SCOTT ‘SNAKE’ MILLER – AFTER CHURCH
2013 – Self
Released
Scott ‘Snake’ Miller has for a number of years been a ‘guitar slingin’ sidesman,’ with the late Cub Koda amongst many others, so it should come as no surprise that his debut album under his own name is such a fully formed and confident, as well as an excellent, exercise in roots music. The songs are all self written by Scott and whilst they are all of the highest calibre, as is his raw, hard driving vocal style, what stands out is the incredible quality of the guitar sound. There is no holding back, with every song having a totally commited attack, even those that are not ‘rock outs!’ Certainly there is an almost ferocious drive to some of these songs but he is no mere rocker, also excercising an ability to show a little tenderness, but everything is underpinned by the excellence of the guitar playing.
Much of what he plays is a blend of southern rock, roots rock, country rock, cowpunk, even old time ‘hillbilly’ and often with a bluesy edge. Quite a diverse brew, but one that works incredibly well. The usual nebulous comparisons won’t be made in this review because I honestly can’t come up with anyone that he can be compared to. Certainly there are elements of musicians from each of the mentioned loose genres but that is all. His edgy, raw punk attitude always seems to have a traceable country (or ‘Hillbilly!’) tap root with a little edgy blues feeling on this album of strong stories and just as strong melodies. There is often a dark edge, as if the subject telling the stories has led a hard, violent, life of indiscipline completely on his own terms and with no intention of compromise!
The always melodic guitar sounds that often have a real beauty are enhanced by Scott’s raw vocal style providing at times an extraordinary contrast. Whilst Scott handles all lead vocals and guitar he is aided and abetted on this album by some excellent playing from John Jackson on guitars and banjo, Rick Reed, drums and percussion, Brian Harrison on bass and backup vocals, Etta Britt on backup vocals, Andy Leago, accordion, David Rhodes Brown plays steel guitar and Scott Trottier on backup vocals. Several other musicians also assisted and the album was produced by Brian Harrison at the Rendering Plant, Nashville, Tennessee.
The title track After Church, is a raw uncompromising rocker that tells an entirely believable story of a sinner who goes to church but knows that because of his habits, ‘after church’ redemption is unlikely! The song is full of fire, passion and contains a slashing aggressive guitar sound. This is followed by Jenny’s Got A Trailer, an excellent raw ballad that contains a wash of guitars, albeit always under control with good separation and with a discernible twang giving it a powerful dark country quality. On Bad Things there is also a powerful twang that is always evident in the mix on an easy going, if thematically dark, mid tempo ‘country rocker,’ that contains some excellent harmonies and a strong twangy guitar solo. Wake Up Call is a terrific, almost tender, sparse tale with echoing melodic electric guitar and nice acoustic on an excellent tale of a ‘check out’ worker, soon followed by Jehova Witness Girl a slow moody ballad that includes some gorgeous guitar sounds and Scott’s raw vocal blending beautifully with an evocative female harmony on a truly gorgeous song.
As can be seen from the above, this album contains everything from raw, raucous rock to tender ballads and much in between. Even the ballads have a feeling of rawness, but it is a completely natural texture rather than something that is an affectation. It is an edgy uncompromising album of songs that nearly always have at least a flavour of country, performed by an artist who is in total control of his own pretty much unique style. Long may that continue to be the case.
http://scottsnakemiller.com/
Scott ‘Snake’ Miller has for a number of years been a ‘guitar slingin’ sidesman,’ with the late Cub Koda amongst many others, so it should come as no surprise that his debut album under his own name is such a fully formed and confident, as well as an excellent, exercise in roots music. The songs are all self written by Scott and whilst they are all of the highest calibre, as is his raw, hard driving vocal style, what stands out is the incredible quality of the guitar sound. There is no holding back, with every song having a totally commited attack, even those that are not ‘rock outs!’ Certainly there is an almost ferocious drive to some of these songs but he is no mere rocker, also excercising an ability to show a little tenderness, but everything is underpinned by the excellence of the guitar playing.
Much of what he plays is a blend of southern rock, roots rock, country rock, cowpunk, even old time ‘hillbilly’ and often with a bluesy edge. Quite a diverse brew, but one that works incredibly well. The usual nebulous comparisons won’t be made in this review because I honestly can’t come up with anyone that he can be compared to. Certainly there are elements of musicians from each of the mentioned loose genres but that is all. His edgy, raw punk attitude always seems to have a traceable country (or ‘Hillbilly!’) tap root with a little edgy blues feeling on this album of strong stories and just as strong melodies. There is often a dark edge, as if the subject telling the stories has led a hard, violent, life of indiscipline completely on his own terms and with no intention of compromise!
The always melodic guitar sounds that often have a real beauty are enhanced by Scott’s raw vocal style providing at times an extraordinary contrast. Whilst Scott handles all lead vocals and guitar he is aided and abetted on this album by some excellent playing from John Jackson on guitars and banjo, Rick Reed, drums and percussion, Brian Harrison on bass and backup vocals, Etta Britt on backup vocals, Andy Leago, accordion, David Rhodes Brown plays steel guitar and Scott Trottier on backup vocals. Several other musicians also assisted and the album was produced by Brian Harrison at the Rendering Plant, Nashville, Tennessee.
The title track After Church, is a raw uncompromising rocker that tells an entirely believable story of a sinner who goes to church but knows that because of his habits, ‘after church’ redemption is unlikely! The song is full of fire, passion and contains a slashing aggressive guitar sound. This is followed by Jenny’s Got A Trailer, an excellent raw ballad that contains a wash of guitars, albeit always under control with good separation and with a discernible twang giving it a powerful dark country quality. On Bad Things there is also a powerful twang that is always evident in the mix on an easy going, if thematically dark, mid tempo ‘country rocker,’ that contains some excellent harmonies and a strong twangy guitar solo. Wake Up Call is a terrific, almost tender, sparse tale with echoing melodic electric guitar and nice acoustic on an excellent tale of a ‘check out’ worker, soon followed by Jehova Witness Girl a slow moody ballad that includes some gorgeous guitar sounds and Scott’s raw vocal blending beautifully with an evocative female harmony on a truly gorgeous song.
As can be seen from the above, this album contains everything from raw, raucous rock to tender ballads and much in between. Even the ballads have a feeling of rawness, but it is a completely natural texture rather than something that is an affectation. It is an edgy uncompromising album of songs that nearly always have at least a flavour of country, performed by an artist who is in total control of his own pretty much unique style. Long may that continue to be the case.
http://scottsnakemiller.com/