, Inventor, Poet and Pamphleteer), Jonathan (the Incendiary of York Minster) and John (The Most Popular Artist of his Time).

The music, songs and spoken word echo the individual brother's contributions to an amazing Regency/Victorian saga retold here to reflect an aura of their era.

The album book in itself is a superbly detailed yet a concise guide to the brothers and the illustrations, many by the Martins themselves, is the best presented, currently available introduction to the history stemming from Haydon Bridge's extraordinary sons. It is well worth the asking price for the book alone and I would recommend purchase of the publication with CD's rather than just a download of the music.
Also available are items including T- shirts, tote bags, postcards and even a Mega bundle of all of the available items.

Gary is now working on a Mad Martins stage show to feature specially made period costumes, props and set design to be accompanied by a pit orchestra of specialist musicians. There will be a backdrop of projected visual images to contribute to bringing the whole story of the Martins to life.

The production of this album is of epic proportions taken over several years and the artists performing and Gary Miller in particular are to be congratulated in their dedication of time, effort, research and musicianship in making it happen.

Mad Martins is released by Whippet Records (cat. no. WPTCDB24) as the 50 track triple CD."

(Henry Swaddle, Hexham Courant, December 2017)




"Today I got the Mad Martins and I cannot tell you how happy I am. This is such a magnificent project and I am unable to thank you enough. The book is stunning, the music outstanding and the whole concept I find amazing. I first came across the Martin brothers completely by chance. My daughter was in Durham University. I live in London but we are Irish. Once I drove up to Durham to pick her up and bring her with me to Scotland to get the ferry.

We drove to Stranraer along Hadrians Wall essentially, and as we drove through Hexham, I began to wonder aloud at its etymology. I wondered if it had any relationship with hex, and therefore witchcraft. Trea, my daughter, googled it and found in the Wikipedia page a list of people from Hexham. One name stood out, Jonathan Martin ( arsonist). We looked up one after another of these brothers. We were instantly fascinated. Although I was wrong about the magic etymology, there was some kind of magic involved because my daughter and I are still under the spell of these extraordinary brothers, as you so clearly are as well. Since then I have tried to get my hands on anything that deals with them. Without any doubt this is the finest thing I have seen about them. Congratulations to you and everyone involved with the project. You have done your subjects full justice and a real service. When you look around you and see the runaway success of the most egregious rubbish and the signal failure of such high quality work as this to make any significant impact, I fear we are still in a world which the brothers would have recognised. A world where genius is not recognised.
You have produced a work of genius. Thank you." 

(Paul McAuley, Martin Brothers afficionado)