Welcome to A Breath of Fresh Air with Sandy Kaye. Hello, and a very big welcome to you. I really hope you’re going to enjoy learning and remembering a little about our very special guest today, because with the help of author Davey Arthur, we’re going to recount the story of the Scottish singer who was once described by Rod Stewart as the best white soul singer in the world.
If I play you this, are you able to guess who I’m talking about? Darling, you’re so far behind me Tomorrow’s gonna find me Further down the line Taking me some paper Pencil in my hand I’m gonna write, darling You know I feel the cold night Thinking of the old nights Probably still don’t know, do you? Because Scotland’s hidden gem, rock singer and songwriter Frankie Miller, was one of those fabulous artists who really never got the international attention that he deserved. Davey Arthur’s book, The Long Way Back Home, is a portrait of a musician whose influence continues to resonate, despite the fact that Frankie Miller suffered a massive brain haemorrhage in 1994. Though he’s never been the same since, Frankie’s soul can never be silenced.
Here’s Davey Arthur to share Frankie’s story and tell us what drove him to write it. I went to a senior secondary school in Edinburgh, 15 years old. A couple of guys in my class in school, one played in a band called Leather Soul locally, which became Bilbo Baggins, and the other one, Billy Lyle, was in the Bass City Rollers.
Befriended Billy, and he started taking me round to gigs in Edinburgh. All the rumours going round school that these two fantastic bands were coming through from Glasgow. One was Tear Gas, who became now a Carvey band, and the other was The Stoics, which was Frankie Miller.
And I’m telling you, it was a life-changing experience. I never missed a Frankie Miller headline tour in Scotland ever again. It’s down to me, since you name it, baby All down to me, since you name it, baby And I love you like the earth Yes, I love you Strong like the earth Yes, I love you Oh, earth, fire, air and water These are the basics of my love for you Oh, earth, fire, air and water These are the basics of my love for you What was so revolutionary about the music to a 14 or 15-year-old? Well, lots of things from their point of view, coming from Glasgow, they were obviously influenced by the American airbases, the GIs coming into the country with all this imported music back then.
I mean, we were listening to Cliff Richard and the British chaps through the BBC in these days, but Frankie’s band came with this wonderful music that we had never heard before. Neil Young in 1968, Rod Stewart in 1968. Frankie came on 18 years old.
He was already a veteran of the music scene in Scotland, but he had this confidence and attitude on top of the voice, and I was hooked. They had started writing their own material. Jimmy Doris, who was the guitarist in the band, had written Me Oh My for Lulu, which was a great hit for her.
Oh, me oh my I’m a fool for you, baby Oh, me oh my Oh, me oh my I’m a fool for you Don’t let your love light shine on me Frankie had started writing seven, eight years old, Sandy. Tell us a little bit about him as a child. Well, he grew up in quite a tough area in the east end of Glasgow.
His parents had a passion for soul music, in particular Ray Charles, so he was listening to all that music really from day one, and he had an ability to sing in the family get-togethers and around the stairs in his works when neighbours would throw down pennies for him to encourage him to sing. So he was really in it from day one, and of course it was singers like Ray Charles and Little Richard influenced Frankie right from the word go, Sandy. Yeah, mama, don’t you treat me wrong Come and love you daddy all night long All right now Hey, hey All right See the girl with the diamond ring She knows how to shake that thing All right now Hey, hey Hey, hey He had started singing with local bands in around 1967, as you said, in a style influenced by American soul singers like Sam Cooke and Ray Charles and Otis Redding.
Yeah. It wasn’t very much after you saw him for the first time that he moved himself off to London, was it? Well, the Stoics, Chrysalis had changed their name to Howell and the news was that they’d signed a recording contract and they’d gone on tour with Ten Years After and of course they appeared on main stage at the Alley White Festival, same stage as Hendrix and The Doors and everybody else. They also went to the Peace and Love Festival one month later with Ten Years After and Proco Harum, which was Jimi Hendrix’s last appearance.
Foxy Foxy You know you’re a cute little heartbreaker Foxy Yeah And you know you’re a sweet little lovemaker Foxy I want to take you home to be all my Foxy Lady Unfortunately that festival was plagued by riots with the bikers and stuff and with thunderstorms so Frankie didn’t actually appear on stage that weekend. That was the end of Howell in these days, unfortunately. So why did he decide to head for London? The music scene in the UK really revolved around London.
There were no recording facilities in Scotland in these days and I’ve called the book Long Way Home because Frankie went down there in 1970 and even to this day he’s never made it home. He’s been there ever since. It wasn’t very long then before he met Robin Trower who was then with Proco Harum.
Well of course, Jimi had left Stone the Crows, Clyde Bunker had quit Jethro Tull and Robin had quit Proco Harum. How did he go as the vocalist in Jude? Well they only did some demos and some real low-key live shows. It didn’t really explode like we thought it may do but they never recorded.
When he came to record his debut album, he did so having met Brinsley Schwartz and used the Brinsleys as his backing band then. Yeah, and I hate using the pub rock kind of title but Frankie met these guys along with Jimi Juran, what they called the pub rock scene back in the day because very typical Glaswegian style, wherever good live bands were playing, Frankie would ask or he would just jump up on stage and kind of jam with these people. So he befriended Nick Lowe and Brinsley Schwartz himself.
They actually toured with Paul McCartney with that Wings tour in 1973. The album was called Once In A Blue Moon. It didn’t do very well for him commercially but he… I believe that he sent a copy of that off to the R&B legend Alan Toussaint in New Orleans.
Absolutely. Alan Toussaint came along and invited Frankie over to New Orleans. He met some of his heroes including Lee Dorsey on these trips.
Working in a coal mine, going down, down, down Working in a coal mine, whoop, about to slip down Working in a coal mine, going down, down, down Working in a coal mine, whoop, about to slip down Five o’clock in the morning I’m already up and gone Lord, I’m so tired How long can this go on? Working in a coal mine, going down, down, down Working in a coal mine, whoop, about to slip down Working in a coal mine, going down, down, down Working in a coal mine, whoop, about to slip down Cause I make a little money Calling coal by the ton But when Saturday rolls around I’m too tired for having fun Too tired for having, I’m just working in a coal mine Going down, down, down Working in a coal mine, whoop, about to slip down Working in a coal mine, going down, down, down Working in a coal mine, whoop, about to slip down Frankie Miller’s Highlight, yeah, was taken from the Miller Highlight beer. It was quite a clever album title. It was Alan Tussaint who produced that one for him, wasn’t it? Oh for sure, and wrote six of the songs.
And how did it do? Reviews, all fantastic. But Frankie didn’t, in his own words, he didn’t have a live band to tour it properly. So the promotion, unfortunately, wasn’t maybe as it should be.
Rod Stewart, The Faces, all of them grabbed the headlines and Frankie was kind of low down in the pecking order. He didn’t really tour properly again or UK-wide until Full House came along in 1976. You got to wake up early in the morning You got to stay up all night long You still won’t catch up, cause I got the warning I got the feeling you want to do me wrong Like a ball of lightning and a ball of heat You want to knock me right off my feet But I recognize through the eyes of a fool That you got the power to make your own room But shoot right, shoot right, say I can see you coming Shoot right, shoot right, but you won’t catch me Hey, shoot right, shoot right, I can hear you humming Shoot right, shoot right, but you won’t catch me Frankie had been in America with the band which recorded The Rock with Henry McCulloch in 1975.
They were scheduled to play gigs with Rory Gallagher’s band and for some reason that band broke up when they returned to the UK. So again, Chrysalis took over and organized some new management for Frankie and engineered a band with Raymond Innet and Jim Holland in it and called it Frankie Muller’s Full House. There was a kind of fragmented period between the time of High Life until the beginning of 1976.
His drummer was a guy called Stu Perry who had come from Ike and Tina Turner’s band. He had Henry McCulloch from Wings and Joe Cocker, a famous guitar player all in his band and we thought, right, this is the time for Frankie. But they didn’t really play or tour in the UK.
What was going wrong for him, David? Why couldn’t he cut it? Did we blame the music press in the UK? Well, we could because they’re not too good at holding up their own, are they? Correct. Is it because Frankie was a Scot? Right from the beginning, this guy isn’t getting the recognition and maybe the publicity that he deserves but on the other side of the coin, he didn’t court publicity, he didn’t want to be Rod Stewart or he didn’t want to be Freddie Mercury, he didn’t want to be this big rock star but the music was there. The music was good enough, if that makes sense to you.
How was he feeling about not being received as he should have been? Have you any idea whether he was resentful of the fact or he just took that in his stride and was content with making music that he and his keen following enjoyed? It’s a good question because he did take it in his stride. Maybe deep down he was angry about… He just didn’t like the music business. He just had this rebellious attitude and I loved that, of course.
He was a good graduate. Yeah, the music stood up and one of the things that annoyed me about his reception in London via the music press, oh, this drunken Scotsman coming on stage and saying this and saying that, well, the Faces did it in the late 60s but the Faces came on stage and got drunk and they were quite a messy band. Great fun, but look at the publicity they got.
They weren’t Scottish, were they? Well, Rod’s father came from Edinburgh but the Cockney accents, they were heroes, they were lads, heroes in London. Frankie came down and did it and got really publicly slated for it. But he did one thing.
He came on stage in the mid-70s with Full House and called Mrs Thatcher a fucking Nazi and that grabbed the headlines. I bet it did. And I know for a fact he was on his way to an American tour and the plane was filled with journalists trying to recover Frankie’s reputation on the tour.
So the music press in London were aghast at this comment about Mrs Thatcher and when one of the American journalists caught up with Frankie and said, well, you called Mrs Thatcher a Nazi, did you believe that to be true? And he said, yeah, I just chose the wrong place to announce it.
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. He then went on during this time with his famous song, I Ain’t Got No Money.
He always dedicated it to Mrs Thatcher. What happened in 1975 when they were recording The Rock? Well, the story is absolutely brilliant because during all my research, I was looking after all the email inquiries for Frankie’s website. And this guy emailed one day.
He was Chrissy Stewart’s next door neighbor, Frankie’s bass player. Henry McCullough was actually in the States planning to re-record with Joe Cocker. Frankie and Henry had met in the pub rock scene in London.
And Henry had said to him, you need to get an Irish style band together for yourself and get yourself going again. Ironically, Frankie lands in San Francisco looking to build up his new band. Henry’s with Joe Cocker on a ranch somewhere in Northern California.
And in Henry’s words, in six months, they rehearsed one song with a little help from my friends. What would you do if I sang out of tune? Would you stand up and walk out on me? Lend me your ears and I’ll sing you a song. I will try not to sing out of key.
Oh baby, how do you love me? All I need is my baby. I say I’m gonna get high. What do I do when my love is away? No, no.
How do I feel at the end of the day? Are you sad cause you’re on your own? I’ll tell you I know it’s sad no more. I will try with a little help from my friends. Gonna get down and out of the way.
I will try with a little help from my friends. Yeah, I’m gonna try. I will try with a little help from my friends.
Keep on getting out of the way. Henry was taking tequila and mescaline every day for breakfast. Joe Cocker was drinking bottles of cognac.
The keyboard player, who will remain nameless for the moment, was heavy on drugs. So the whole band, Joe Cocker’s band, splintered. Henry rejoins Frankie, brings the keyboard player.
They’ve got Chrissie Stewart from Air Apparent. So it left Frankie looking for a drummer. And over the months, he had had his eyes on a guy called Stu Perry, who was Ike and Tina Turner’s drummer.
And Stu Perry joined the band. And Elliot Maeser took them on and recorded them. Elliot Maeser, it was Janis Joplin and Neil Young, wasn’t it? Wow, and what a band.
Brilliant band. Day by day Some men write poems Some men write lies I’ve wrote a million poems Talked as many lies Do I need you Do I need you Does love of mine get stronger Day by day It’s alright Saying I’m a fool to care Frankie Miller’s popularity was definitely growing. Come 1978, he was back on his own for the album Double Trouble, and that actually produced his first top 30 hit in Be Good To Yourself.
Then there was a top 10 hit in the UK with Darlin’ in 1970. Darlin’. Yeah, so he was starting to make real good.
Yeah, Full House had broken up. Full House had gone and done a long American tour, Sandy, in 1977. And after this incident with Maggie Thatcher, a couple of the journalists went on the plane and went round with the band in 1977.
But for some reason, Frankie broke the band up, and that got a lot of negative publicity as well, because the preceding year, this is the band I always wanted, and this is always what I wanted to do, because it was a stable lineup for maybe a year. But if you look at the Full House album, the actual record is filled with session players, and there was a bit of bitterness, I believe, rumbling through the band on that tour. So the funny thing was, Frankie came back that August, right into the Reading Festival.
Suddenly, he’s got Barry Wilson on drums, the famous B.J. Wilson from Procol Harum. He’s got Paul Carrick on keyboards, and he’s got Neil Hubbard on guitar and a horn section. The new band became Full House Mark II in the summer of 77.
Find me Further down the line Take me some paper Pencil in my hand I’m gonna write Darling You know I feel the cold nights Thinking of the old nights Darling The tear is in my eye now Knowing I can try Wish we were together Darling of mine With the top 10 hit that he had of Darling, it was kind of typical of his luck, really, in the record business that that best-known song wasn’t an original. Yeah, absolutely. And, of course, what happened in late 77 into 78, his band with the horn section developed.
They did some gigs in Amsterdam, and I asked Frankie, you know, why did you not bring that to Scotland? He couldn’t afford to bring. Chrysalis were in the midst of cutbacks, and again, it was bad timing, because he wrote the Double Trouble album. He co-wrote most of that album with Paul Carrick.
Paul Carrick is just an incredible artist, as you well know, singer-songwriter. Yeah, yeah, yeah. And it’s another band that just fell to pieces.
And, of course, Dave McKay came along. The Darling single came out in late 78. It preceded the album and gave Frankie that hit.
So, suddenly, he’s on TV with his new band. He’s on top of the pops with his new band, doing Darling. But in the live shows, they were doing things like Cold Turkey on stage, the John Lennon song, with three guitars on stage.
It was heavy. It was fantastic. He was doing an absolutely brilliant live tour, and Darling just didn’t gel with the rest of the material.
And then, of course, when the Falling In Love tour came, it became a kind of an alien audience for him, because he was doing an absolutely brilliant live show, and Darling kind of was thrown in, Sandy, as an afterthought. It wasn’t Frankie. The song was recorded to project Frankie’s voice and not have his voice drowned by guitars and heavy backing, which was a bit kind of how Double Trouble came out.
Well, I see the world before Yeah I don’t need no fool Just a fool around now Trying to play it cool I got my way Like I never was before So don’t come Unless you feel the time has come Make your last mistake You’re double hard trouble Get out my way He had a unique voice, didn’t he? Oh, unbelievable. He sings beautiful ballads as well as, you know, heavy rockers or heavy soul songs. And yeah, it’s nice that he was compared to Joe Cocker and Rod Stewart and Paul Rogers.
We love all these guys in our lives, or Rotis Redding, but Frankie’s voice is unique, that’s for sure. David, did he ever make any decent money from his music or was he always struggling? That is another very, very good question. And if you look at the co-writers Frankie’s been involved with over the years, he has always been a very private person.
He didn’t really have a proper continuity again with record companies, unfortunately. So making money from album sales, I would say probably not. But he’s had songs covered by the Eagles, by Rod Stewart, by Ray Charles, when Guilty of the Crime appeared on the Eagles album.
He got, like, a penny an album. Royalties are not a huge thing either in a musician’s life. Where Frankie may have earned is the number of covers.
I think over 80 major artists have covered Frankie’s songs, Sandy. He was very underrated, wasn’t he? Although he had a big cult following. A big cult following and the reputation, as far as I’m concerned, and it heartens me, his reputation in the industry is huge, Sandy.
He was more of a musician’s musician. Absolutely. I mean, look at the… I’ve written about it.
I’ve actually written about every session musician and every musician who appeared in Frankie’s live bands over the years. Brian Robertson from Thin Lizzy for 10 years. Simon Kirk from Free and Bad Company on drums for 10 years.
They were incredible live bands, Sandy, with one record contract, which was Dancing in the Rain. But these guys stuck together from 1984 until the end, until Frankie had his dreadful brain haemorrhage. Simon stuck with Frankie for 10 years and Robert stuck with Frankie for 10 years.
They toured non-stop in Europe and a bit in America with Bob Seger. I was a war zone I could see you One more time Caught myself from burying you I could see you One more time You told me you would leave me Something didn’t change You told me you would leave me You told me When they were on form, they were unbeatable live bands, Sandy, I really mean that. And I’ve seen dozens and dozens of bands in my life.
Of course you have. But these guys were something else, really, something else. So what happened to Frankie in 1994?
This is a breath of fresh air with Sandy Kaye. It’s a beautiful day. He had met Mr. Joe Walsh from the Eagles at a private party.
Bob Pridden, he was the sound engineer for The Who, and you probably know that The Who had this friendship with the James Gang way back in the 1970s, which was Joe Walsh’s band. And Joe Walsh had had this great admiration for Frankie Miller’s voice. Joe Walsh had heard Frankie’s voice, presumed it was a black soul singer, and didn’t really relate it to a white Scotsman.
So suddenly, Bob Pridden’s got the two invited into his home. Joe Walsh sat at the grand piano, and Frankie sang. And Joe Walsh said, I want to work with you.
We did a gig in Aberdeen in the Lemon Tree. Ian Wallace appeared on drums. Ian Wallace, who had been on the Budokan album with Bob Dylan, had been in King Crimson for years, suddenly now in Frankie’s band.
Two days later, we’re down in Glasgow. Jeremy Salmon said to me, Davey, do you think if Joe Walsh joined the band, the gigs would sell out? I nearly fell off my chair. I thought he was pulling my leg.
And he said, you have to keep this a secret. So I carried that on my shoulders for a couple of days, and when I eventually caught up with Frankie privately, I said, Frankie, what’s going on? He said, aye, I’ve got Nicky Hopkins on piano as well. Just unbelievable.
So then what happens is Frankie’s going out to Chattanooga, to Tennessee, to record with his new band, who are going to be called Fires Brimstone. So it was all kind of secretive at the time. And Frankie got back from the States, and he said, my God, you’ll never believe this.
When I got to the studios, Joe Walsh arrives with four different guitars. And the next thing, of course, Bill Seismic, the Eagles’ manager and producer, is on offering Frankie a publishing and recording contract. I don’t know if you can see Changes that have come over me In these last few days I’ve been afraid That I might drift away So I’ve been telling old stories Singing songs that make me think About where I came from That’s the reason why I sing So far away today Let me tell you that I love you That I think about you all the time Caledonia, you’ve called me And now I’m going home The Eagles were on their Hell Freezes Over tour, and the plan was, when that tour began to subside, Fires Brimstone would tour America.
But it didn’t happen, did it? Pardon? Well, he flew out to New York to sign the contract, went to one of the Eagles’ gigs, back to the hotel, sat up late with Joe Walsh and the guys and got the brain haemorrhage. Heartbreaking to this day. Right on the precipice of greatness.
Absolutely. And you’ve obviously heard some of the recordings that came from these sessions. That’s another story.
But after that incident, I was coming back home. There’s a couple in my kitchen, standing stony-faced, and I thought, God, Derek and Marilyn, what’s going on here? They’ve got a newspaper in their hands with the headlines. Oh, have you heard the story about Frankie? I said, no, what are you talking about? Frankie Miller has suffered a heart attack in New York.
I grabbed the phone, I tried all sorts of names, and eventually the lady said to me, oh, Frankie’s been discharged. And I thought, oh, bloody fantastic. He’s with the Eagles.
He’s in safe hands. He’s obviously recovered. Everything’s OK.
So I put the phone down. Next morning, the headlines, Frankie Miller has not had a heart attack. He has indeed suffered a brain haemorrhage and is in a coma.
So that was a disaster. If you go away She’ll hate you more It’s raining tears On a heart that’s pure It’s my mistake Just what you lose You learn to make A pretty face And a gentle smile Inside her eyes I saw a child I never thought This day would come But pain can follow Anyone A kiss up from you Make her happy My only contact, because Annette was with him, was through Jeremy Salmon, Frankie’s manager in London. And, of course, Jeremy was in the same state as us.
No news and helpless. And that went on for, looking back, a number of months now. Just a terrible, terrible situation.
And Frankie was in such a state that he couldn’t be moved and couldn’t be flown home. So he was in the States, without insurance, of course, for six months. Terrible, terrible tragedy.
Absolutely. David, why the book? I look back on everything now, Sandy, and I’ve got a box, probably a metre high, with photographs and cuttings and Frankie’s career lying in this box. A friend of mine, who… I started a fan club.
It sounds a bit twee and a bit immature now from a grown man. But I started a fan magazine years ago for Frankie. And I told him this to his face many, many times.
Even back in the early 80s, Sandy, the only way we could get information about Frankie Miller’s gigs was reading the Scottish Sunday Mail or the Scottish press. Sometimes his gigs would appear on a Sunday morning and I would drive 200 miles to get to Frankie’s gigs. And it just didn’t make sense to me that there was no forward notice that Frankie’s on a tour with Brian Robertson and Simon Kirk.
So I just had it in my head. I worked in the print industry, so I had some contacts. Let’s try and get some sort of coordination here.
Let’s start a fan magazine. So I put an advert in Orr magazine in Holland. I put an advert in the NME in England.
And I did adverts and I did flyers on Frankie’s tours around Scotland just to try and get people informed. Nothing more than that. And of course, I had my name and address and telephone number on it.
So I get a phone call one night. I speak to Davey Arthur, please. I said, yeah, who’s calling? It’s Frankie Miller.
And I thought it was my young brother coming on to wind me up and wish me a happy new year. It’s Frankie Miller. And I said, Billy, happy new year.
Third time, it’s Frankie Miller. Then I recognized the voice. I never did give much Maybe I don’t have much to give I live and never did talk What good does it do But someday I swear I’ll prove my love to you I don’t know how to show love I’ll never really know love It’s when you are gone I can’t go on Without your love I’m empty Like a stone rolling free I’ll always be ready You’re the one who can show me Here he is, calling me on my home telephone.
Sandy and Neil had a heart attack. It’s Frankie on the telephone. And I thought, now I’m going to get my arse kicked.
And he said, what are you doing? And I said, Frankie, I’ve just I can’t do this anymore, driving hundreds of miles at a couple hours’ notice to get to your gigs. And Frankie agreed with me, Sandy. And do you know what he said? I’ve got a gig in London in two weeks’ time.
I’d like you to come down. He was doing a charity gig for children’s hospitals over three days in the Hackney Empire, supporting Mr. Ronnie Wood from the Rolling Stones. Ronnie had a band called The Wolves back in these days, a 14-piece band.
And suddenly, Frankie didn’t tell me, by the way, he just told me, we’re doing a gig in London. Be there. I got there and nearly died when I saw the line on.
Got me running Got me hiding Got me running high Running away Wanting it alone Yeah, yeah, yeah Got me doing what you want me Baby, got me wanting it done Going up, going down Going up any way you want it Let it roll Yeah, yeah, yeah David, you didn’t answer my question. Why the book? My vision was a scrapbook. All I wanted to do, and I’ve done it in the book, no sex, no drugs, only rock and roll.
I just wanted to put together a year-by-year memoir, if you like, of Frankie’s career. And because of his condition, hand him a copy just to say, Eamon Andrews style, Frankie, this is your life. Now, the first artworks we did were almost 20 years ago.
I was at an event with Frankie and Annette and handed him some pages of the artwork. And the smile on his face was unbelievable. He just gave me this huge hug and it was my permission to go and do something for him.
Lots of things happened, COVID being one of them. And a couple of birthdays ago, I sent him a 48-page sample. And Annette came back and said, Frankie loves this, David.
So it gave me the inspiration to keep going. How is he today, David? Still the same. How do I explain this? The press coverage since Frankie’s unfortunate brain haemorrhage, especially in Scotland, has been incredible.
The coverage has been brilliant. We did a documentary for the BBC in 1998 and Annette and Frankie allowed the BBC cameras into their home, which was a huge step, and into the hospital. It was called Stubborn Canterfella.
Baby, now I’ll make plans for two I guess I’m just a stubborn canterfella Got my mind made up about you Whoa-oh-oh Say yeah, yeah, yeah Say yeah, yeah, yeah Talking to you, baby Say yeah, yeah, yeah Say yeah, yeah, yeah Unfortunately, Frankie can’t read or write. He recognises images and he is switched on like you wouldn’t believe. I’ve sat in his house over a five-day period listening to unreleased songs and there are hundreds and he still has an ear for music that you wouldn’t believe.
He smiles, he’s happy, he’ll give you the biggest hugs, but his mobility is obviously on the wane over the years and he had to go everywhere with the electronic wheelchair. So he’s still in London, he’s still in his beautiful home in Little Venice, but he doesn’t get out so much like he used to. The heartening thing is, over the years, people like Joe Walsh and Smokey Wendell always kept contact.
Frankie is always invited to their gigs and he has appeared at a number of the shows, but he’s more or less housebound now in London. It’s heartbreaking. He’s 75 now.
David, you’ve done a sensational thing for him and for fans all over the world. You’ve made sure that the legend of Frankie Miller remains. Thank you so much for joining us today on A Breath of Fresh Air.
You can find us again on the book, It’s Awesome. You’ve been listening to A Breath of Fresh Air with Sandy Kaye.