Jo Miller And Laura Love Sing Bluegrass
And Old-Time Music

When I first heard Bill Monroe sing "Blue Moon Of Kentucky". I wasn't sure I could take it. My folk-ears were not prepared for such intensity. Buffalo, my bluegrass guide, suggested some Flatt and Scruggs followed by the Stanley Brothers, followed by Red Alien, followed by early Country Gentlemen, and by the time I got to Jimmy Martin I was prepared. My uncertainty had been replaced by a deep admiration and appreciation for "the Bluegrass Music". Particularly the singing. Nobody could hit a high note like John Duffy and I wanted to be like him. I was young and banjo simple.

Through the years I played in several NW bands that borrowed from the bluegrass tradition Blue Ridge Express, Skyline Drifters and even my current group, Ranch Romance, but I haven't sung the "real thing" for a long time. When word got out that Laura Love had taken an interest in bluegrass, I heard opportunity knock and discovered it was me at her door asking for the chance to do some of that high lonesome singin' I'd been missing. I'd heard Laura with her own group, the Laura Love Band, and I loved her Afro-Celtic sound, but I'd always leave saying "now there's a bluegrass tenor". I knew with a little guidance she, too, would see that bluegrass light in the window. Sure enough, a few old records and a couple rehearsals later we were singing bluegrass and my high lonesome needs were nearly met. All we needed was a band. Orville Johnson is a band! Playing the dobro, mandolin. and lead guitar, he breaks the rules in an unpredictable and inspiring fashion that would make the fathers smile. We added my Ranch Romance road kin, Nancy Katr, with her driving, percussive upright bass and we were set. Nancy's so cool she even snaps her fingers while she plays.

The few shows we have done have been some of my highest moments on stage and making this album was nothing but a blast. We'd like to thank the many bluegrass artists old and new for ideas borrowed and stolen and I'd personally like to thank Laura for her generous spirit, open mind and for putting the "yo" back in yodel.

- Jo Miller

I'd first of all like to thank Jo Miller for exposing me to this music and to Mary McFaul for exposing us to an audience. I didn't know anything about bluegrass before my connection with Jo and though I hesitated a bit at first, she convinced me that if I'd ever been high or lonesome I could probably sing this stuff - I hope she was right.

- Laura Love

PS. - I'd also like to thank all my cats, Gigantor, Tonya, Mr. Lucky, Hercules and Calvin, for Feline Inspiration.

1. Some Old Day: learned from Flatt & Scruggs and the Foggy Mountain Boys, Blue Ridge Cabin Home (County Records); Orville on dobro and mandolin * (the asterisk means overdub, ok?)

2. Blue and Lonesome (Bill Monroe): leamed at bluegrass jams; Orville on dobro and mandolin*. David on banjo*

3. What About You (Wright-Anglin):learned from Red Allen and The Kentuckians, Bluegrass Country (County Records); Orville on mandolin and dobro*, David on banjo*

4. In My Dear Old Southern Home (Jimmie Rogers-Ezra Cozzens): learned from Grant Street String Band (Bonita); Orville on dobro and mandolin*, David on banjo*

5. My Native Home (traditional): learned from The Nashville Bluegrass Band, My Native Home (Rounder); Orville on dobro and mandolin*

6. Bury Me Beneath The Willow (traditional): learned from Skaggs & Rice (Sugar Hill); Laura on lead vocal. Orville on mandolin and lead guitar*

7. Blue Railroad Train (Delmore Brothers): learned from The Delmore Brothers, Brown's Ferry Blues (County); Orville on lead guitar

8. My Sweet Love Ain't Around (Hank Williams): learned from Grant Street String Band (Bonita: Orville on dobro, lead guitar*, and background vocal*

9. Don't You Call My Name (Herbert Campbell): learned from Del McCoury and The Dixie Pals, High On A Mountain (Rounder; ]o on lead vocal, Orville on dobro and mandolin . David on banjo*

10. Sittin' Alone In The Moonlight (Bill Monroe, Unichappell Music BMI): learned from Peter Rowan, First Whippoorwill (Sugar Hill); Orville on dobro, mandolin*, and background vocal*

11. Somebody Loves You Darlin' (Morris): learned from Red Allen and Frank Wakefield (Folkways); Orville on mandolin and dobro*, David on banjo*

12. Dear Companion (Jean Ritchie, Geordie Music): learnt from Alice Gerrard and Mike Seeger (Greenhays); Orville on mandolin, Nova on accordion*

13. Everybody Leaves Without Telling Me Goodbye (Shei Gostick, Santa Cecelia Music SOCAN): learned trom Shei Gostick, an obscure but great songwriter and comedian out of Toronto

14. Old Black Mountain Trail (Patsy Montana): learned from Fatsy Montana; Orville on lead guitar. David on mandolin*, Nova on accordion*

15. There Ain't No Ash Will Burn (Walt Aldridge, EMI/Rio Hatt Publishing): learned from Ranch Romance, Westen Dream (Sugar Hill); Laura on lead vocal, Orville on lead guitar, dobro*, and mandolin*, Nova on accordion*, Dav on background vocal*

16. Golden River (traditional): Golden River, the last song here, I learned from my father, Swede Miller. He learned it from his mother, Mary, who learned it trom her father, Henry Dammann.It was added to this project at the last minute - a present to my father who died two days after the other songs were recorded. I wanted to do one for him in the simple way he loved best. I'm playing his old Martin D-18 that was given to me on the night of his "going away party" to prevent its destruction at the hands of heartbroken cowboys wanting to sing Strawberry Roan just one more time. Golden River is one of two songs left on the wornout set list taped to the back of the guitar, the other being Down In The Little Green Valley, our family theme song. Swede Miller didn't raise me but he bought me my first guitar and his love of old time country music, long winded stories with good endings and all night dancing with the one you love or might consider loving was passed to me on the day I was born. I will always thank him for that no matter how much trouble it may cause me.

Love and miss you,
Jo

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