Interview with Christine Miller by Jakob Levi in her apartment in Hackney London. 2006-07-23.

Christine Miller is like a breeze of fresh air blowing through the male dominated UK roots scene. Although she only had a handful of releases she's already a high rated singer working with a few yet respected producers. With thoughtful lyrics, beautiful harmonies and a powerful voice she's gone from strength to strength since her first output although she never intended to push a solo career of her own since she's more comfortable singing backing vocals than standing in the light of attention herself.

Guidelight Movement: Greetings Christine Miller.

Christine Miller: Greetings.

GLM: Could you introduce yourself for those who don't know you and your music?

CM: Yes, my name is Christine Miller and I'm a singer. Been singing now for a long time. I was singing from at school. I was in the school choir and it wasn't until between 94-95 that I was asked by Tony Roots to do harmonies for his works that he was doing at the time. Yeah, but there was were my proffesional singing started. But I'd say I've always been singing.

GLM: So you early musical experiences comes from choir work?

CM: Well, I sang in my school choir but I was in a family where there was always music. Always music in the house. My mum was a singer in the church in Jamaica and my dad was also a singer in the church in Jamaica. There was different music constantly being played in the house and I was fortunate. I think of that time that of all of the children I was allowed to play my mums record collection. Yeah, no one was allowed to but I was allowed to go into the living room and play her music and for me that was an eye opener. It was just an eclectic mix. There was so much going. My favorite album at the time was Marlene Webber with "Stand By Your Man". I think I rinsed that album forever and ever and just sang to it. I think it was at ten I was given my first radio which went everywhere with me. Everywhere. I don't think it was ever turn off.

GLM: Was it because you were the eldest of the children that you were allowed this?

CM: At that time I was the eldest at home, yes. At that time the eldest of the six of us that were home. So I was the eldest of six.

GLM: Your parents come from Jamaica. Were you also born there?

CM: No, I was born in England. The first one to be born in England. My mum and my dad comes from S:t Thomas Jamaica.

GLM: Ok, so how did you get involved with the music business?

CM: What happend was that I knew a few friends who were either forming bands or were looking for somebody to do harmonies but nothing really came of it. And it wasn't until, as I said, Tony Roots was looking for harmonies or backing vocals for his works. So he asked me to do it. I did the first track around 94-95 with "Grow Your Natty Dreadlocks" and then after that he was doing some works with Russ (Disciples). I think it was "Lion King" and I did the majority of the harmonies on "Lion King". I think I also did a few tracks on "Sufferers Cry" and the majority of "Lion King" and that is where it really started to progress. And it was when he was coming to an end of doing his works that he asked Russ (Disciples) at the time if I caught a flow on any of his rhythms that I could do some work and Russ (Disciples) said yes and yeah.

GLM: But was it your own intention to start singing your own material or was it Tony Roots pushing you to do it?

CM: That's a good question because at the time I didn't really think of myself singing as a solo artist as much as I always been singing. I've done little bits of writting and even when I was doing works with him (Tony Roots) if I heard a rhythm that he came round with and caught a vibe I would do something. I think he was doing a song called "Roots Daughter" on a rhythm from Russ (Disciples) and I caught a vibe on this rhythm and I penned this thing and played it to him and he's like aahh, hmm, that sounds good, and I'm like ok.

GLM: You played it to who?

CM: I played it to Tony Roots and he was that actually sounds good and I thought ok. But even then not thinking, because I was quite happy to tell the truth to be in the background and do harmonies. Because I love harmony. So yeah, I really didn't think at that point to step forward with my own works. But then when the opportunity did come to do it then I thought, hmm yes, and then the vibes kept flowing anyway so I thought yeah why not do it and see what happens.

GLM: True. So what was your first tune then?

>CM: The very first tune I ever did I think was...was it "We Never Came Here To Stay", no, I did a tune called...Russ probably remembers it, it was "Climb On Board" which hasn't seen the light of day. I mean it's still in his vaults as it were. And then from there I did "We Never Came Here To Stay" which was released I think in 2001-02 on the Root Hitek label. Then after that I think I did "Warmonger". But with Russ it's always like if I'm here and if I catch the vibes, and if I have an idea for something then I will phone him and ask if it's ok to come in and do some work. And he say yes and I'll go in and do the work. So through that I've actually build up a number of works with him.

GLM: I remember Russ mentioning when I interviewed him that he had an amount of tracks recorded with you which he described as album tracks. So knowing this I wonder if there's any possibility to see an album emerge in the future?

CM: I'm hoping it will at some point because I suppose to some degree that's the next step. We haven't really talked about it but I'm thinking that because of the number of works there I think they're good and I hope he feels the same. So I think it's only natural at some point that an album can come together. So I'm really hoping that it will. At some point it will be the part of the natural progression.

GLM: How do feel the response of your works has been?

CM: Hm, I'm always astounded by the response to tell the truth. In the beginning, I think, because what ever I turn to do my focus tends to be very home scented because I consider myself to be a full time parent foremost. Because I wasn't really out there seeing what was happening and how the music was being received but at the same time getting good feedback. Russ would always say it was going down like this or people heard this and they liked it. Same with Roots Hitek because I've done some work with him as well. It's like Christine the response is good. Then the airplay it's like every time my tune comes on I'm like what they're playing me? So at the same time yes the response has been good and I'm so thankfull for that.

GLM: So having in mind that both Russ (Disciples) and Roots Hitek play a occasionally in sound system dances. Have you also been apart of that movement?

CM: I haven't at the moment. I was asked but because of my commitments.

GLM: I mean in your youth?

CM: Oohh. Funny enough no. I've always considered myself...when younger, as I said, I was very home scented. More with my books. Give me a book and I was happy to stay at home. That's the kind of person I was. My book and my radio. So constantly with my nose in a book. I think in my local library I read every single book that was going in there. So at that point it was, I suppose, a constant needed dry for knowledge. A quest to find things and finding out about things. So I was more into my books. Whereas my youngest sister now where more out there and into the scene. But I was more happy to stay at home listening to what was happening on my radio and read a book.

Christine later told me that her two brothers were heavily involved as members of the Scorpion Sound System which regulary put on sound clashes and dances. Some of which she would attend to hear them perform on the mic. Electric and inspiring are the words she used when describing those events. She also told me that Tippa Irie and Slater of Saxon Sound System were neighbours of hers when growing up. So indirectly the influences of the sound system movement was always present. "It was an musically reinteresting and lively neighbourhood to grow up in" as she puts it.

GLM: Where in your life did you adopt the philosophy of Rastafari?

CM: I would say...I remember being twelve or thirteen, funny enough, and saying to my mum, at that point knowing nothing about Rastafari, knowing no Rastafarians, saying mum I want to locks up my hair and she was like why? The day you do that you come out of my house. And I remember going to bed that night thinking ok. But if I do this? I'm gonna do this and if mum throws me out what am I gonna do? Where am I gonna go? How am I gonna live? How am I gonna cope? At that point it was like no I can't manage out there by myself. There's nowhere to go. There's no one out there to help me. So I won't do it now. But I remember doing my hair in little tiny tiny plats. But it wasn't until, I would say, in my mid twenties knowing and just feeling at that point in my life that there was something. Not so much the fact that there was something else. I remember I spent a day, I'd say it was a memorable day on my balcony at that point. A lovely bright summers day. Some music playing on the speakers. A glass of soft juice and my bible. Reading my bible because I've always been interested, always red my bible and at that point coming to just...just something, if I could only find the words to explain it. And at the time always had I life where I was searching. Been invited to different churches. Went there but I didn't feel myself in there. It didn't feel me. It didn't feel apart of me. You know the Jehova's Witnesses will come and talk to you about the bible and you're listening to what they're saying and you're thinking it kind of makes sense but not to me. It wasn't a message for me. One of my favorite teachers in school was Roman Catholic and I remember he invited me to mass. And I went to mass one afternoon and stood there thinking what am I doing here as I got to the door. Christine what are you doing here? This people constant crossing themselfs and what am I doing here? No no no. So I knew that wasn't for me.

From when I get the calling I haven't looked back and I wonder now where would I be without Him? Where would I be without the knowledge of Jah Rastafari? Nowhere.

GLM: So how did your parents who were regular church goers respond to this? Knowing that many have been pushed away from their families since they found Rastafari gospel which I think is a hard thing to do because it's only your own personal sight in life...

CM: ...and your search and your own journey which we all have to make. I was fortunate as much as...my father, I know he didn't like the idea but I didn't see him too often anyway. So to be it was like you made your choice in your life and I'm at the point where I've made my choice. I haven't done anything that's harmfull. I haven't done anything that's wrong. It maybe different from how they see it. You know the same book that we both read says each to his own order. That was it and my mum very much took that on board. So I never felt less of a family member or pushed away from the family. If anything, to a degre, I wouldn't say we're closer because we've always been close. We always been close. So I don't think that it made that much of a difference. If anything it's little things like I come from a family who eat alot of meat. So for them to come to my house and knowing that there's no meat on the menu. But actually come away, suprise, yes you've had no meat but you're fullfilled. Yes, your body has been fullfilled and you haven't missed the fact that this meal contained no animal product whatsoever. So it was enlightening for them and knowledge for them as well. So I think that in the end it's worked out good for all. Regardless if we share the same philosophy or not. The same doctrine or not.

GLM: Yes, I agree on that one. Let's talk about some of the people you've been working with. Like what can you tell us about Tony Roots?

CM: Tony Roots...talented. I just think he's a talented man. Great lyricist. I always thought he's a lyricist. It's easy for him just to sit down, put pen to paper, got a song. Infact come up with an album. So while I might be sitting struggling for a song he's got an album done. Commited to his work and his ideas. Because I've done alot of harmonies for him and the ideas for the harmonies I like. It's also the progression. I can see where his career has progressed from strength to strength. From his very first album to where he is now. To a new album coming out this year. So you can see the progression in his works. I like that.

GLM: Are you singing backing vocals on that album as well?

CM: Yes, I've done harmonies on this one as well.

GLM: Is it produced by himself or...?

CM: I think it's himself and Russ Disciples. But also Manilla Jeepney on the Manilla Jeepney label.

GLM: What about Roots Hitek ?

CM: I'm fortunate to have done some works with him. I'm looking to do some more in the future. Thankfull for him, as well as for Russ, for having the faith and confidence maybe when I myself didn't have that much faith and confidence in what I was doing. So I'm thankfull for them giving me the opportunity.

GLM: Have did you come across these people ? Did you have them in your social circle of friends?

CM: At the time Tony Roots was working with both Roots Hitek and Russ D so that's how I managed to do works with them. I've known Tony Roots for many years. So yes that's how it came about.

GLM: And Russ Disciples ?

CM: I met Russ Discples because Tony (Roots) was doing works with him at the time. So back for forward to his studio and that's how I met him. We did a show in Leeds Holdem and Russ came along to one of the shows. I think that was before we actually done any studio works. But just liking the vibes of what was coming out of his studio and the vibes within the studio.

GLM: Or the small little shack of his.

CM: Yes, but big sound coming out of this small studio. And it's relaxed and no pressure. I don't feel no pressure with all them when I'm working. It's very much at my pace. If I have an idea I will pick up the phone and ask can I come through. It may not be every month, it may be every three months or five or six months before I see him but when I pick up the phone and say Russ can I come in. It's yes go and do the work and by the time I've left I know it's finished.

GLM: You mentioned Marlene Webber as a inspiration before...

CM: It was just to sing. There's so many . At that time I remember growing up thinking, maybe because my mums collection wasn't that big anyway, but there wasn't that many women. There was so many different male artists and different groups but there was very few females to listen to at that time in the house. I think he had a Marcia Griffiths album as well which I rinsed because they're the ones that was available at home. Even at the time listening on the radio stations there seemed to be uncertained fields where there were more female presence. But not that much because if you turned over to another station they were playing reggae music were there was very few women. If it was lovers rock than there was lots of women and lots of female singers. But I suppose that the deeper you got into reggae music the fewer they got. So the fact that I had the access to these albums at home I felt I was in another world because there were female singers who were singing and could sing. So I just rinsed them. I loved the "Tighten Up" volumes too, with old reggae. The seventies reggae. I loved it and it was my opportunity to listen to it.

GLM: So you got more inspiration from female artists than male ones...

CM: It wasn't so much that I got the feeling of the vibes it was just, at that time being as young as I was, noticing that there was a large male presence and a very small female one. But at the same time enjoying the female one when you did hear it you loved it and you listened because there was so little of it. I'm thinking at that time being ten eleven years old and noticing it then. So the minute there was a female artist playing or when I got hold of an album or my mum bought an album it was played to death. It was just played.

GLM: So what about future works? What can we expect from Christine Miller in the future?

CM: I hope more of the same of what have been happening so far. Hopefully at some point an album. Just putting works together. More harmonies for different artists. Some live work could be interesting. But hopefully more of the same that I've been doing so far.

GLM: Do you have any releases coming in the near future?

>CM: Yes, I've just had one out recently called "The Light" on the Roots Hitek label. There's a release due soon on Russ D's Backyard Movement label, "Run To The Rock" (on the drum song rhythm). Probably future releases due to come out with Russ and also Roots Hitek as well. I also need to phone Dougie ("Conscious" Wardrop). I've been meaning to phone Dougie from Conscious Sounds for ages. So I must do that. But I've recently moved so things have been kind of up and down and there was one sickness after another with my children. So my priorities kind of switched for a little while. My view is that my resposibility is to make sure that they are balanced and that where they are at present is where they're suppose to be at. So I had secondary school, one was in secondary and one was in juvenily, so I really tried to keep the balance where they were concerned. But now they kind of stabled out so it's time for me now to getting back to the music and thinking about the music.

GLM: You mentioned the want to do live work as well...

CM: Yes. Other than the one or two stage shows I've done doing harmonies for Tony Roots I've never done anything upfront for myself. There was a performance last year were I did a PA (performance) on a gathering of the memory of Ras Xylon who've passed away. I did that through Roots Hitek. There's another PA (performance) coming up on the 24:th, thusday, for His Majesty earthday (birthday). It's really just to get as much live experience as possible and cut the nerves. Because I think it's different when you're upfront with your own material as a pose of doing other peoples. It's a confidence in doing something for somebody else because the light isn't on you.

GLM: But you have experience from doing live shows with Tony Roots, no?

CM: Yes, doing backing vocals for him which was an experience because the live band is totally different. There's a totally different vibe, a different energy, than from studio. Nerve wrecking to begin with. I always say I'm nerves until...once you're on stage that's it, you don't remember again. But initially if someone say ok Christine you don't have to go on. I'd probably say thank you but probably still go ahead. But initially thinking please somebody stop me now but then you get on stage and you don't remember a thing after.

GLM: Any words to the people before we come to closure?

CM: I would just like to say give thanks to Jah because through Him all things are possible. To all the reggae massive. To the producers. To the people who buy the music. To the DJ's who play the music for the support and for also supporting me and my music. So I would just like to say thank you all very much. Give thanks intinually.

GLM: Yes, thank you Christine Miller.

CM: Thank you.

First photo is used with kind permission of Disciples

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