Skip to main content

John Miles - An Obituary

John Miles – Singer, songwriter, musician

Born April 23, 1949; died December 5, 2021 

 

John Miles, who has died aged 72, was a singer and songwriter, whose composition, Music, became a piece of classic rock, which travelled far beyond its 1970s roots. Written and recorded for Miles’ debut album, Rebel (1976), Music is a first person ode to the redemptive power of its subject. 

 

Music’s lyrics consist of just two four-line stanzas sung two and a half times throughout the song’s just shy of six minutes duration. Miles’s words punctuate extended instrumental passages that shift gears and tempos several times in a sketchbook history of modern pop that moves from piano-led balladeering to progressive soft rock and disco. 

 

Accompanied by long-term bassist and co-writer Bob Marshall and drummer Barry Black, this is fleshed out by arranger Andrew Powell’s orchestral flourishes, as the song comes full circle to confirm music’s transcendent force. 

 

Miles said he wrote Music in half an hour, and that it was originally meant to form the basis of other songs before taking on a life of its own. Recorded at Abbey Road with producer Alan Parsons, the epic result saw Melody Maker name Miles as ‘the brightest, freshest force in British rock.’ Music itself went on to become representative of a certain strand of the UK’s pre-punk mainstream.

 

Music reached number 3 in the UK pop charts, and was also a hit in Europe, reaching the top ten in Germany. In the Netherlands, Music went to number 1, and was a hit there again following a 1982 re-release. The song went on to become the anthem of Night of the Proms, an annual pop and classical music extravaganza, founded in Antwerp in 1985. Miles performed at the first one, and attended almost all editions of the event that followed. His ritual rendition of Music, however, that became Night of the Proms’ showstopper.

 

 

Born John Errington in Jarrow, County Durham, he grew up in the nearby town of Hebburn. He started in bands while a teenager at Jarrow Grammar School, and was soon playing seven nights a week with outfits such as The Urge, and The Influence on what was then a booming 1960s Tyneside pub and club circuit. Miles wasn’t the only one to have a musical life beyond it, with The Influence drummer Paul Thompson going on to join Roxy Music, while the band’s guitarist Vic Malcolm went on to have a couple of hits with Geordie.

 

Miles formedThe John Miles Set before going solo in 1971. His debut single was a version of Fred Hellerman and Fran Minkoff’s anti war song, Come Away Melinda (1972), originally performed by The Weavers and first recorded by Harry Belafonte and others. He made his breakthrough three years later after signing to Decca Records, when he scored a minor hit with Highfly (1975). The song’s mix of sophisticated soft rock arrangements and melodic bounce led by Miles’ high-pitched vocal encouraged Decca to support a full album by Miles. 

 

The global success of Music led to three more albums on Decca. Stranger in the City (1977), produced with Rupert Holmes, saw Miles score a top ten hit with Slowdown.  Zaragon (1978), again produced by Holmes, adopted a more stripped down approach. Parsons and Powell returned for More Miles Per Hour (1979).  After leaving Decca, Miles’s other albums included Sympathy (1980), Miles High (1981), Play On (1983), and Transition (1985).

 

Beyond his own work, Miles’s connection with Parsons saw him appear as a frequent guest vocalist on records by The Alan Parsons Project. These included Tales of Mystery and Imagination (1976), Pyramid (1978), Stereotomy (1985), and Gaudi (1987), as well as the group’s Glasgow born mainstay Eric Woolfson’s Freud based concept musical, Freudiana (1990).

 

Miles toured with Tina Turner from 1987 onwards, playing keyboards and guitar as well as providing supporting vocals. He appeared on Jimmy Page’s album, Outrider (1988), and in 1990, took part in the UK heat of A Song for Europe with Where I Belong, which came second. He later played Hammond organ on Joe Cocker’s album, Night Calls (1992).

 

Upfront (1993) was Miles’s first album for eight years, and the first without any involvement by Marshall. In 1999, Miles released Tom and Catherine, the soundtrack to a musical by playwright Tom Kelly about novelist Catherine Cookson and her husband, Tom Cookson.

 

In 2017, Miles won an Outstanding Musical Achievement award at the Progressive Music Awards.

 

When the 2020 edition of Night of the Proms had to be cancelled due to the first Covid 19 induced lockdown, Miles and more than 70 musicians from the Antwerp Philharmonic Orchestra recorded a performance of Music online. With Miles at home in the UK, the orchestra performed their sections from Europe, following a click track to keep time. A video of the performance is on YouTube. Forty-four years after Miles’ original recording of the song, he recognised its ongoing power.

 

“A lot of people just say that this song is so very uplifting both lyrically and musically,” Miles said in an interview at the time. “I still find it very uplifting when I play it myself now. You know, the lyrics say, ‘In this world of trouble, music pulls me through.’ And I think music is a great help emotionally to a lot of people.”

 

He is survived by his wife Eileen, their son, John Jr, their daughter, Tanys, and two grandchildren.


The Herald, January 11th 2022

 

ends

Comments

Popular posts from this blog

Losing Touch With My Mind - Psychedelia in Britain 1986-1990

DISC 1 1. THE STONE ROSES   -  Don’t Stop 2. SPACEMEN 3   -  Losing Touch With My Mind (Demo) 3. THE MODERN ART   -  Mind Train 4. 14 ICED BEARS   -  Mother Sleep 5. RED CHAIR FADEAWAY  -  Myra 6. BIFF BANG POW!   -  Five Minutes In The Life Of Greenwood Goulding 7. THE STAIRS  -  I Remember A Day 8. THE PRISONERS  -  In From The Cold 9. THE TELESCOPES   -  Everso 10. THE SEERS   -  Psych Out 11. MAGIC MUSHROOM BAND  -  You Can Be My L-S-D 12. THE HONEY SMUGGLERS  - Smokey Ice-Cream 13. THE MOONFLOWERS  -  We Dig Your Earth 14. THE SUGAR BATTLE   -  Colliding Minds 15. GOL GAPPAS   -  Albert Parker 16. PAUL ROLAND  -  In The Opium Den 17. THE THANES  -  Days Go Slowly By 18. THEE HYPNOTICS   -  Justice In Freedom (12" Version) ...

Edinburgh Rocks – The Capital's Music Scene in the 1950s and Early 1960s

Edinburgh has always been a vintage city. Yet, for youngsters growing up in the shadow of World War Two as well as a pervading air of tight-lipped Calvinism, they were dreich times indeed. The founding of the Edinburgh International Festival in 1947 and the subsequent Fringe it spawned may have livened up the city for a couple of weeks in August as long as you were fans of theatre, opera and classical music, but the pubs still shut early, and on Sundays weren't open at all. But Edinburgh too has always had a flipside beyond such official channels, and, in a twitch-hipped expression of the sort of cultural duality Robert Louis Stevenson recognised in his novel, Dr Jekyll and Mr Hyde, a vibrant dance-hall scene grew up across the city. Audiences flocked to emporiums such as the Cavendish in Tollcross, the Eldorado in Leith, The Plaza in Morningside and, most glamorous of all due to its revolving stage, the Palais in Fountainbridge. Here the likes of Joe Loss and Ted Heath broug...

Carla Lane – The Liver Birds, Mersey Beat and Counter Cultural Performance Poetry

Last week's sad passing of TV sit-com writer Carla Lane aged 87 marks another nail in the coffin of what many regard as a golden era of TV comedy. It was an era rooted in overly-bright living room sets where everyday plays for today were acted out in front of a live audience in a way that happens differently today. If Lane had been starting out now, chances are that the middlebrow melancholy of Butterflies, in which over four series between 1978 and 1983, Wendy Craig's suburban housewife Ria flirted with the idea of committing adultery with successful businessman Leonard, would have been filmed without a laughter track and billed as a dramady. Lane's finest half-hour highlighted a confused, quietly desperate and utterly British response to the new freedoms afforded women over the previous decade as they trickled down the class system in the most genteel of ways. This may have been drawn from Lane's own not-quite free-spirited quest for adventure as she moved through h...