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Maryland Gazette January 6, 2007 Angie Miller at Rams
Head Onstage in Annapolis, MD
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Meg Murray, Angie Miller
Ready to Play
By Maria Villafana
washingtonpost.com
Wednesday, October 15, 2003

On Oct. 24 two Annapolis singers (and songwriters)
Meg
Murray and
Angie Miller bring their three-part show to the cozy college
town emporium,
Andy's in Chestertown.
Backed by a full band (Larry Melton on bass; Ryan Diehl on drums,
and an unnamed guest guitarist), Murray starts the evening with a
solo set of her urban contemporary tunes. A slender blonde with a
voice that just keeps getting better, Murray was approached by
producer Timbaland (Missy Elliott, Justin Timberlake's new solo
release "Justified") a couple of years ago.
She spent time in Manhattan recording with him but the project
was shelved. "The deal fell through mainly [due to] timing. I was 30
going up against 18 year olds," says Murray. "I was with the right
people, at the right place, at the very wrong time."
The experience did open doors into the world of hip-hop, as well
as give Murray insight into the music business and the studio
process, which she says was "like going to graduate school."
Once her contract with Timbaland expired and she regained control
of her songs, Murray hunkered down in Annapolis with Todd Kreuzburg
to produce her fourth album, "Ready," which she released in November
2002 on her own label, Girl Island Productions. The album's title
track and "A Lover's Lament" - what Murray describes as the first
happy love song she's ever written. "It's a wish" she says - can be
heard on her MP3 page.
The second set at Andy's will have Miller fronting the band. A
wonderful songwriter whose 2003 release "Play" was recorded live at
Sampsons Lounge in Annapolis (with Murray heard on background
vocals), Miller established herself through several songwriters
series. Her latest takes place every Thursday in November at Chez
Lafitte in Easton, just down the street from the historic Avalon
Theatre.
Miller's first album, "Ricochet" released by the Big Mo label in
1996, included a cameo from the guitarist Danny Gatton and leaned
toward poetic lyrics intertwined with pop rhythms. Her second album
was "White Space," a lean acoustic effort Miller describes as
"sparse and melancholy reflecting that time in my life." Her latest,
"Play," has a fuller and buoyant sound. "At this point I'm really
enjoying what I do," says Miller. "I get to work for myself, make
music and work with talented people I respect. I feel blessed to be
able to do that and that's really what it's about for me now."
Miller's "Swim to Me" and "What's Wrong With Your Mind" - the
latter based on a short story written by her father -- can be heard
on her MP3 page.
Murray and Miller take on the evening's third set at Andy's
together. During these final 45 minutes, original music takes a back
seat and the long-time pals swing fearlessly through quirky covers
like the B52's "Roam" (we like the harmonies says Murray) and the
Knack's "Good Girls Don't" then do something pretty like Bonnie
Raitt's "Angel From Montgomery." What comes clear during their duet
is that nothing can replace experience and talent when it comes to
knowing how to capture an audience.
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Review: Play
Chesapeake Music Guide April
2003 By Michael Buckley

Angie Miller is back
with a triumphant new recording. Like all the Annapolis players, this CD is
a celebration of not only songs, but also musical friendships. The most
pronounced connection is between Angie and good friend Meg Murray, who sings
along throughout this eleven-song collection. The set was recorded live in
Annapolis and the performance is polished. The backing band includes a
sultry playing Larry Melton on bass, a laid back Ryan Diehl on drums, and a
digital appearance by former Miller producer Topher Sisson. With the live
mix, Angie's strummed acoustic guitar is up front and center. What is
gained in this live recording is the immediacy and richness of Angie's voice
and songs. There is a great Larry Melton bass line on " What's Wrong With
Your Mind" and a triumphant climax " We Are" The whole concert has a
natural flow to it, making it the perfect way to take Angie Miller home with
you after the show is over.
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After dark:
Put this annual concert on your 'must do' list
By Jessica Pachler
The Capital December 22, 2006
Normally the After Dark column focuses on the nightlife activities of the
week ahead, not those that have already happened. The majority of this
column will be in that vein.
Before I get there, however, I need to tell you a little about the
fantastic concert I attended this past Monday, "An Annapolis Christmas."
Produced by AM-FM, a non-profit organization created to provide temporary
financial relief to professional Annapolis musicians who are unable to
perform due to sickness, injury or any other circumstances, the concert,
which continued on Tuesday night, featured more 30 local musicians playing
the best Christmas music this town has heard since, well, last year's
concert.
Playing classic carols played the way you know and love them to brand
new songs written just for this show, and everything in between, the
musicians on Monday night did a stellar job, putting on a performance that
put everyone in the celebratory spirit.
While each performance was amazing, and a highlight in and of
itself, there are a few that stand out in my mind - Matt McConville's
moving rendition of his "Still Waiting on Santa Claus;" Rob Levit and Jordan
Tice's harmonic jazz compilations; Dan and Jim Haas singing my favorite
Christmas song, "Gifts We Bring You," written by the elder Haas; Dan and the
Unified Jazz Ensemble bringing Vince Gauraldi and Charlie Brown to life;
Jimi Haha's poignant and soulful tribute, "The Greatest Gift of All;" the
School of Rock students blowing away the crowd with their rendition of
"Father Christmas;" Meg and Bryan singing "Do You Hear What I Hear," while
Starbelly rocked Baba O'Reilly in the background; the brand new lullaby
Angie Miller wrote for her children, which I wanted to remember to sing it
to mine; and Dirty City's "Snow Pigs," a combination Christmas carol and
Black Sabbath/Led Zeppelin cover, sung by a very hardcore Santa. |
Angie Miller & Meg Murray
FIRST NIGHT ANNAPOLIS 2004
So much can be said about Annapolis' own musical femme fatales. Both are award
winning singer/songwriters, and have incredibly beautiful voices which blended
together are like marshmallows dipped in butter!
Describing what they play would be simpler if we asked what you want to hear.
Their repertoire pretty much covers it. OK, how about pop-rock, folk, R&B,
country, jazz�can we stop now?
These ladies have played the east coast, have countless recordings to their
credit, and have performed with just about every notable musician in our
neighborhood and then some.
They can be heard around town here and often on local, regional, and college
radio stations. Simply put, there's no lack of work for these Sirens. We're
ecstatic they have time for us!
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Angie Miller: White
Space
Reviewed by: Michael Buckley (2001) |
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"White Space", the new CD from Angie
Miller, reflects the heart of a singer in her own room,
writing and strumming, strumming and writing, simple
thoughts, dwelling in the stream of consciousness and
daydream. If you've had the opportunity to see Angie
perform you'll know the feelings. The new CD "White
Space" reminds me of the journal style approach of
Roseanne Cash's "10 Song Demo." On a number of songs
Angie is lifted higher by some of her (and our) finest
musical friends, Jen Smith of Naked Blue and Meg Murray
on two songs apiece. The songs become playful when
Angie's friends sing harmonies. Six of the ten songs
were produced in Annapolis by Steve Alexander (Six
String Sailing, Annapolis Christmas). One song is
particularly vibrant, perhaps due to a live recording
technique employed by longtime collaborator,
guitarist/producer Topher Sisson. The final track, which
first appeared on Six-String Sailing, is a lush
instrumental named after Angie's lovely daughter Maxine
and features Larry Melton on bass and Dan Cassidy on
violin. I recommend that you go and hang out with Angie
Miller on a few of her local dates and then take her
home with you in the form of the intimate new CD "White
Space."
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The Scene: at
Café Orleans Homemade Wine Begin
By Matthew Thomas Pugh (2000)
Wine has never been
this intoxicating. "Homemade Wine," that is, as the all-lady's jam this
past Monday at Café Orleans in Annapolis.

As part of the Annapolis Song Writers Series, Homemade Wine is the
second of an occasional series showcasing the talent of women musicians.
Brewed up by Matt McConville, the name rises from Italian roots.
"Italians used to make a lot of their own wine at home. It wasn't until
I got older that I realized the wine we made, because of the time and
love put into it, was always the best," said McConville. "Homemade wine
is like homegrown music. It's the best."
From the local musical vine, McConville handpicked some of the best
female artists in the area.
Gracing the cozy Cajun/Creole café stage were Angie Miller, Meg
Murray, Mary Byrd Brown and Jen Smith. The four sat in a semicircle,
each with an acoustic guitar, a mike and her own songs to play. With a
quick "let's here it for the ladies" introduction, a musical round-robin
began.
Miller led each revolution. There is something about Miller's
slightly husky voice that is inviting, even irresistible. She sings like
a seasoned siren, stirring up a spicy gumbo of songs she'd composed,
some loosely based on stories her father had written. A natural
guitarist, Miller strummed with ease through "Here I Go," a strong,
inescapable number that she cleverly wove a Temptations "My Girl" tease
into.
Next in line was Murray. The least experienced guitarist in the
bunch, she announced that she was playing under "extreme duress." Murray
made up for what she lacked in technique with what she has in soul,
using creative chord progressions. Songs like the cool "Die Slowly" and
the heart-wrenching "I Fall" resonated from her black ax like it was
haunted. And can she ever sing. Murray has a voice that will bring tears
to your eyes and joy to your heart. Not to mention she's got rhythm and
solid percussive power.
A high-five spun into Brown. Brown epitomizes the folk singer. Her
songs seem to begin with simple ideas and evolve into grand voyages.
"Birthday 99" begins with a phone conversation that turns into an
epiphany. Her playing style, too, is cathartic. Intense and involved,
she barely opens her eyes while playing, all the while hammering her
guitar, stomping her feet, twisting and contorting her face like a woman
possessed. In between songs, she's soft spoken, flighty even. The crowd
seemed taken.
Last, but certainly not least, in the rotation was Smith. A warm,
soothing tone of voice made it easy to connect with Smith. Tunes like
"When the Sun Shines Here" wrapped the audience in a dreamy world of
"salty kisses," "walks in the high tide" and "swimming with the big
fish." Smith was impressive on the guitar, she being the only one in the
semi-circle woman enough to play leads.
After about an hour of pickin' and a grinnin', the four broke to
mingle with a captivated crowd of 50 or more. There was a buzz about how
it was a refreshing change to see all women in the spotlight.
Murray explains how jamming with men can sometimes feel like a
competition. "The best thing about playing with all women is the
sharing," she said. "Sometimes it's nice to have less testosterone and
more estrogen on stage." A drink or two later, the relaxed bunch took
the stage with a bonus.
Suzanna Mallow, from the Salisbury-based band Redletterday, sat in
for Murray to play both guitar and mandolin for the entire second set.
Mallow was an immediate highlight. She rolled up the audience with a
"thrash-grass" song that began with the lyrics "I get stoned with my
mama every Saturday night."
The round-robin continued for another hour, offering songs that
ranged from paradise, love, lost love and fear, to memories, weed and
Salvador Dali. Each musician added flavor to each other's songs by
strumming along, tapping a tambourine, shaking a shaker or humming. The
quartet wrapped things up with a Kate Wolfe cover called "Give Yourself
to Love," inviting the audience to join in.
The impromptu show went over with a bang. And the four, knowing it,
exited the stage wearing smiles.
"The show was very cool," thought WRNR station general manager Judy
Buddensick. "It's nice to see the ladies in this town get some
recognition."
When will they return?
"As soon as possible," explained Brown. "We're talking about doing
this again very soon, we just aren't sure where and when."
In the meantime, you can request most of these dazzling dames on WRNR
103.1 on your FM dial by calling 410/269-1031. Keep your ears open about
up and coming shows at Café Orleans, 125 Hillsmere Dr., Annapolis. |
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Review of Ricochet (1997)

Alive Magazine Feature (1996)


Local Notes
WAMA (Washington Area Music
Association)
Compiled by Maria Villafana (1996)
Happy about her first Big Mo Records release and looking forward to
starting her next album for the label in the late Spring Angie Miller is
preparing to go on the road in support of the her album. "Ricochet" released
this week to radio and retail was produced by Timm Biery (Danny Gatton).
It's a pop/rockish record with a mix of acoustic and electric sounds and held
together by Miller's songwriting ability.
Creating the majority of the tracks were Topher Sisson on electric
guitar, Jay Turner on bass and Biery on drums. Robert Fiester
(Brian Jack), who currently plays lead in the group and with Miller on her duo
dates, is not on "Ricochet" as he joined the group after the recording had taken
place. However, he does appear on "Angie Miller Acoustic," a live cassette
recording of the duo act she recently released to satisfy her public's demand
for product, while waiting for "Ricochet" to become available. "I do the rhythm
and he does the color. We trade off and cover the parts a band would do," Miller
said. The cassette and Miller's current performances include new material which
will be included in the upcoming album.
Mid-Atlantic Report (1996?)

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