• Once In A Blue Moon
• Frankie Miller Once In A Blue Moon Rara

Once in a Blue Moon
Studio album by
Released	January 1973
Recorded	1972 Rockfield Studios, Wales
Genre	Rock, folk rock, pub rock
Length	32:15 42:18 (remastered)
Label	Chrysalis Records
Producer	Dave Robinson
Frankie Miller chronology
Once in a Blue Moon (1973) High Life (1974)

Once In A Blue Moon

Once in a Blue Moon is the debut solo album by Frankie Miller, utilising Brinsley Schwarz as his backing band, showcases Miller's skills as a singer and songwriter. The song 'I Can’t Change It' was covered by Ray Charles on his album Brother Ray Is At It Again.'After All (I Live My Life)' had already been recorded by Kenny Rogers and The First Edition on their hit album Tell It All Brother in 1970. It later appeared as the closing song in the 2011 Johnny Depp film, The Rum Diary.

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Track listing[edit]

Once in a Blue Moon (1972) You Don't Need to Laugh (To Be Happy). Frankie Miller. VisualEditor History Talk (0) Share. Frankie Miller; Official Website: Wikipedia article: Scotland Glasgow: All songs by Frankie Miller (11) All albums by Frankie Miller (5). Once in a Blue Moon Frankie Miller. Released 1972. Once in a Blue Moon Tracklist. I Can't Change It Lyrics. About “Once in a Blue Moon” “Once in a Blue Moon” Q&A. More Frankie Miller. Still, for those looking to get a sense of what makes Miller such a respected musician by his peers and dedicated U.K. Fan base, it’s convenient to have the bulk of his finest music in one handy package. Additional Info: • Released Date: May 2, 2011. CD 1 Once In A Blue Moon 01. You Don’t Need To Laugh (To Be Happy) – 03:34 02. In 1973, Frankie Miller released his first album, Once in a Blue Moon (with backing from Brinsley Schwarz, a band that included Nick Lowe), which was followed, in 1974, by High Life (recorded in Georgia and Louisiana, with Allen Toussaint as producer). Buy Frankie Miller Once In A Blue Moon (Remastered 2003) Mp3 Download. Buy & Download Cheap Mp3 Music Online. Listen to your favorite songs from Once in a Blue Moon (2011 Remaster) by Frankie Miller Now. Stream ad-free with Amazon Music Unlimited on mobile, desktop, and tablet. Download our mobile app now.

All tracks composed by Frankie Miller; except where indicated

Side one
No.	Title	Length
1.	'You Dont Need to Laugh (To Be Happy)'	3:32
2.	'I Can't Change It'	3:11
3.	'Candlelight Sonata in F Major'	2:35
4.	'Ann Eliza Jane'	3:05
5.	'It's All Over'	2:39

Side two
No.	Title	Length
6.	'In No Resistance'	3:02
7.	'After All (I Live My Life)' (Jim Doris, Frankie Miller)	3:43
8.	'Just Like Tom Thumb's Blues' (Bob Dylan)	4:04
9.	'Mail Box'	3:15
10.	'I'm Ready' (Willie Dixon)	3:10

2003 CD bonus tracks
No.	Title	Length
11.	'I Can See the Train (demo)'	2:25
12.	'Blow My Whistle (demo)'	2:28
13.	'The Rules of the Game (demo)'	2:05
14.	'And It's Raining'	3:04

Personnel[edit]

• Frankie Miller - vocals, acoustic guitar, harmonica
• Bob Andrews - grand piano, junk piano, accordion, backing vocals
• Brinsley Schwarz - lead & acoustic guitars
• Ian Gomm - lead & acoustic guitars
• Nick Lowe - electric bass, double bass, backing vocals
• Billy Rankin - drums
• Bridgit, Joy and Janice - backing vocals

Production credits[edit]

• Recorded at Rockfield Studios
• Engineered by Kingsley Ward, Ralph Downs
• Produced by Dave Robinson

Frankie Miller-Full House-1977-Chrysalis
Frankie Miller was one of the hottest young singers to emerge during the golden age of seventies' rock. There were many great pop and rock singers hitting the headlines during those happy days. Rod Stewart, Paul Rodgers and Joe Cocker were all prime examples of successful artists who had their musical roots firmly ensconced in soul and the blues. Then Frankie was discovered singing on the thriving London pub rock scene in the summer of 1971, it seemed like he would soon take pride of place among the ranks of megastars. He had all the right qualifications. A powerful, raspy voice, cheeky good looks and a feisty attitude. He was determined to get to the top with the aid of the best possible backing bands and producers. However, the music business is always a hard nut to crack and, despite his best efforts, Frankie never quite got into the big league. Even so, at the peak of his career he scored at least two palpable hits and unleashed a succession of fine albums which reflected his impeccable tastes in good-time rock and soul. © www.alexgitlin.com/index.htm
An album combined with Miller originals and choice covers, including an anguished and heartbroken version of John Lennon's 'Jealous Guy', that deservedly received commercial success together with the Andy Fraser composition 'Be Good to Yourself' reaching No. 27 the UK singles chart. - Wikipedia
Frankie Miller first became aware of rock and R&B through his mother’s record collection. She liked Ray Charles while his sisters listened to Little Richard and Elvis Presley. Frankie spoke of Little Richard’s music, saying 'The music was alive, exciting, I loved it. I realised later that I could get my own aggression out through music. R&B and Soul Music, I just knew was what I really loved'. He started composing songs at the age of nine after being given a guitar, and wrote 'I Can't Change It' when he was twelve years old, which was recorded by Ray Charles. 'Full House' encompasses all of Frankie's musical influences. He sings a wonderful version of Lennon's classic 'Jealous Guy', but all ten tracks are terrific. A great R&B and Soul album by this marvellous and sometimes forgotten Scottish vocalist. Musicians on this album include Ray Minhinnet, Chris Spedding, Gary Brooker, John 'Rabbit' Bundrick, and The Memphis Horns. VHR by A.O.O.F.C. Listen to his 'Dancing in the Rain', and 'Once in a Blue Moon' albums. His great 'The Rock' album can be found @ Samantha's Click tracks 01, & 02 to get links[All tracks @ 320 Kbps: File size = 76.2 Mb]
TRACKS / COMPOSERS
1. Be Good to Yourself (Andy Fraser)
2. The Doodle Song (Frankie Miller)
3. Jealous Guy (John Lennon)
4. Searching (Peter Knight, Bob Johnson)
5. Love Letters (Edward Heyman, Victor Young)
6. Take Good Care of Yourself (Doris)
7. Down the Honky Tonk (Frankie Miller)
8. This Love of Mine (Frankie Miller, Robin Trower)

Frankie Miller Once In A Blue Moon Rara

9. Let the Candlelight Shine (Frankie Miller)
10. (I'll Never) Live in Vain (Frankie Miller)
MUSICIANS
Frankie Miller - Rhythm Guitar, Vocals
Ray Minhinnet - Lead Guitar
Chris Spedding - Guitar [Guest]
Chrissy Stewart - Bass Guitar
Jim Hall - Piano, Organ
Gary Brooker - Keyboards, Vocals [Guest]
John 'Rabbit' Bundrick - Keyboards [Guest]
Graham Deacon - Drums
The Memphis Horns - Horn Section [Guest]
BIO
[Barrowland Ballroom - Glasgow Greats - Frankie Miller born 2 November 1949 - Bridgeton Glasgow]
Rod Stewart said of Frankie Miller, “He is the only white guy that ever brought a tear to my eye”! The widow of the late great Otis Redding reckoned: 'that little ole white boy Frankie, has the the blackest voice since Otis”. Frankie is a proverbial enigma, widely regarded as one of the finest blues singers that ever lived and as a songwriter he has been covered by an impressive array of artists including, Ray Charles, Roy Orbison, Rod Stewart, Don Williams, Rush and the Everly Brothers. Frustratingly for everyone who has ever come across Frankie, he has never seemed to live up to his true potential. Frankie was born in Bridgeton in the East End of Glasgow in 1949 under the shadows of Parkhead Stadium, the home of Celtic football club and even today his affinity with Celtic is still strong. Ex-Celtic European Cup Winner Jimmy Johnston, tells the story of how Frankie scrounged a Celtic jersey from him after a Rangers game and then proceeded to wear it every single night during a rock stadium tour of America! Even at an early age Frankie was determined to be a blues singer, practicing Ray Charles and Sam Cooke songs from his mother’s scratchy R&B collection. The writer Jimmy Boyle who is Frankie’s 2nd cousin, relates how even at the age of 10, Frankie would push larger boys of 6’4” out the way, when given a hint of an opportunity to sing. By 15 Frankie had left school and begun his apprenticeship as an electrician but his heart was not in it and disillusioned, he soon returned to his first love music. By 1967 after a brief stint with the Del-Jacks, Frankie, John McGinnis (the pianist formerly of the Blues Council) and guitarist Jimmy Dewar could be found in a new band Sock 'Em JB; an exciting unit fuelled on material by Otis Redding, Sam and Dave, and Wilson Pickett. Sock 'Em JB was together for only a matter of months, ending when Miller formed a new group Westfarm Cottage , en route to The Stoics. This Glasgow-based band exhibited shades of progressivism and pop. It featured Jack Casey on drums; Jimmy Doris, guitar; Hugh McKenna (SAHB) keyboards; John Wayne on bass; and Frankie providing vocals and guitar. After the band split, Jimmy Doris concentrated on songwriting, particularly for fellow Scottish singer Lulu, but tragically he was later hit by a London bus and died. Hugh McKenna was later in the Sensational Alex Harvey Band and Dream Police. The Stoics was also short lived and Frankie set off to London, where he met Robin Trower of Procol Harum and so began the super group Jude. The ensemble was formed to play the London club circuit and consisted of the following members. Robin, ex-Stone the Crows bass player Jim Dewar and Clive Bunker (ex Jethro Tull). In a very short period the bands reputation grew and they built up a loyal following in the London club scene. Sadly for various reasons Jude never made it to the recording studio and therefore this potential was never captured on vinyl. Their creative differences apart, Frankie did at a later stage join Trower and Procol Harum on stage and a report from the gig stated, 'Frankie Miller, fine Scottish singer, strode out to front the hapless Harum and with his high energy vocalising leading the way the group were obliged to wake up and attempt to stay with him. Miller swaggered around the stage in Farmer John hat and wasp-striped tee shirt bellowing the lyrics to Dylan's It Takes A Lot To Laugh, Shoorah Shoorah and (surprisingly) Jim Reeves' He'll Have To Go, and while the combination of soul singer and apocalyptic rock- group wasn't entirely happy, there were several invigorating moments. Frankie received a large ovation for his pains”. Upon the demise of Jude Frankie signed a solo contract with Chrysalis in 1972 and recorded his first album Once In A Blue Moon, supported by the then media darlings Brinsley Schwarz. Rock journalist David Hepworth fondly reflects on the early '70s as the period of “the tartan soul wars”, with many Scottish artists such as Maggie Bell from Stone the Crows, Jack Bruce of Cream and Rod Stewart leading the export of Scottish blues back to America. Although critically acclaimed the album only sold sporadically and Frankie took to touring Ireland and the UK with the band Bees Make Honey which included the Irish musicians Ed Deane Jimmy Smyth. However and fortunately for Frankie 'Once in a Blue Moon' caught the attention of the New Orleans based producer/songwriter Allen Toussaint and Frankie was invited to the USA to record his soulful and brilliant follow-up, High Life. Toussaint’s legendary R&B production skills showcased what is still considered some of Miller’s finest blues vocals. Again the album received large amounts of praise in the music press but commercially it did not sell well. Further to this and to Frankie's dismay, the songs on the album provided hit singles for Three Dog Night and Betty Wright . By 1975 Miller had formed a full-time band called simply, 'The Frankie Miller Band' featuring, Henry McCullough, Mick Weaver, Chrissie Stewart and Stu Perry. The Rock was recorded in sight of the prison of Alcatraz in San Francisco. Frankie commented that it was only music that had saved him that kind of fate and dedicated the album to prisoner and Jimmy Boyle. The album also and included the song 'Drunken Nights in the City' written for his late night drinking buddy Jimmy Johnston. Yet another solid effort was met with middling sales and within a year Frankie went back to the drawing board, appearing with a completely new band comprising Ray Minhinnit (guitar), Charlie Harrison (bass), James Hall (keyboards) and Graham Deacon (drums) for the recording of Frankie Miller Full House. Once again the band lasted only a year. Frankie no longer had his 'Full House' and that seemed to be a good move for him as he again reverted to becoming a solo artist for the albums Double Trouble and Falling In Love (Perfect Fit). The later album providing him a surprise Top 10 UK hit when 'Darlin' in October 1978, this soared up the chart to give him a number six placing and a ten week chart residency. His follow up 'When I'm Away From You' was just as good, but stopped two places short of the 40. Billy Connolly gives us a wonderful view of Frankie’s character when he tells how a typically destructive Frankie rather than celebrate the songs success, bemoaned the fact that his biggest hit was not his song. Chris Mercer who played tenor & baritone sax on the album Double Trouble gives us another fascinating and amusing insight into recording industry in the 70s ' This band had some heavyweight players, Chrissie, Ray Russell-noted studio gun, Paul Carrack, the late great BJ Wilson, Martin Drover and myself on horns. The album was produced by Jack Douglas from New York, which was typical of the era when Record Companies hired 'hot' producers, regardless of their feel for the music being created. A tragic exception of course was the wonderful album he made with Toussaint, which never got the recognition but was the right thing to have done. On Double Trouble the horns were pitifully under-balanced in the mix and he didn't even use the dynamite section parts we recorded on 'Goodnight sweetheart'. The album has some very powerful playing and singing but is very rockish, whereas Frankie's true gift was R&B'. During the next few years Miller produced a number of quality albums including, Easy Money (1980), Standing On The Edge (1982), Dancing In The Rain (1986), BBC Radio 1 in Concert (1994). He also had a major hit with the single Caledonia written by Dougie McLean which was voted a close second to the Corries “Flower of Scotland” as the greatest Scots song of all time by over 100000 Daily Record readers. Mary Saums the Nashville recording engineer and author reminisces, 'I worked on Frankie's Standing On The Edge album which had the song, 'Angels With Dirty Faces', recorded at Muscle Shoals Sound and produced by Barry Beckett. Frankie impressed all of us, mainly because he was as much a workaholic as the rest of the crew. Whether writing a new song or doing a guitar or vocal track, Frankie seemed to enjoy throwing himself into the thick of it - the harder the work, the better he liked it. A real professional'. Guitarist Chris Spedding who worked on three of Miller's albums reflects, 'His singing was always very emotional. One of the best rhythm'n'blues singers that were around in Britain at that time (70s). He never had the luck of say, Joe Cocker, which is a great shame because, unlike Joe, Frankie was also a pretty good songwriter', Chris strongest memory of Frankie is his smile and as a singer he says that Frankie is, ' Definitely the equal of Joe Cocker and Rod Stewart. I'm sure Joe and Rod both would agree. They'd better!' Ever the confident performer he turned his talents to acting, gaining rave revues for his portrayal of a hard man in Scots director Peter McDougall’s 1979 BBC Scotland production “Just a Boys Game”. His music has further featured in many films and plays including the dramatic, 'Sense of Freedom' and a duet of the Ry Cooder song Why Don’t You Try Me with singer Sarah Beth for the Soundtrack of the Belgian movie, 'Ad Fundum'. On the 26th of August 1994 Frankie and partner were in New York meeting an old friend Joe Walsh of the Eagles who was performing that night. After the show and as was often the case Annette went to bed leaving Frankie to sit writing songs on his guitar. A few hours later Annette awoke to find Frankie covered in blood and gasping for air. Annette called for an ambulance and nursing and willing him to stay alive for some 20 minutes until help arrived. Frankie had suffered a major brain haemorrhage and drifted deep into a coma from which he would not emerge for 5 months. When Frankie finally gained consciousness he and Annette began to begin the hard struggle back to health. Frankie’s fortitude was astounding shortly after the accident he was given a two percent chance of survival and Annette was told he would never walk or talk again. Defying the odds he with the support of Annette spent a further 15 months in hospital learning to walk, talk and regain his life. A major turning point in Frankie’s rehabilitation came on the day Graham Lyle from Gallagher & Lyle visited Frankie in hospital with his guitar. Graham asked Frankie to play the chord C, forming the chord with his good hand whilst Graham strummed the strings Frankie not only played C but a succession of other chords. It was on that day Annette knew the old Frankie was back. Billy Connolly when interviewed by the BBC about Frankie’s story said, “ You have either got the life force or you don’t and Frankie has it by the bucket load”. Frankie has since returned to his home in London where not only does he continue his rehabilitation by learning a new word everyday but with the help of Cormac O’Kane and the Drake Music Project, Frankie has begun to write music again. In a recent benefit concert in Edinburgh, Jools Holland Paul Carrack and Bonnie Tyler performed a new Frankie Miller/ Will Jennings composition, “The Sun Comes Up, The Sun Goes Down” to a packed audience. No one is sure what the future holds for Frankie but there are rumours of a tribute album, the start up of the Frankie Miller Song Writing Project and Frankie continues to pen the blues. In Annette’s inspiring words, “for Frankie, life just gets better every day”!!! [The information above is being used solely as a historical archive of the Glasgow Barrowland Ballroom. In all cases we have endeavored to give full credits and reciprocal links back to the original site. Where possible we have also tried to contact the originator, if however you find anything on this site which breaches copyright or presents an inaccurate representation, please email us and the article will be amended or removed. Thank you for your help] - from http://www.glasgow-barrowland.com/stories/frankie_miller.html
MORE
Blue-eyed soul singer Frankie Miller made his name on the English pub rock circuit of the early '70s, and spent around a decade and a half cutting albums of traditional R&B, rock & roll, and country-rock. In addition to his recorded legacy as an avatar of American roots music, his original material was covered by artists from the worlds of rock, blues, and country, from Bob Seger and Bonnie Tyler to Lou Ann Barton and the Bellamy Brothers. And Miller himself scored a surprise U.K. Top Ten smash in 1978 with 'Darlin',' giving his likable, soulful style the popular airing many fans felt it deserved all along. Frankie Miller was born November 2, 1949, in Glasgow, Scotland; he began singing with local bands beginning in 1967, in a style influenced by American soul singers like Sam Cooke, Ray Charles, and Otis Redding. After a few years, he moved to the more fertile music scene in London, where he soon met ex-Procol Harum guitarist Robin Trower in the summer of 1971. Impressed with Miller's talents as a raw soul belter in the vein of a Rod Stewart or Joe Cocker, Trower offered him a job as lead vocalist of his new band Jude. It wasn't to be Miller's big break, though; internal conflicts split the group apart by the following year, and Miller returned to the London pub rock circuit. During 1972, he made frequent appearances at the Tally Ho in Kentish Town, often sitting in with Brinsley Schwarz, and signed a solo record deal with Chrysalis. Using the Brinsleys as a backing band, Miller recorded his debut album, Once in a Blue Moon, that year. Though it wasn't a hit, it was reviewed respectably; more importantly, when Miller sent a copy to New Orleans R&B legend Allen Toussaint, he was impressed enough to produce Miller's next album. Miller traveled to New Orleans in 1973 to record High Life with an authentic Toussaint-led backing band, resulting in one of his most acclaimed and artistically satisfying albums. Upon returning to England, Miller assembled a Stax-style backing band -- dubbed simply the Frankie Miller Band -- featuring guitarist Henry McCullough, keyboardist Mick Weaver, bassist Chrissy Stewart, and drummer Stu Perry. This group traveled to San Francisco to record The Rock (named after Alcatraz), which was released in 1975. The band dissolved not long after, and Miller put together a new outfit called Full House, featuring guitarist Ray Minhinnett, keyboardist Jim Hall, bassist Charlie Harrison, and drummer Graham Deacon. They issued the aptly titled Full House in 1977, which, oddly enough, became fairly popular in Sweden. However, once again, Miller's backing band imploded, and he was back on his own for 1978's Double Trouble, which produced his first British Top 30 hit in 'Be Good to Yourself.' Late that year, Miller scored a runaway Top Ten hit in the U.K. with 'Darlin',' a single included on his 1979 LP Falling in Love (aka Perfect Fit). (Typical of Miller's luck in the record business, his best-known song wasn't an original.) 1980's Easy Money was recorded in Nashville, and some of 1982's Standing on the Edge was recorded at Alabama's legendary Muscle Shoals Sound Studios. During this period, Miller also had a Scottish hit with his cover of Dougie McLean's 'Caledonia.' 1986's Dancing in the Rain was his final studio album. In August 1994, Miller suffered a devastating brain hemorrhage that left him in a coma for five months. Unable to walk or talk upon his emergence, Miller rehabilitated himself enough to begin writing songs again; at a late-'90s benefit concert in Edinburgh, Miller's new collaboration with Will Jennings, 'The Sun Goes Up, the Sun Comes Down,' was performed by Bonnie Tyler, Paul Carrack, and Jools Holland. © Steve Huey © 2011 Rovi Corporation. All Rights Reserved http://www.allmusic.com/artist/frankie-miller-p199564/biography