SHELTER: ME (LORD)

 At times of terror and turbulence we, as humans, often seek solace or succour from a higher power, quite whatever that might be. And, no, this isn't extending a troll to the many millions who hold dear such an idea, certain of the reality. I get the need, sure, I get the need, even often wishing I could accept what I can't fully embrace. But I don't believe, arguably more agnostic than atheist, but fully respect the want of others to have a faith. So much so that I can absolutely love the musical convictions offered by those with belief and surety. Religious music can move me to tears and frequently does. Here, as the ravages rained down upon Ukraine fill our 24 hour rolling news channels, I feel sure, were I in the maelstrom of Mariupol, that it would be songs like this that would be filling my head.

One could easily assume the above, as performed by Louisiana bluesman Tab Benoit, to be an ancient spiritual, handed down from generation to generation, even brought over on the slave ships, so earthy, rugged and real the entreaty. I certainly assumed so, Benoit having the knack of uprooting the overlooked and arcane to cover for his repertoire of authentic sounding country blues from the bayous. Having a voice like an earthquake and adept workmanlike precision on his guitar certainly hinders little. Hell, if you forgive the use of the word in this context, he just makes you want to believe in his God. (Or, at least, to take the Marc Cohn option, "Ma'am, I am tonight!")

But it isn't an old hymn, as I discovered, coming from a much more recent source. Here, above, is the original version, as appearing on Buddy Miller's 2004 album, Universal House of Prayer. I sometimes feel an overt Christian faith is deemed as disadvantageous in the world of rock and roll, not least as the Devil is said to have the best songs. Well, if that is the case, someone forgot to tell Buddy Miller, hotshot guitarist and record producer, who has played alongside both Robert Plant and Emmylou Harris, and produced, amongst others, Richard Thompson and Patty Griffin. This is as well as having his own solo career and that as a duet, with his wife, Julie, who actually wrote the song featured. Below is a live version, Buddy with three of his famous friends, Emmylou, Patty and, also a recipient of his production work, Shawn Colvin.

Quite apart from the couldn't be clearer lyrical thrust, is the odd fact that this self same song was used as the theme of a TV reality show in the U.S. Named Sons of Guns, it was about the life and business of a gun dealership. Which sorta sits uncomfortably. So, get rid the thought of it selling guns, and concentrate on applying it to losing the guns, and tanks, and bombs, from Ukraine, or, at least, from the hands of Putin's "military exercise". Maybe offered up as a prayer?

Have a last version, this time from Canada's excellent Blackie and the Rodeo Kings, joined here by no less than Mrs Springsteen herself, Patti Scialfa:

Shelter Tab, Buddy and Blackie's.

Musical Couples: Buddy & Julie Miller

Buddy & Julie Miller: You Make My Heart Beat Too Fast

Buddy & Julie Miller: Forever Has Come To An End

[purchase]

Known better as behind-the-scenes wizards from the country/roots-rock end of American folk music, Buddy and Julie Miller have helped garner fame and fortune for a multitude of other artists, from Frank Black and Jimmie Dale Gilmore to Mindy Smith and Patty Griffin, through coverage, session work, and production. As I noted in a full-bore piece on the couple back in 2008 over at Cover Lay Down, Buddy, who served in Emmylou Harris’ band for eight years, has earned accolades from bandmates Griffin, Emmylou, and Steve Earle, among others, for his blazing guitarwork and his vocals; meanwhile, Julie’s songwriting has been adapted by folk faves from Richard Shindell, Dar Williams, and Lucy Kaplansky to Sam Bush, Earle, Emmylou, and The Gibson Brothers, while her vocal harmony has become the mark of a certain kind of promise for releases from predominantly female folk artists with a particular southern folk/country bent to their sound and their outlook.

Unfortunately, many of Buddy and Julie's earlier works are out of print. But although they make their bread and butter off composer residuals, and production, tour, and studio work in service to a whole heap of well-known names, the long-lasting couple, who met on the road in the early nineties - she was just a teenager then, though already recording; he was a bit older, but hadn't struck out on his own as a solo artist just yet - are great performers in their own right. And, more significantly for this particular theme, in all that they do, they truly are inseparable as musicians and artists; I have yet to find a song of either of theirs which doesn't truly bear the mark of both, to the benefit of all.

As such, I think they deserve as much a chance to shine as their songs do. Rather than post one of the many Buddy & Julie Miller covers in my vast collection, or rehash Buddy's absolutely stunning take on Dylan's With God On Our Side, I've picked two original selections from their self-titled 2001 album - a heavy, gritty Americana piece, and a sultry countrygrass ballad - to show the breadth their of power. Check 'em out, pick up pretty much every album they produced as solo or paired artists in the last two decades, and then keep your eyes peeled for a live show in your area.

Cry Cry Cry: All My Tears

Julie Miller: All My Tears

[purchase]

It's no secret I'm a coverhound, and this one's been done plenty raw and emotional, both by Steve Earle and Emmylou Harris, not to mention an oddly endearing christian rock take from Jars of Clay. But though most covers take both Julie's original intonation and Buddy Miller's ringing electric atmospheric undercurrent as gospel, I prefer the sparse mountain banjo and breathy vocals of Julie Miller's own solo effort, revisited as an appalachian tune for the 2001 film Songcatcher years after the song first debuted as a countryrock duet with Emmylou on Julie's 1993 album Orphans and Angels.

Emmylou's Wrecking Ball demo recording isn't bad, either. The piano is a nice touch.

Emmylou Harris: All My Tears

[demo unreleased; final version here]