Hubbry Logo
Mrs. MillerMrs. MillerMain
Open search
Mrs. Miller
Community hub
Mrs. Miller
logo
8 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Mrs. Miller
Mrs. Miller
Mrs. Miller
View on Wikipedia
from Wikipedia

Elva Ruby Miller (October 5, 1907 – July 5, 1997) known professionally as Mrs. Miller, was an American singer who became a novelty figure in the 1960s for her unconventional interpretations of contemporary pop songs. An untrained mezzo-soprano, she performed with a pronounced vibrato and frequently deviated from standard pitch and tempo.[1]

Key Information

Miller's recording of "Downtown" entered the Billboard Hot 100 in April 1966, where it reached No. 82. Its B-side, "A Lover’s Concerto", also charted that month, peaking at No. 95.[2]

Life and career

[edit]

Elva Ruby Connes was born in Joplin, Missouri, the third of seven children of Edward and Ada (née Martin) Connes. She spent her childhood in Missouri and Kansas.

On January 17, 1934, she married John Richardson Miller, a professional investor three decades her senior. The couple moved to Claremont, California the following year, where she studied music, voice, and composition at Pomona College and participated in church and community activities.[3] Although she described singing as a hobby, Miller recorded several self-financed projects, including classical, gospel, and children’s music. She produced at least one privately distributed 45 RPM single, "Slumber Song", which she shared with local orphanages.

Miller came to public attention when radio disc jockey Gary Owens featured her on his program in 1960 and later included her on a limited-run album of his comedy material. Arranger Fred Bock heard her recordings, encouraged her to attempt contemporary popular songs, and submitted the results to various record labels.[4] In 1965, producer Lex de Azevedo signed her to Capitol Records.[4][5]

Miller’s commercial appeal was widely attributed to the unconventional and amateurish qualities of her singing, a characteristic also associated with performers such as Florence Foster Jenkins and Wing.[6] Capitol Records highlighted this aspect of her work; in a 1967 Life magazine interview, Miller stated that during recording sessions she was sometimes conducted slightly ahead of or behind the beat, and that the released versions often used what she considered the worst takes.

Miller's debut album, Mrs. Miller’s Greatest Hits (1966), consisted entirely of contemporary popular standards and sold more than 250,000 copies within its first three weeks. Owens wrote the album’s liner notes. Two additional Capitol albums followed: Will Success Spoil Mrs. Miller?! and The Country Soul of Mrs. Miller.[4][7] She performed for American troops in Vietnam, appeared at the Hollywood Bowl, and made guest appearances on numerous television talk and variety shows. Miller also appeared in the 1967 film The Cool Ones, performing "It’s Magic".

As public interest declined, Capitol Records ended its association with Miller in 1968. She later released Mrs. Miller Does Her Thing on Amaret Records and issued several singles on her own label, Vibrato Records.[4] She recorded two albums at Radio Recorders studios in Hollywood for Dunhill Records, though they received little attention. Her final known recording, a self-released EP, appeared in 1971.[8]

Miller may have been the inspiration for a similar act called Mr. Miller and the Blue Notes, who released a version of the Herman's Hermits hit "Mrs. Brown, You've Got a Lovely Daughter" in 1966.[9]

Later years and death

[edit]

Miller retired in 1973 and subsequently devoted much of her time to charitable work. She lived in a condominium in Northridge, Los Angeles until the 1994 Northridge earthquake, after which she relocated to a retirement home.[4][10]

Miller died in 1997 at the Garden Terrace Retirement Center in Vista, California, at the age of 89.[10] She was interred in the Pomona Mausoleum at Pomona Valley Memorial Park in Pomona, California.

In 1999, Capitol Records released a compilation of her recordings on its Ultra-Lounge label titled Wild, Cool & Swingin’: The Artist Collection, Volume Three.[11]

Discography

[edit]

Albums

[edit]
Album[12] Year US charts[13][failed verification]
Mrs. Miller's Greatest Hits 1966 15
Will Success Spoil Mrs. Miller?! 1966 —
The Country Soul of Mrs. Miller 1967 —
Mrs. Miller Does Her Thing 1968 —
Wild, Cool & Swingin': The Artist Collection Volume Three 1999 —
The Turned-On World of Mrs. Miller 2000 —
A Christmas Gift from Mrs. Miller 2020 —

"—" did not chart

Charting singles

[edit]
Single Year Billboard Hot 100[2] RPM 100[14]
"Downtown" 1966 82 -
"A Lover's Concerto" 1966 95 53

See also

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Mrs. Miller

View on Grokipedia
from Grokipedia
Elva Ruby Connes Miller (October 5, 1907 – July 5, 1997), known professionally as Mrs. Miller, was an American novelty singer who rose to brief prominence in the mid-1960s for her deliberately off-key and humorous interpretations of contemporary pop hits, blending an untrained voice with orchestral arrangements to create a campy, sensation. Born in , Miller grew up in , where she participated in church choirs before moving to , in 1935 with her husband, John Richardson Miller, a wealthy investor nearly 40 years her senior. She pursued music studies at , graduating in 1939, and initially recorded classical hymns and folk songs as a , funding the sessions herself for distribution to charities and community groups. Her unlikely entry into the commercial music scene began in 1965 when conductor Fred Bock, impressed by her distinctive style during a recording session, shopped her demos to , leading to a contract at age 58. Her debut album, Mrs. Miller's Greatest Hits (1966), featured covers of songs like Petula Clark's "" and ' "A Hard Day's Night," selling over 250,000 copies in three weeks and peaking at number 15 on the Top LPs chart, while singles "" and "" reached numbers 82 and 95 on the Hot 100, respectively. This success propelled her to national television appearances, including two spots on , performances on Starring and (where she dueted with ), a live show at the , and a 1967 USO tour in with . Miller released two more albums with Capitol—Will Success Spoil Mrs. Miller? (1966) and The Country Soul of Mrs. Miller (1967)—before the label dropped her, after which she recorded Mrs. Miller Does Her Thing (1968) for Amaret Records and appeared in a small role in the film (1967). Despite earning less than $100,000 from her career and retiring from performing by 1973, her work influenced the novelty music genre and later gained cult status through reissues and online revivals. In her later years, she lived quietly in , engaging in charity work until her death at age 89 in a retirement facility in .

Early Life

Childhood and Family Background

Elva Ruby Connes was born on October 5, 1907, in , to parents Edward Connes and Ada America Martin Connes. She was the third of seven children in a family that included siblings Earl R. Connes, Everett Ray Connes, Ervin Russell Connes, Eula Reath Connes, Elma Reeda Connes, and Rev. Eugene Raymond Connes. Her parents had married on September 26, 1901, establishing a household rooted in the working-class agrarian communities of the Midwest. The Connes family experienced several relocations during Elva's childhood, moving from to rural areas in as economic opportunities shifted in the region. By her teenage years, they had settled in , where she grew up amid the cattle-ranching landscape of the American plains. This period reflected the socioeconomic realities of early 20th-century rural America, characterized by large families dependent on farming and local labor in modest circumstances, often challenged by the uncertainties of agricultural life before the . In 1934, at age 26, Elva married John Richardson Miller, a professional investor nearly 40 years her senior, in Newkirk, Oklahoma. The couple relocated to Claremont, California, the following year in 1935, marking the end of her Midwestern family-centered upbringing.

Education and Early Musical Interests

Elva Ruby Connes Miller attended Pomona College in Claremont, California, where she studied music theory, voice, and composition in the 1930s following her relocation to the area with her husband in 1935. She graduated in 1939. Her studies emphasized vocal techniques and composition, providing a foundational yet non-professional grounding in music that aligned with her Midwestern upbringing's emphasis on community involvement. Lacking extensive professional training beyond her education, Miller honed her skills through personal practice as a . She developed a distinctive heavy style during these informal sessions, which became a hallmark of her , emerging from her independent vocal exercises and lack of rigorous oversight. This approach allowed her to experiment freely, blending classical influences from her coursework with intuitive methods that shaped her unique . After settling in , Miller's early musical interests centered on community-based activities, including singing in the choir at the Claremont Presbyterian Church, where she contributed to local services and events. She also participated in performances at nearby churches, treating music as a that connected her to her faith and social circles rather than a career path. These experiences, combined with her studies, nurtured her passion for vocal expression in an amateur capacity, laying the groundwork for her later pursuits without venturing into professional realms.

Career

Pre-Fame Recordings and Discovery

In the early 1960s, Elva Ruby Connes Miller, drawing on her training in music education from , self-financed amateur recording sessions at local studios in . These hobbyist efforts, funded by her husband John, primarily featured her renditions of sacred and classical pieces, which she shared with churches and charities. Around 1960, she produced a 45 rpm single titled "Slumber Song," an original composition intended as a gentle , and distributed copies to nearby orphanages as part of her community involvement. Miller's recordings gained initial industry notice when she delivered a demo tape to radio host in 1960. Owens, a at known for his humorous on-air persona, played selections from the tape during his program, highlighting her quavering, pitch-challenged vocals as a lighthearted novelty that amused listeners and generated buzz. This exposure, which included Owens commissioning her for comic radio jingles, marked her first significant introduction to a wider audience beyond local circles. The radio airplay caught the ear of choral arranger Fred Bock, a church musician who had previously accompanied some of Miller's sessions and encouraged her to tackle contemporary pop material. Bock collaborated with Owens to refine her approach and shopped demos to labels, leading to Miller's signing with in 1965 under young producer . De Azevedo, recognizing the comedic potential in juxtaposing Miller's idiosyncratic singing with lush orchestral backings, oversaw initial sessions that deliberately preserved her raw, unsteady delivery for satirical effect, setting the stage for her novelty career.

Rise to Fame with Capitol Records

Following her discovery by arranger Fred Bock and subsequent signing to through producer , Mrs. Miller experienced a rapid commercial ascent in 1966. Her debut single, a cover of Petula Clark's "," was released that year and peaked at No. 82 on the chart, marking her entry into the national spotlight as a novelty performer. The B-side, "," also charted at No. 95, contributing to the buzz surrounding her unconventional vocal delivery. Capitol capitalized on this momentum with the release of her debut album, Mrs. Miller's Greatest Hits, in April 1966, which featured covers of contemporary hits like "" and "A Hard Day's Night." The album climbed to No. 15 on the and sold over 250,000 copies within its first three weeks, an impressive feat for a novelty release that outsold many contemporary records. This success propelled her into the public eye, with media outlets framing her off-key, warbling style as deliberate "camp" entertainment—"so bad it's good"—rather than technical deficiency, a that Capitol actively promoted to enhance her appeal as a humorous counterpoint to polished pop acts. Her follow-up album, Will Success Spoil Mrs. Miller?!, arrived later in 1966, continuing the formula of exaggerated covers and satirical that played on her persona, though it achieved lower sales than the debut. By 1967, Capitol expanded her repertoire with The Country Soul of Mrs. Miller, venturing into country and soul genres through renditions of tracks like "May the Bird of Paradise Fly Up Your Nose" and "Soul Serenade," which further diversified her novelty catalog but signaled waning commercial interest as sales declined.

Performances and Media Appearances

Mrs. Miller's television appearances in the mid-1960s significantly boosted her visibility as a novelty performer, beginning with her debut on in 1966, where she performed a duet of "Inka Dinka Doo" with , highlighting her distinctive vocal style for comedic effect. She made two guest spots on during this period, performing covers of popular songs that emphasized her off-key delivery. Additional TV engagements included appearances on , where she promoted her albums through live renditions, as well as and Art Linkletter's House Party. These broadcasts often framed her as an endearing eccentric, amplifying her cult appeal among audiences who appreciated the humorous contrast between her earnest presentation and unconventional singing. Beyond television, Mrs. Miller undertook live performances at prominent venues that leaned into her exaggerated persona for entertainment value. In July 1966, she shared the bill with at the Sahara Hotel in , delivering operatic takes on contemporary hits that drew laughter and applause from crowds. She also performed at the Cocoanut Grove nightclub in , where her set included interactions with celebrities like Natalie Schaefer, who addressed her formally during the event, at the , and on a tour with to entertain U.S. troops in , during which she sang songs such as "Yellow Submarine" in her signature off-tempo manner while dressed in a muumuu and army boots, endearing her to servicemen as a morale booster. These outings solidified her reputation as a live novelty act, with promoters capitalizing on the comedic potential of her performances. Her radio exposure began earlier and played a key role in her discovery, as disc jockey Gary Owens featured her on his program in 1960, showcasing recordings of her singing that caught the attention of producers and led to her deal. Owens continued to promote her through guest spots on variety radio programs, including his own shows on , where he introduced her as "The Famous Mrs. Miller discovered by Gary Owens," blending humor with her unique sound to build early buzz. Media coverage consistently portrayed Mrs. Miller as a wholesome yet hilariously unconventional figure, often emphasizing her interactions with stars like Durante and to underscore her novelty status without malice. A 1967 Life magazine profile captured this sentiment, describing her as a "grandmotherly" singer whose earnest efforts created unintended , while outlets like Capitol's promotional materials highlighted her as a fresh, if peculiar, voice in . This framing helped cultivate her , positioning her appearances as lighthearted spectacles rather than serious musical endeavors.

Musical Style and Reception

Singing Technique and Production Choices

Mrs. Miller's vocal technique was marked by an untrained delivery featuring prominent, billowy and phrasing that frequently landed between beats, creating an off-tempo effect often described as quavering and inconsistent in pitch. This style evoked an operatic flair but executed with a shrill, untrained voice that emphasized dramatic warbles and gasps. In production, arranger and conductor intentionally amplified these traits by conducting sessions at mismatched tempos—sometimes faster or slower than the —to heighten the disjunction between her voice and the music. Minimal rehearsals were held, with recordings captured during moments of fatigue using first takes to preserve raw, unpolished elements before corrections could be made, thereby enhancing the novelty appeal of her "bad" singing. Her genre experiments spanned pop standards like "" and "," alongside interpretations of classical selections, gospel hymns, and children's songs, all rendered through her idiosyncratic lens to blend earnestness with unintentional . These choices were supported by polished orchestral backings from professional session musicians, including sweeping string sections and full ensembles that starkly contrasted her wavering vocals, underscoring the ironic humor central to her recordings.

Critical Reviews and Public Perception

Mrs. Miller's recordings elicited mixed critical responses during her brief period of prominence in the mid-1960s, with some reviewers highlighting the ironic and humorous appeal of her deliberately off-kilter interpretations of popular songs. In the , columnist Joe Cappo noted that listeners initially dismissed her single "" by calling her "that nut," but soon demanded encores, as disc jockey Wally Phillips played her tracks daily to help audiences "work off hostilities." Similarly, a 1966 article described her as a "plump gray-haired grandmother" whose warbling represented a "current kick" in , emphasizing the novelty of her enthusiastic yet imprecise delivery. Other critics viewed her work more skeptically, interpreting it as a of amateurish singing that bordered on . Reviews often drew parallels to earlier figures known for unintentional incompetence, such as the 19th-century vaudeville performers the and the socialite opera enthusiast , whose tone-deaf efforts had similarly captivated audiences through sheer audacity. A February 1967 review of her Cocoanut Grove nightclub appearance by John L. Scott observed her transition to overt , complete with one-liners delivered with precise timing, suggesting she had fully embraced the parodic elements of her persona to elicit laughter. Public perception positioned Mrs. Miller as a quirky media sensation, with a dedicated cult following among music enthusiasts who celebrated her as an endearing outsider in the era's slick pop scene. Her debut album sold between 250,000 and 600,000 copies, reflecting broad curiosity-driven appeal, while a niche group of "music nuts" revered her sincere yet chaotic style. Time magazine briefly noted in May 1966 that she directed her earnings toward a medical-care trust fund, underscoring her wholesome image amid the novelty hype. Her approach was likened to other novelty acts, such as the Grammy-winning comedy duo Jonathan and Darlene Edwards, whose intentionally inept piano duets mirrored her subversion of musical norms. Miller herself denied singing off-key and expressed resentment toward production techniques that amplified her perceived flaws, leading to debates about whether she was an exploited outsider or a willing participant in the novelty. By the late 1960s, however, interest in Mrs. Miller's act had waned as audiences grew tired of the ongoing joke.

Discography

Studio Albums

Mrs. Miller released four studio albums during her brief commercial peak in the mid-, each characterized by her distinctive, warbling vocal style applied to contemporary , often with lush orchestral arrangements that contrasted her intentionally imperfect pitch and phrasing. These recordings were produced under for the first three, emphasizing novelty interpretations of hit tunes, while her final album appeared on a smaller label amid shifting musical trends. Her debut album, Mrs. Miller's Greatest Hits, was released in April 1966 by and featured 12 tracks of covers of recent pop and rock hits, such as Petula Clark's "Downtown" and ' "A Hard Day's Night." Produced by Fred Bock and at United Recorders in Hollywood, it utilized top session musicians including drummer and bassist Jimmy Bond, with arrangements that highlighted Mrs. Miller's quavering and off-tempo delivery for comedic effect. The album's theme centered on satirical takes on chart-toppers, selling over 250,000 copies in its first three weeks and peaking at number 15 on the Billboard 200. Following the surprise success of her first release, Will Success Spoil Mrs. Miller?! arrived in October 1966, also on , with 12 tracks including renditions of Frank Sinatra's "" and The Beatles' "Yellow Submarine." The production mirrored the debut's approach, with overseeing orchestral backings that amplified the humorous dissonance of her singing, though the novelty aspect began to show signs of repetition. Thematically, it continued the pop cover formula but incorporated more eclectic selections, such as show tunes and folk-rock influences, to sustain her fame. In 1967, Capitol issued The Country Soul of Mrs. Miller, marking a thematic shift toward American roots genres with 12 tracks covering country standards like "Misty Blue" and soul-inflected pieces such as "Oh Lonesome Me." Produced similarly to her prior works but with Nashville-inspired instrumentation, including pedal steel guitar and gospel-style backing vocals, the album explored genre experimentation while retaining her signature vocal quirks for ironic effect. This release reflected Capitol's strategy to diversify her appeal beyond pure pop parody. Mrs. Miller's fourth and final studio album, Mrs. Miller Does Her Thing, came out in on the independent Amaret Records label, featuring 10 tracks of late-1960s hits like The 5th Dimension's "Up, Up and Away" and ' "." Produced on a smaller budget after her Capitol contract ended, it leaned into psychedelic and themes with mod arrangements, though the label's quick limited its distribution. The album represented a bold attempt to adapt her style to evolving musical tastes. Later reissues have kept her work in circulation, including the 1999 compilation Wild, Cool & Swingin': The Artist Collection Volume Three on , which gathered 24 tracks from her Capitol era emphasizing lounge and space-age pop vibes. In 2020, Ship to Shore PhonoGraph Co. released A Christmas Gift from Mrs. Miller as a limited-edition LP compiling holiday-themed recordings, blending her covers of classics like "" with original novelty arrangements in mono and stereo formats.

Singles and Chart Performance

Mrs. Miller's singles discography primarily consists of releases on Capitol Records during her brief period of fame in the mid-1960s, with subsequent efforts on smaller labels yielding no commercial chart impact. Her most notable single, "Downtown" backed with "A Lover's Concerto," was issued in early 1966 on Capitol 5640 and marked her only significant entries on the Billboard Hot 100. "Downtown," a novelty cover of Petula Clark's hit, debuted on the Billboard Hot 100 at No. 98 on April 30, 1966, and climbed to its peak position of No. 82 on May 21, 1966, spending a total of four weeks on the chart. The track also reached No. 9 on the Billboard Adult Contemporary chart and No. 56 on the UK Singles Chart, reflecting modest crossover appeal driven by its intentionally off-key delivery. Its B-side, "A Lover's Concerto," a rendition of the Toys' earlier success, similarly charted on the Hot 100, debuting in April 1966 and peaking at No. 95 that same month while reaching No. 13 on the Adult Contemporary chart; it also logged approximately four weeks on the Hot 100. Beyond these, Capitol promoted Mrs. Miller with non-commercial releases, including the 1966 EP version of "Downtown" (Capitol EAP 4-2494) and promotional interview singles such as "Open-End Interview" (Capitol PRO 4086) and "Mrs. Miller (Revisited): Open-End Interview #2 And Programming Aids" (Capitol PRO 4186/4187), none of which entered sales charts. After her departure from Capitol, she recorded singles for Amaret Records in 1968, including "Up, Up and Away" b/w "Green Thumb" and "I've Gotta Be Me," which failed to chart amid declining interest in her novelty style. Later self-released efforts on Mrs. Miller Records in 1971, such as "The Week End of a Private Secretary" (promo, R-2606-4) and "Ma (He's Making Eyes at Me)" b/w "She Had to Go and Lose It at the Astor," were limited-distribution items with no documented chart performance.
SingleRelease YearLabel/CatalogBillboard Hot 100 Peak (Date)Weeks on Hot 100Other Charts
"Downtown" b/w "A Lover's Concerto"1966Capitol 5640No. 82 (May 21, 1966)4No. 9 AC; No. 56 UK
"A Lover's Concerto" (B-side)1966Capitol 5640No. 95 (April 1966)~4No. 13 AC
"Up, Up and Away" b/w "Green Thumb"1968AmaretDid not chartN/AN/A
"I've Gotta Be Me"1968AmaretDid not chartN/AN/A
"Ma (He's Making Eyes at Me)" b/w "She Had to Go and Lose It at the Astor"1971Mrs. Miller RecordsDid not chartN/AN/A
Despite the buzz from her debut album, Mrs. Miller's singles achieved only fleeting visibility on the charts, with just two Hot 100 entries underscoring the niche appeal of her recordings compared to broader pop successes of the era.

Later Life and Legacy

Retirement and Personal Challenges

Following the decline in public interest in her novelty recordings by the early , Mrs. Miller retired from professional performing and recording around 1973, formally resigning from the in honorable standing after declined to renew her contract and her self-released efforts on Mrs. Miller Records achieved disappointing sales. Her career's reliance on humorous, off-key interpretations of popular songs had ensured only fleeting fame, limiting sustained opportunities and contributing to her withdrawal from the spotlight. The death of her husband, John Richardson Miller, in 1968 represented a profound personal loss that exacerbated the emotional challenges of her later career years, as she navigated the demands of fame without his support. Post-retirement, she adopted a frugal lifestyle reflective of the modest financial security afforded by her brief novelty success, while grappling with feelings of betrayal over how record labels had distorted her earnest singing for comedic effect. Mrs. Miller settled into a condominium at 9535 Reseda Boulevard in Northridge, California, where she led a reclusive existence, occasionally participating in limited charity performances such as a hospital fundraiser in Jetmore, Kansas. This quiet routine was upended by the January 17, 1994, Northridge earthquake, which collapsed her apartment building and necessitated an abrupt relocation to the Garden Terrace Retirement Center in Vista, California. The disaster compounded her existing hardships, marking the end of her independent living and further isolating her in her later years.

Death and Posthumous Recognition

Elva Ruby Miller, known professionally as Mrs. Miller, died on July 5, 1997, at the age of 89 in Vista, California. The cause of death was natural causes. She was interred at Pomona Valley Memorial Park in Pomona, California, specifically in the Pomona Mausoleum, Corridor C, Crypt 14F. Following her death, Miller received posthumous recognition through the release of compilation albums featuring her recordings. In 1999, Capitol Records issued Ultra-Lounge: Wild, Cool & Swingin' – The Artist Collection, Volume 3, a remastered compilation that collected selections from her 1960s work, highlighting her novelty interpretations of popular songs. In 2000, a compilation album, The Turned-On World of Mrs. Miller, was released on CD by Amaret Records, bringing renewed attention to her later output. Her work has since gained cult status in the outsider and novelty music genres, with recordings reissued on various compilations and available on streaming platforms, contributing to renewed interest among younger audiences via online media.
Add your contribution
Related Hubs
User Avatar
No comments yet.