Miller Campbell, pt. 3

The next time I write about Miller will be a show review from London. So this is our last chance to finish listening to her amazing self-titled debut album.

Miller Campbell might have grown up virtually on an island in Washington State but she is a classic rock ‘n’ roller. Miller also brings a classic Hollywood style to her music and to her image. Her new album cover calls to mind Audrey Hepburn in Breakfast at Tiffany’s. MC is pure class and brings attention to detail to every aspect of her craft.

I have already written about half of the album including Runaway Arms, Bad, Alright, and the single Out Of My Head. Today I will complete the album but while I get that written, feel free to catch up with the earlier parts of this article. See you on the other side.

All Night

This is the first song on the album and is relatively upbeat. Miller sings a lot about the night, especially its scary, sobering middle, perhaps around 3 AM, as we discover later on? There’s a lovely chuggy little bridge. It establishes this album firmly in the rock and roll register. Lots of guitar, plenty of bass.

Several of these album tracks sound a note of regret or loss, and it’s worth a digression to accept that Miller’s persona, at least in this collection, is one of darkness, despair, regret and occasional flashes of anger. I think one of her strengths (and one of her many attractions) is the counterpoint between her cover girl photo shoots including her personable, upbeat private personality, and the dark vibe running through her public persona through her music.

Miller’s not dark like this, but then she is, she must be. Still waters… she’s complicated and deep, and invites careful listening. Miller stores up her anger for her songwriting. She has a real edge to her voice. She has faced adversity in her life and this shines through: she has converted it into steely determination. She really has something to say.

Little Things

This is where Miller shows off her Tom Petty inspiration. “Well, it was nearly summer, we sat on your roof” is the opening to his classic, Even The Losers. Miller’s song begins in the same avenue. Before she sings we have a wonderful acoustic guitar intro.

It was early summer when you said you’d save me
I remember hearing it the whole ride home
We sat and watched the cars run empty

Don’t worry, the electrified guitar is never far away. Although this is a song of loss, noting how the little things have a big impact in our memories, the tune is upbeat and lighter than most of the other songs on the album. I don’t want to choose any favourites, but this one is right up there.

Hotel New Wave

Once I heard Miller singing a cover version of The Bangles’ Hero Takes A Fall I have been alert to the Hoffs influence. I think it comes through on this one. If there was any doubt, it is dispelled by the chorus. There is a certain Go-go’s vibe as well. Although I feel like Miller would have been most at home in the 1950s, this ‘80s homage is very welcome indeed. The ‘80s new wave movement included favourites of mine like Duran Duran, Blondie and even Tears for Fears, a music now dubbed yacht rock.

You Can’t Fool Me Anymore

On an album full of rock and roll belters, this is the one that really lays it all out. It builds gradually, but Miller is screaming like Joan Jett or Ann Wilson right out of the gate. Lyrically straightforward, she is on an extended road trip. This is an absolute banger, an end-of-the-show encore possibility. What sets great rock songs apart is not only their out-and-out loudness. In this one it is the amount of control she shows. She’s holding it back, but still angry. The anger simmers before its inevitable eruption. Oh this is good.

Breathe

A haunting, sad song. A reflective Miller, sad rather than angry this time. A personal song, the short video shows her alone in a dark vocal booth. We see her range here, and it’s impressive. Haunting is the only one-word summary you could want.

Every Headlight

A more reflective song, fittingly. She is on the move again. There are driving and travelling themes throughout this record. We’re in the pre-dawn again, later than the middle of the night this time, waiting for the sunrise. This makes it upbeat. Yes, we can still see the headlights, but the emphasis is on the light and the soon-to-arrive sunshine. Catchy as hell, one of those songs you love instantly but then it continues to grow.

3 AM

Whoever said “you might want to sit down for this one” sotto voce before the intro to this track is not wrong. This is a song laced with middle-of-the-night desire and the theme reminds me of an older Miller song that I also love, Sweet Release. But melodically this one is different, louder and rockier. It’s one of the songs I most want to see live.

Self Medicated

A quieter, gentle end to this addictive album. That’s fortunate because she’s sounding a cautionary note about the risks of self-medication. It’s a break up song, she’s leaving… but is she leaving a human relationship or a chemical one? She’s getting stoned in her wedding dress. Perhaps it’s both. But is it her wedding day or a lament for happier times past? This is a dark song, a song of regret and despair and departure. This is the only explicit lyric warning on the album and it’s used sparingly to underline her anger. Miller is at her best in this mode: simmering.

The more you listen to Miller's music, the more your opinion grows. You can even read about the chance she had for a career in the CIA here! Miller Campbell is going places. Take note. You can find all her stuff on her own site. She is touring the Netherlands and Germany this fall, and… LONDON on 5th October as well as MANCHESTER the day after! Tix here. Miller’s appearance with Lera Lynn in London is not widely mentioned but those tickets are here.

Full Track Listing

1. All Night
2. Bad
3. Little Things
4. Hotel New Wave
5. Alright
6. You Can't Fool Me Anymore
7. Breathe
8. Runaway Arms
9. Every Headlight
10. 3 AM
11. Self Medicated