Sugarland Run

©1999 WD Miller

Audio, Lyrics and Acknowledgements

"With the release of his debut CD Sugarland Run, WD Miller has fused the poetic imagery of cerebral lyricism into the genre of the three minute pop song." Cornelius Navaro, Los Angeles

"An eclectic mix of style and influences create interesting texture and intelligent prose. From the raucous "Nothing To Lose" to the introspective "Annie," WD has put together 15 thoughtful songs with no cheap rhyme-lines to be found." Nikki Montero, Nashville

Whirly Town

©2006 WD Miller

Audio, Lyrics and Acknowledgements

"If his fans had been expecting WD Miller to suffer the traditional "sophomore letdown" on the heels of his excellent debut CD Sugarland Run, they had to be pleasantly surprised. The release of Whirly Town confirms the suspicions of many that WD is not a flash-in-the-pan, but a talented singer-songwriter-producer who warrants the pop world's attention." Sebastian Holmes, New York

"The diversity of style in the songs on Whirly Town clearly establish WD Miller as one of the most potent Pop song-writers of the decade. Couple his musical sensibility with his excellent lyricism, and you have all the ingredients for a great listening experience." Malcolm Hunter, Los Angeles

The title track of WD Miller’s CD Whirly Town is minimalist, deliberately under-produced, so that its poignancy becomes all the more accessible. This song is WD’s portrayal of his childhood and early adolescent years, a combination of marvel, trepidation and -- effectively conveyed through the “Strawberry Fields steam-organ” -- a degree of insanity....(something most of us lived through and can readily attest to).

"Saga on the Side" is an exquisitely crafted pop song that will slip under the radar if you’re not paying attention. It is the story of youthful exuberance, the protagonist (WD in early adulthood?) trying to juggle three girls and ending up alone. The lyrics are fantastic, filled with metaphor (when he "bumped Eileen in the parking lot," was he referring to a fender-bender....or something much more sordid?). And which of us in our youth DIDN'T want our "heart to go ooh-ooh-ooh?"

"Supergirl" is quintessentially WD, a true worshipper of 60s pop. This tune could have been lifted off of AM radio. WD’s vocal is impeccable. The slightly out-of-tune background vocal contribution of the Appaloosa Doodaa’s is quite charming.  The lyrics of the bridge (“I know I’m selfish, I can’t help it, I’ve tried…”) and the final minor chord are dissonant reminders that this song is more than just a sugary homage to the blonde pop icon. 

"Mockingbird" is certainly one of the best efforts on the CD, a song brimming with hooks, from the punctuated rhythm to the delightful and irony-laden chorus. The song is a hit by any standard.  Bill Heid flutters through two beautifully intricate piano solos on this track. 

"Palomino Girl" is a raucous and textured rock song that contributes significantly to the striking diversity of the material on Whirly Town. Even accomplished solo artists make albums where one song seems to bleed into the next in terms of similarity. Not on Whirly Town.  Bruce Kromboltz weighs in with a good and greasy guitar solo that scorches the landscape.   

"Stealin’ Sugar" is an enjoyable parody of lustful bubble-gum pop. One can only chuckle at the tongue-in-cheek when WD rhymes "nice and sandy"....with..."I want candy." The blues harp and the marimba create an interesting musical montage. The Archies got nothin’ on WD.

"Kellie" introduces the country-western genre to the CD. The background vocals on this one are the most inventive and complex on the CD, encompassing counter-melody. The song ends with an irresistible deviation.

"Run, Alison" is a welcome respite from the light fair of the previous two songs. Dark and beautiful, it conveys both innocent vulnerability and detached strength. Duality seems to be the rule on this CD.

"Just a Little" is absolutely loaded with personality. The Appaloosa Doodaa’s are back with playful backing vocals (their intro is both teasing and menacing). The song is a fascinating expression of an addiction and affliction that has consumed the human male since the dawn of the cave dweller: WOMEN. WD effectively parlays the quandary and confusion of men everywhere as he vacillates between misogyny and helpless desire.

"The Virginian" is another quintessential pop song....and one of the best on the CD. Brother Rob wrote the joyous guitar lick that floats through the song.  Jim Opeka’s congas give it just the right feel. By golly, WD IS the Virginian.

"History" is like "Saga on the Side," a superbly crafted pop song, one of WD’s first compositions, written in the mid-80s. The English teacher is in full bloom here as he effectively glides between the lessons of history and a contemporary love affair.

"My Own Sad Eyes" has become my particular favorite. A mischievous take on depression, the son is lyrically introspective and musically laid back-- it is just a fantastic song. Hell, WD actually rhymes "guru" with "voodoo" in a contextually poignant way.

"Lauri Lie" comes off as refreshingly frantic....manic even, pushed by those tom-toms Jim Opeka is banging on. Yet the song somehow retains its charm. Bill Kotapish’s bass-line is nothing short of excellent.

"For Kayne" speaks for itself, a beautiful expression of love, hope, anxiety and spirit.  James Manion’s tasteful Dwayne Eddy guitar accents give the song just the right touch of muscle.  

"Buffalo Nickels" is a gem of a rock and roll song, with multiple shades and colors. The harmonies drop in and out at just the right moments, and WD employs some very effective vocal inflections. James Manion fires off a crisp, tight lead guitar break, and finishes the song with guitar flourishes reminiscent of Neil Young with Crazy Horse.

"Out of the annals of most family histories can emerge some quite interesting heirlooms, including, occasionally, art. Whirly Town is not just another CD, it is Miller/Coffman/Kilpatrick family patrimony. Through WD’s art, his descendents will catch a glimpse of the times, of the family names ("Mary came along, with Cathy behind"), and most importantly, of the man himself. Whirly Town is truly a snap-shot for posterity, but a multi-dimensional one, fully texturized, and with a narrative. In many respects it will stand as WD’s autobiography and legacy."

Adapted from a web blog review by R.C.  Jan. ‘Dec. 06