John Miles - A Life In Music - A Tribute.
Originally published as a ‘John Miles - A Career Retrospective’ in 2018. Updated and republished following today’s sad news of his death.
‘John Miles - A Life In Music - A Tribute’ - by Andy Rawll
John Miles was presented with the Outstanding Musical Achievement Award at the 2017 Prog Awards. Although ostensibly recognising 'that' song, as an enduring touchstone in the pantheon of prog, there's much more to savour from this Jarrow hero's back catalogue that's equally deserving of recognition. Today’s sad news adds bittersweet perspective on his long, fruitful career, with a fine legacy for music of the future, from his music of the past. To paraphase his own prescient words: “in this world of trouble, my music pulls me through”.
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Following 5 years of largely unsuccessful soulful pop singles for Orange, his purple patch sprouted following his switch to Decca. His holy quadrilogy of commercial rock albums with Decca balance pop sensibility with prog elegance, fuelled by the presence of Alan Parsons at the desk and Andrew Powell on the baton on the still astounding debut 'Rebel' and 1979's under-appreciated 'More Miles Per Hour' (MMPH).
'Rebel's successor, 'Stranger in the City', suffered by comparison being less orchestrated, P&P-less and a more overtly commercial release, with spirited 'Slow down' ultimately a disco dud despite a great vocal and fabulous talk-box solo. However, Miles' songwriting remained exemplary with the two ballads 'Time' and 'Remember Yesterday' beyond reproach.
Although it would be another year before big Al and Andy would return to the fold, for many his third album for Decca, 'Zaragon', remains the apotheosis of this period. Taut yet atmospheric production, fiery lead guitar, that effortlessly soaring voice and, best of all, a set of songs that distil the essence of 'Music' into a cohesive suite of songs. From the superb Supertramp like 'Overture' to the killer mini-rock opera of 'Nice Man Jack' and sci-fi coda of the title track, this remains a personal favourite.
Finally, MMPH (AKA Sympathy) may lack the front-to-back consistency of its predecessor, but the return of Parsons and Powell pay real dividends on the two longer tracks 'Fella in the cellar' and 'We all fall down'., with their wide-screen symphonic arrangements and extended guitar solos. It’s also appropriate to acknowledge Miles’ longstanding songwriting partner, Bob Marshall, whose evocative lyrics brought John’s musical vision to life from Orange to their red letter days with Decca and beyond.
Miles' departure from Decca in the early 80s, during the barren days of prog, marked a shift away from his sumptuous compositions of the 70s into simpler pop-rock with diminishing returns both artistically and commercially and a succession of short-lived label contracts.
As the door on his solo career creaked to a close, so did another open as his rich voice and impeccable musicality remained in strong demand as a session player and collaborator with The Alan Parsons Project, Tina Turner, Joe Cocker and, notably, with Jimmy Page during the 'Outrider' period and the perennial 'Night of the Proms' concert series.
Estimable contributions to latter-day Parsons albums ('La Sagrada Familia' from 'Gaudi' in particular) aside, it's disappointing that 1993's 'Upfront' is the last full solo album from such a talent. Unlike 1981's relatively insipid 'Miles High' and the frustrating patchy sequels ‘Play On’ and Transition, 'Upfront' is well worth seeking out.
Although, without a single prog bone in its body, it's a fine album of mainstream blues rock with great performances and some really good songs like 'Chains and Wild Horses', 'Now That The Magic Has Gone' and 'Body Of My Brunette'.
Prior to lockdown, I was hoping that Prog Mag's recognition would inspire John's re-emergence as a solo artist; if only for one more tour or album. Sadly, that possibility has gone, yet his magical music remains for eternity.
Recommended archive resources: Bio by Stephen Carson; Blog by Derek Anderson; Article by Ian Gilby