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6/25/2025, 3:44:07 AM
>As a record producer, Miller gained a reputation for both innovation and gimmickry. Although he oversaw dozens of chart hits, his relentlessly cheery arrangements and his penchant for novelty material—for example, "Come On-a My House" (Rosemary Clooney), "Mama Will Bark" (Frank Sinatra and Dagmar)—have drawn criticism from some admirers of traditional pop music. Music historian Will Friedwald wrote in his book "Jazz Singing" that:
>"Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn—and darn near succeeding in turning—great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable—not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance."[13]
>"Miller exemplified the worst in American pop. He first aroused the ire of intelligent listeners by trying to turn—and darn near succeeding in turning—great artists like Sinatra, Clooney, and Tony Bennett into hacks. Miller chose the worst songs and put together the worst backings imaginable—not with the hit-or-miss attitude that bad musicians traditionally used, but with insight, forethought, careful planning, and perverted brilliance."[13]
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