By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
With Blue Pony Miller has created a masterpiece. She works within the boundaries of popular form and expectation, but invests the result with the kind of resonance that is far from standard. It's a genius that most resembles that of Sam Phillips, who does the same thing with straight-ahead pop. That's not the only parallel between the two: Phillips is married to Yber-producer T Bone Burnett, while Miller is the partner of the phenomenal Buddy Miller, whose 1995 Your Love and Other Lies was one of the best albums of that year; Miller is currently playing guitar with Emmylou Harris' touring band. (Although Julie has been opening for Harris on the road--keeping her and Buddy together--she did not do so for Harris' two-show appearance at Fort Worth's Caravan of Dreams last May 20. More's the pity.)
There's another common thread that runs through the careers of Julie Miller and Sam Phillips: Both women started out in Christian music before opting for a wider, less limited arena. Miller put out four albums before Blue Pony, full of tuneful, literate, and compassionate ruminations on love, redemption, and obligation that were light-years deeper than what the industry was settling for at the time. Blue Pony continues her ambitious approach: Truly affecting music doesn't just reflect the now, but to some degree all of what came before. Blue Pony is full of the echoes of country music's roots, be they ancient--the Scotch-Irish music that immigrants brought (the almost-fairy tale "Forever My Beloved," full of pipes, fiddles, and green distant shores)--or only a few years removed (the poignant "Appalachia Song," a forgotten Lowell George-John Sebastian collaboration). It's a sense of Historical awareness that she reinforces by often employing archaic--or at least old-fashioned--syntax and sentence structure. A finely burnished acoustic glow has been applied throughout the album, shining tenderly not only through expected instruments like mandolin, fiddle, and banjo, but also exotica like bouzouki and harmonium. The more unusual instruments give the album an off-center sound that's almost Oriental at times.
Miller didn't exactly stumble into such transcendence. Husband Buddy's Your Love and Other Lies was full of expertly rendered honky-tonk bounce, tear-jerking regret, and dance-floor dip and sway; Blue Pony is the female complement to Buddy's vision. He helps out on the album, making effective use of his mandoguitar--a custom instrument that looks like a cross between an solidbody electric guitar and a mandolin. His awesomely wide palette of tones is the textural support that enables his wife's remarkable voice the freedom to conjure up vulnerability, despair, wonder, wisdom, fatigue, and suspicion. Her voice is high and a bit girlish--betraying in spots her admiration of SoCal pop singer Valerie Carter--but never deployed without savvy and control. If there ever was a casting call for the voice of a Japanese anime character who was a hip, beautiful, thoughtful, young barroom chanteuse, Julie would get the part.
Her lyrics are complex, always aware that any choice has a cost and that the heart and the head aren't necessarily in alignment--that what you want isn't necessarily what's good for you. On the disc-opening "A Kiss on the Lips," she sings that she doesn't "want to see the situation out of disguise," a dissonance presaged by Buddy's first distorted mandoguitar chords. Although "Kiss" is about as KERA-ready as a song ever gets, Miller immediately jumps into "Take Me Back," with its hard country edge and keening, bluegrass-style vocals. This is a standard country song type, but the way in which Miller admits to screwing up but still can't bear the deep wounds of being left on her own makes it much more than your everyday weeper. "Take Me Back" is no glib attempt to weasel out of being held accountable, but a genuine cry of pain, aware that in its hurt is a measure of justice.
No song sums this duality up better than "The Devil is an Angel," in which she takes what at first seems a basic symbolic switcheroo--"the Devil is an angel, too"--and invests it with more. Although she could just be singing to a love that's known to be both sweet and dangerous, there's something in the spare, minor-key Celtic-blues accompaniment that suggests bigger doubts and larger, lurking troubles, that lust is but one thing that the world offers and that the soul hangs ever in the balance.
"That song is about some guys that I've known," Miller says from her home in Nashville, where she and Buddy are resting in between Emmylou tours. "It's about my own betrayal experiences, but it's also about some people I've known who claimed to be Christians but really didn't act like it. Some people have heard that I used to be a gospel singer, and I just wanted to let them know that I, too, understand that some of these gospel people on TV might not necessarily be who they claim to be."