Gary Miller Songs

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

The Whisky Priests - 'Nee Gud Luck'

Released: 1989

Label: Whippet Records

Formats: CD / Cassette / Vinyl

Number of Tracks: 20 (CD) / 15 (Cassette/Vinyl)

Catalogue Number: WPTCD4 / WPTC4 / WPT4

 

Notes

The Whisky Priests debut album.

The 5 bonus tracks on the CD version were recorded during the 'Nee Gud Luck' sessions and were originally released on the 'Halcyon Days' EP (WPTC3).

Reissue

Released: 1994

Label: Whippet Records

Format: CD

Number of tracks: 20

Catalogue Number: WPTCD11

 

Notes

This version, featuring alternate front cover artwork [opposite], contains all 20 tracks.

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Stream Album : -

 
 
Track Listing
1. Susan's Song (4:24)
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2. Old Man Forgotten (3:07)
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3. Easington (3:38)
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4. Goblins (3:38)
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5. Jim Jones (5:02)
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6. Perfect Time (4:57)
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7. Aall Faall Doon (3:31)
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9. Poor Johnny Coal (4:43)
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10. The Raven (2:49)
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11. Pride (4:19)
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12. William's Tale (4:02)
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14. Rio Grande (3:26)
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15. The Recruited Collier (2:50)
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16. The Waggoner (5:08)
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17. 
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18. 
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19. 
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20. The Clog Dancer ()
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Credits

Gary Miller – Vocals, Acoustic & Electric Guitars, Bouzouki, Mandolin
Glenn Miller – Accordion, Piano, Keyboards, Vocals
Mick Tyas – Bass Guitar, Vocals
Kevin Wilson – Mandolin, Bouzouki, Backing Vocals
Simon Chantler – Fiddle
Piers Burgoyne – Drums

Guest Musicians:

Paul Carless – Harmonicas

Members of Bearpark & Esh Colliery Band – Brass:
Conducted & arranged by Dave Young
Michael Evans – Cornet
Garry Mitchell – Cornet
David Patterson – Cornet
Ray Evans – Flugel Horn
Gareth Young – Tenor Trombone
Martin O’Connelley – Bass Trombone
Alun Young – Tuba

 

Liner Notes (1994 Reissue)

Together, the two of us formed The Whisky Priests in August 1985, after our final year at Gilesgate Comprehensive School in Durham, playing our first gig on 4th October 1985 at Fowlers Yard, Durham City.
Our mutual interest in music and our native North East England formed the initial basic template for our ideas and, in the years since, we have had to battle against a variety of set-backs just to keep that basic idea alive and kicking. Constant line-up changes have led to over thirty different members along the way, which has made things far from easy for us, plus we make no secret of the endless recording and publishing agreement disputes and the overall music media and industry apathy towards our cause. This has only made us more determined in the pursuance of our vision to its ultimate conclusion, through good times or bad, for better or worse. Perhaps one of the largest obstacles we have had to overcome has been the fact that we have been somehow forced into the position of achieving our goals almost totally unaided. It would have seemed inconceivable at the start that all these years down the line we would be running the band as a self-managed, self-financed, self-motivated and self-contained business, making all our own decisions as well as running our own fan club and mailing list, plus much more. And yet, here we are! And in spite of everything, we firmly believe we have got to this stage with our integrity and self-esteem intact.
Now that our four-year term with Celtic Music is finally at an end and ownership of all our own material has reverted back to us, we are proud to be able to reissue our first three albums on our own Whippet Records label, in special new editions, with repackaged booklets and bonus tracks.
We have always prided ourselves in our independence, as well as the special relationship we seem to share with our following. It is difficult to imagine that we could have reached this far without the enthusiasm and sheer loyalty of those who have stuck with us through it all and helped drive us on through all the difficult times. You have left us with many truly wonderful memories and experiences – long may they continue!
This special reissue is dedicated to you…

The intervening years between the recording of our debut album, ‘Nee Gud Luck’, and our second studio album, ‘Timeless Street’, proved to be an extremely turbulent period for the band, due largely to the beginning of our four-year (on and off) legal dispute with Celtic Music, which initially lasted for 18 months, during which time we were unable to record any new material, plus the constant and highly frustrating line-up changes we underwent at this time.
It seemed as though we were constantly taking one step forward and two steps back all the way along the line, and we experienced a number of stressful low points and periods of virtual inactivity, during which time our creativity, progress and morale suffered. The ‘Aal Faal Doon’ Tour of 1990 in fact marked an all-time low for us, with what turned out to be the most disastrous and ill-conceived line-ups we had ever had. Bass player, Mick Tyas, had actually temporarily left the band for the period of this particular tour and there was a severe personality clash between various band members, with the two of us stuck in the middle of it all. This was probably the closest we ever came to actually packing it all in, due to the extreme pressure relating to the internal line-up problems, but we managed to turn things around and come back stronger than ever, with a fresh determination.
The first step in this latest rebirth of the band was the recruiting of Kevin Wilson on Mandolin and Bouzouki. Our previous mandolin player, Gary Price, had announced in the middle of the ‘Aal Faal Doon’ tour, his intention to leave the band immediately the tour was over. We therefore made the spontaneous decision, in the middle of the tour, to telephone Kev, who we knew as a decent chap and capable guitarist, at the musical instrument shop where he worked back home in Durham, from our hotel room in Vienna. We explained our dilemma to Kev, asked him if he fancied ‘joining-up’ he immediately answered in the affirmative, and handed in his notice at the music shop, before heading off to purchase all our recordings from the local record shop, in order to learn the songs at home, while we completed the tour. Kev was a guitar player, who had never played mandolin before in his life, but none of us gave that any thought at the time! Anyway, as soon as we returned home, Kev was drafted in for the UK leg of the tour, learning the set as he went along. Apart from the original line-up, of course, Kev was, with the exception of current member Paul Carless, the only band member we knew personally prior to him joining the band, through his work in part-time local Durham bands and his ‘day job’ in the local Durham music shop where we bought our tour spares. Kev was with the band for almost two years but sadly ‘Timeless Street’ was the only recording he made with us. He was a lively character and was very popular with the fans. We felt quite sad in the end when he finally left the band.
Shortly after Kev joined us, Mick came back and then, in a surprising move, ‘Nee Gud Luck’ members Pete French and Steve Green also returned to the fold together, for a brief second spell, and just in time to help us out for our completely unrehearsed, yet now legendary, show-stealing performances at the 1990 Cambridge Folk Festival, where we were described by Colin Irwin, writing for ‘The Guardian’, as the ‘stars of the weekend’. It seems remarkable in hindsight that we managed to be so successful at Cambridge Folk Festival, considering that the line-up of the band, which also included Clive Cavanagh on harmonica and washboard, making this our first ever seven-piece line-up, had been hurriedly put together at virtually the last minute, with no time at all in which to rehearse a set.
Before the ‘Timeless Street’ line-up was established, however, a few more personnel changes occurred over the next couple of years, which included a spell in the band from the eccentric Mark Robertson, son of Morning TV personality, ‘agony aunt’ Denise Robertson, on drums. During this time, we kept up a continual assault on Europe, with countless tours to the Continent, particularly to Germany. The unfortunate, yet inevitable, result of this, however, was that although the band’s profile was now expanding considerably, on an underground cult level throughout various European countries, we were tending to neglect the UK, a fact that we are now coming to terms with, having realised the enormous damage caused to our profile on home soil over a number of years, through lack of attention.
Towards the end of 1991, we had, in fact, reconciled our differences with Celtic Music, in an attempt to save our floundering careers, after an 18-month nightmare of legal wrangling, during which we recorded note one note. This led, first of all, to Celtic Music re-releasing our 1988 EP’s ‘No Chance’ and ‘Grandfatha’s Fatha’, in the form of a compilation album package, imaginatively titled ‘The First Few Drops’ by Mick Tyas. By this time, Simon ‘Boy’ Chantler and Piers Burgoyne had joined the band, and we had the line-up which would record our second full-length studio album ‘Timeless Street’, more than two years after our debut album, ‘Nee Gud Luck’.
‘Timeless Street’ was the first recording we made with Fred Purser at Trinity Heights, Newcastle-Upon-Tyne, where we would later mix ‘Bloody Well Live!’ (1993) and record and mix ‘The Power and The Glory (1994). All sixteen tracks from the session were recorded and mixed in ten days for £2000. This admittedly miniscule sum was the largest budget we had had up until then for a studio recording. It was the second time we had used the brass sound courtesy of members of ‘Bearpark and Esh Colliery Band’, who had previously appeared on ‘Nee Gud Luck’, and who we would use again on ‘The Power and The Glory’.
‘Timeless Street’ also marks the first recording appearance with the band of current member Paul Carless, appearing here as a guest musician, being then a casual part-time member of the band on and off since 1989.
Despite our efforts at the time, there are a number of glaring technical imperfections on this album, as a result of poor performance technique in places, particularly regarding the drums. At the beginning of ‘Perfect Time’, for example, the drums are drastically out of time, but by the time we all noticed, it was too late to do anything about it, so we had to ‘make do and mend’ and compromise all the other instruments around it. We were still, even at this stage, very naïve and inexperienced at studio work, as the above example shows, but ‘Timeless Street’ proved to be a good learning process for us and the lessons we learned would stand us in good stead for when we would come to record and mix ‘The Power and The Glory’ at Trinity Heights in 1994.
The four extra tracks, available for the first time on this special reissue, were recorded at the same session as the rest of the album. A total of sixteen tracks were recorded, all of which are included here as a complete package for the first time. Our intention at the time of the recording was to release a single, ‘Easington’, from the album, which would include the four album tracks. Everything was prepared for the single’s release, including the artwork, when, at the last minute, Celtic Music inexplicably changed their minds, and the single was never released.
Being our first new album for some time, we had reasonable high hopes for ‘Timeless Street’. Unfortunately, however, the album did not receive the promotion and backing we had been hoping for and, as a result, the album was largely ignored, despite some notable praises in ‘Dirty Linen’, ‘Folk Roots’ and ‘Rock ‘N’ Reel’ magazines, among others. At the end of 1993, we would regain recording and publishing rights to our entire catalogue, allowing us to reissue ‘Timeless Street’ in this specially repackaged format.
When we were sitting in the studio at Trinity Heights, listening to the various master tapes available for the re-mastering of this album, to include additional tracks, the first thing that struck us was the sheer difference in the quality between the original studio master and the Celtic Music production master, which the Celtic Music engineers had mastered from the original D.A.T. master using analogue output. This is most definitely not the best method to employ in transferring masters, in order to obtain the highest quality pressing, as this is certain to cause a sharp deterioration in sound quality from the original. We therefore made the obvious decision to work from the original studio master, in mastering this reissue, and as a result the pressing available with this reissue is of superior sound quality to the original issue, and finally presents ‘Timeless Street’ to the standard it should have been, but wasn’t, first time round. Also, unlike ‘Nee Gud Luck’, for which the original 24-track masters no longer exist (see ‘Nee Gud Luck reissue), and like all other Whisky Priests albums since, the 24-track masters for all sixteen tracks from the ‘Timeless Street’ session still exist, which means, for future reference, they can all be remixed at any time, for potential future reissues. Please note, however, that to maintain the historical context of this particular reissue, a conscious decision was made by us not to remix the tracks or alter the original running order in any way (although we did initially consider it), apart from adding the four bonus tracks at the end.
Those of you who missed it the first time round now have the benefit of hindsight with which to judge it this second time round.

(Gary Miller & Glenn Miller, August 1994)

 

Review/Quotes (Original Release)

“Also in Britain, The Whisky Priests have put out a new full-length album called ‘Timeless Street’. This folk-rock band hails from Durham, the county between North Yorkshire and Northumberland in England’s northeast. Their music sounds a lot like the Pogues used to, back when traditional music was their main influence. The regular line-up of The Whisky Priests includes bouzouki, mandolin, fiddle and accordion along with guitar, bass, drums and keyboards, for a well-balanced traditional / rock ‘n’ roll combination. They don’t have the instrumental virtuosity you’ll find in many Celtic and northern English folk bands, but they do have energy, skill, and a good melodic sense that makes their original tunes and songs appealing. The driving backbeat will keep your foot tapping while the catchy melodies are being spun out.
If you’re lucky, you might be able to understand the gargle of Gary Miller’s voice. Lucky, because his original lyrics are as appealing as the melodies to which they’re set. The geographic and economic realities of northern life, coalmining and poverty, are constant presences in Gary Miller’s haunting songs, written in local dialect about local people with universal problems. His songs talk about mothers abandoned by the fathers of their children, about old men retired from the mines with no support, about lay-offs, lockouts and strikes, about wars, solidarity, love and hope. The two traditional songs are equally enjoyable, particularly ‘Bonnie Gateshead Lass’, a light-hearted song that really captures the way teenagers talk about love: “I’ll warrant you’ve never seen me lass her name I cannot mention / For fear you’ll gan and tell her how I like her, so I de…” No question, if you like the sound of folk/punkers like the Pogues, along with social commentary and honest, insightful songs, you’ll get a kick out of this one.”
(Original 1992 version), ‘Dirty Linen’, U.S.A., Issue 41, August/September 1992.


“If you’re the kind of person who reckons folk music is all finger-in-the-ear Arran sweaters and sing-a-longs then get your listening gear round this, missus.
The Whisky Priests are folk hewn from the coalfields of County Durham, taking traditional instruments, tunes and subjects and injecting them with the fires and passion of a down-trodden people waiting to rise up.
In their third album, their second ‘proper one’ after the compilation LP ‘The First Few Drops’, the Priests continue to chart their progress as a great songwriting band.
Anyone fortunate enough to have caught the band at the Met last year (or in Manchester recently) will know they are truly great live. Their energy and passion defy an audience to sit down, and their shows have had the punters raving from Beamish to Bremen.
On record, none of the passion of the gigs is missing, but in the studio environment and without the fervour of the gig situation you can sit back and realise just how good a songwriter Gary Miller is, and how good musicians the rest of the band are.
The twelve racks on ‘Timeless Street’ give you the benefit of a fine production, and a chance to hear the tunes without bouncing round a dance-floor or subject to the vagaries of venue acoustics.
There are ten originals on the album, and two traditional tunes given the full Priests treatment.
The album gets off to a subdued, melancholy start, with Gary Miller’s distinctive baritone filling the haunting ‘Susan’s Song’, but this by way of easing you into the album.
High-energy folk is the order of the day, with standout tracks including perennial favourite ‘Aall Faall Doon’ and the accordion-led instrumental dance-floor filler ‘Goblins’.
Bassist Mick Tyas’ booming tones are also brought into play on ‘Bonnie Gateshead Lass’, one of the two traditional songs, and the haunting start of ‘The Raven’, which blasts into a veritable orgy of get-off-your-backside dancing music.
‘Perfect Time’, which closes what used to be side one, is a perfect centrepiece to the album, and the power and hope behind ‘Easington’ give a true flavour of the North East.
All the instrumentalists are given full effect by the production, with Glenn Miller’s skilful accordion given best effect on ‘Goblins’. The fuller sound given by Simon Chantler’s fiddle and Kevin Wilson’s mandolin are well used, and Piers Burgoyne’s drumming is nigh on perfect throughout.
Comparisons with The Pogues and others are inevitable and misplaced. The Whisky Priests are something different, and although both bands are in the folk tradition, you can’t really see the Priests coming out with something like ‘Honky Tonk Women’ or decrying the plight of the Irish immigrant from the comfort of Kilburn.
The Priests have the coal and the yards of Durham in their blood, and it comes through in their music, which is vital, passionate, powerful and real.
They are huge on the live circuit, they are huge in Europe. Hopefully ‘Timeless Street’ will establish them fully in the hearts of the record-buying public. This band deserves all the success they can get. (9)”
(Original 1992 version), Richard Lewis, ‘Bury Times’, UK, 7th July 1992.


“Thankfully The Whisky Priests have made no great changes (barring line-ups) since their debut album ‘Nee Gud Luck’. The advances that have occurred have been subtler than the progression of their contemporaries. No sudden leaps into the realms of electric folk rock, no overnight policy changes in the vain hope of attracting a bigger audience. Due to self-containment in the form of Whippet Records they need not pander to the wishes and desires of the mainstream music press.
Although the messages remain the same – a combination of working class history and social politics – the delivery on the new album, ‘Timeless Street’, is somewhat different. The bulk of Gary Miller’s songs are much more tranquil than ‘Nee Gud Luck’, more wistful and evening melancholic. Not as reliant on harshness and raw anger to carry the songs.
If you visit the Duchess on June 28th you can catch The Whisky Priests at their best. I doubt that even three months hard touring – taking in most of Europe in the process – has drained them at all. If you’re lucky you may get a rendition of ‘The Raven’, possibly the most dramatic Whisky Priests song to date; bass player Mick Tyas taking a rare turn at the mic for a spine-tingling introduction. Mix in a good helping of traditional Whisky Priests anger – maybe ‘Aall Faall Doon’ – and the odd instrumental, perhaps the maniacal ‘Goblins’, and you have all you need for a great, no doubt hot and sweaty gig.”
(Original 1992 version), John Sanders, ‘Northern Star’, UK, 25th June – 2nd July 1992.


“The Whisky Priests are a snapping, snarling Rottweiler-cum-pit-bull terrier of a band from County Durham. Having just got over a lengthy records company dispute (it isn’t just the Stone Roses that get that sort of problem, y’ know), they’ve finally released their second LP ‘Timeless Street’, which builds well on their debut, with its combination of original material and traditional north-eastern songs. Vocalist Gary Miller is developing into a fine songwriter, offering skilfully drawn portraits of characters and life in his world.”
(Original 1992 version), Pete Fruin, ‘Outlook’, UK, 1992.


“The thing about The Whisky Priests is, despite your better judgement, once you’ve seen them live you just won’t be able to resist them.
They are as unique as a band who are really unique can be – flat caps, 1930’s suits and urban folk tunes raunchy enough to make your ears bleed – you’ll never see another live band to touch them.
I suppose Folk Thrash is the only tag that comes close to describing their musical antics – and though their tunes are memorable and instantly catchy, not surprisingly they don’t quite live up to the treatment they are given on the live circuit when put onto disc.
There can be few artists to have emerged upon the scene that have created as much panic in promoters and audiences alike as Durham’s Whisky Priests.
“Basically, we’re a live band and that’s where our material is strongest. The whole idea behind the band is that we enjoy playing it live. We are actually a lot better than people give us credit for. We don’t just go out to play and get it tip-top, we go out to perform it and sometimes the music doesn’t come off dead on, but we perform it so intensely that it’s the sort of feel that comes across more than anything”, said Gary Miller, one of the Miller brothers, the inspiration behind the band.
They have been compared, not surprisingly to The Pogues, Billy Bragg et al – an easy pigeonhole to file them under for music hacks – but The Whisky Priests are much more than carbon copies of those who have previously quenched our thirst for something a little left of rootsy.
How long can the national press and major record companies afford to divert their attention for?”
(Original 1992 version), Adam Moss, ‘Manchester Evening News’, June 1992.


“Lock up your coal scuttles The Whisky Priests are coming to town and they mean business.
Promoting their new album ‘Timeless Street’ The Whisky Priests are a folk/rock group with a line in gritty North Easternism hewn from the colliery face.
They take traditional folk tunes linked with the now extinct labour intensive industries of a bygone age and breathe fresh life into them with their music.
And to top up their working class credentials the band even dress in full 1930’s flat cap and braces regalia.
Song subjects include The Jarrow March, mining, of course, drinking, more drinking and general ‘it’s-grim-up-North’ material.
But miserable they are not and they have built up an awesome live reputation, which has brought comparisons to raucous Irish hell-raisers The Pogues.
Like The Pogues, The Whisky Priests write their own tunes as well as performing electrified traditional folk songs. And, their new album contains only two traditional tunes out of a track listing of twelve compositions.
Hailing from Durham, the band is a seven-piece outfit centred on the talents of Gary and Glenn Miller, no relation to the disappeared bandleader.
They mix mandolin, fiddle and accordion, along with bass guitar and drums, to fire up the authentic traditional sounds and play them with a fury that brings the songs right up to date.
Once on the stage, they charge around in hobnail boots, stamping to the rhythm of the tunes, pausing to puff on cigarettes and swill from beer cans.”
(Original 1992 version), Andy Clark, ‘?’, UK, 1992.

 

Reviews/Quotes (1994 Reissue)

“For those of us who have become addicted to the Priests’ own particular brand of entertainment, and have followed the band’s story, this album is a real treat. This was the band’s first [sic] studio-recorded offering and it has now been re-released for all to enjoy. There is a story behind the re-release and after reading it you will see that it has been put out as a sort of raspberry to ‘Celtic Music’ who must surely now regret their past treatment of the band.
‘Timeless Street’ is pure Whisky Priests with lead vocalist Gary Miller bringing his own style to the lyrics and combine this with brother Glenn & co backing him with such wonderfully strong accompaniment and the result is powerful exhilaration.
The unmistakable blend is there for all to see and hear, with the coal-mining theme running strongly through each track, convincing you that despite all the hardships and difficulty they will still shine through.
The tracks on the album are a collection of loud rip-roarers, soft ballads and bouncing instrumentals, which help display the wide repertoire of the band.
If you can listen to this and not end up tapping your feet at the very least then you must have had an enjoyment by-pass!!”
Check it out, you will not be disappointed!”
(Reissue 1994 version), Martin Holden, ‘Folk North West’, UK, Summer 1995.


“After a resolvement of their legal dispute with their label, which had meant no recording at all for eighteen months the band went into the studio to record ‘Timeless Street’. Although extremely frustrated by what had happened, they managed to record their best album to date. The energy has been slightly reigned in without being diminished and Gary’s songs have gained more depth. His voice is stronger and overall there is the feeling of a band in total control, knowing exactly what they wanted to achieve. It is also the first time that an electric guitar had been added to the proceedings.
This is a wonderful album in all respects, from the blinding instrumental ‘Goblins’, the accordion-led ‘Aal Faal Doon’ or the dramatic ‘The Raven’. The last of these starts with an atmospheric vocal from bassist Mick Tyas (along with the Miller brothers the longest surviving member) with just some keyboards, but it changes into a more pacy number altogether as Gary takes the lead and the rest of the band join in. There is not a weak point on this record.”
(From joint review of ‘Nee Gud Luck, ‘The First Few Drops’, ‘Timeless Street’, reissue 1994 versions), Kevin Rowland, ‘Feedback’, UK, Issue 29, 8th June 1995.


“This has been re-released with four bonus tracks. This album is perhaps one of their halcyon days type albums, as underlined by the front CD cover (a black and white busy street scene). By the way, Halcyon Days can mean both good or bad, depends on which side of the political and social fence you’re sat on. As you will now expect, the Priests show that either side of the fence has its faults. There are quite a few brass additions on here, which adds no end to the atmosphere invoked. Again, the lyrics are printed in all their glory – plus there are some striking piccys. I especially like the one with the lads down a back allotment lane.
To be fair, I can’t really recommend any of their albums as they are all pretty damn fine. They, like folk music should, puts down life as it was/is and Gary Miller has a special quality in that he has a superb set of brushes from which he paints many a picture. What I will say is that you get yourself down to your local record shop, and get a coating of listening to. Then you can choose whatever you like. It really is pretty fine stuff – the audio equivalent of a contour map.”
(From joint review of ‘Bloody Well Live!’, ‘The Power And The Glory’, ‘When The Wind Blows, Billy Boy’, ‘The First Few Drops’, Nee Gud Luck’, ‘Timeless Street’, reissue 1994 versions), Dave W. Hughes, ‘The Modern Dance’, UK.


“The Whisky Priests now have their entire catalogue under their own control and these re-issues are a confident celebration of 9 years of hard work and determination to keep Gary and Glenn Miller’s basic idea of an English Northeast band on the road. So far there have been over 30 different band members as line-ups have changed and changed again. Gary Miller has written 32 of the recorded tracks, plus 4 further collaborations with Glenn Miller and one with Mick Tyas, and Glenn has written a further two. Also included are well-known ‘Trad’ songs and tunes from the N.E., which have been part of their repertoire from the beginning. They have also written many more songs, which are as yet unrecorded – a prolific outpouring of energy and creativity, which also characterises their live performances. All 3 re-issues include a 16-page insert booklet with words for all the songs, the story of The Whisky Priests so far, in three instalments, and a selection of archive photographs.
The twin ‘likely lads’ from Durham with a schoolboy vision in 1985 are now independent businessmen without losing their integrity and self esteem. An inspiration to all of us who attempt to create our own contribution to the global ceilidh. Enjoy the fruits of their labour at a bargain price!”
(Joint review of ‘The First Few Drops’, ‘Nee Gud Luck’, ‘Timeless Street’, reissue 1994 versions), Jenny Coxon, ‘Folk Buzz’, UK, Spring 1995.


“Reading the sleeve-notes of these reissued early Priests albums, you find a tale of indie tenacity of the first order. To say that that tenacity and clarity of purpose fuels the music puts it mildly. Whether you like them or not, you have to admit that without the likes of this band, music would be a weaker-kneed constituency altogether.”
(Joint review of ‘The First Few Drops’, ‘Nee Gud Luck’, ‘Timeless Street’, reissue 1994 versions), Steve Morris, ‘Brumbeat’, UK, 1995.


“Passionate in your face from the start to the finish, these CD’s show the early development and unique Priest style taking form. All three feature bonus tracks, sleeve notes and lyrics, making each excellent value for money. Hard driven folk rock with rare verve, it’s honest, hard music and ideal for foot to the floor motorway driving.”


(Joint review of ‘The First Few Drops’, ‘Nee Gud Luck’, ‘Timeless Street’, reissue 1994 versions), Mark Hughes, ‘First Hearing’, UK, 1995.