John Miles-Music and Beyond.

Forty years ago in 1976, John Miles released his most successful single Music. Since then, every time John Miles’ name comes up in conversation, Music is mentioned. That must be frustrating for the English singer-songwriter who released ten albums between 1976 and 1999. This is a reminder that there’s much more to John Miles than Music.  That’s what he’s spent over forty years making.

John Miles was born in Jarrow, in County Durham, England on 23rd April 1949. Growing up, music played a big part in John Miles’ life. While still at Jarrow Grammar School, John joined a local band, The Influence.

Three of the members of The Influence were keyboardist John Miles, drummer Paul Thompson and guitarist Vic Malcolm. Incredibly, they all went on to become successful musicians. Paul Thompson became Roxy Music drummer, while Vic Malcolm became Geordie’s lead guitarist. That was still to come. 

In 1969, The Influence released a single on Orange Records, I Want To Live. This was just the start of what would be a long, and eventually successful recording career. Not with The Influence though.They disbanded not long after the release of I Want To Live.  

Following his spell with The Influence, John Miles founded The John Miles Set, which featured bassist Bob Marshall. He and John would later form a successful songwriting partnership. That was in the future. Before that, The John Miles Set began to play the club circuit. However, in 1970, John decided to combine a solo career with playing with The John Miles Set.

This was a big step for John Miles. He was still only twenty-one. Already though, people were taking notice of John Miles. This included the owners of Orange Records who had released The Influence’s single. They released Why Don’t You Love Me?, John’s debut solo single in September 1970. While it failed commercially, John was attracting the attention of Decca Records.

They offered John Miles a recording deal for one single. It was akin to an audition, and also allowed Decca Records to test the waters. Josie was released on 7th July 1971. Alas, the single failed to trouble the charts and John was soon looking for a new record company. 

Fortunately, Orange Records had just changed hands, and new owner Cliff Cooper was looking to add new artists to his roster. John Miles fitted the bill. Orange Records sent John into the studio, and he recorded Come Away Melinda. It was released as a single in February 1972. Just over a month later, Yesterday (Was Just The Beginning) was released in March 1972. Despite neither single sold in vast quantities, Orange Records kept their faith in John Miles.

Meanwhile, The John Miles Set featured on the British talent show Opportunity Knocks. They won their heat, and found themselves in the All Winner’s Show. For John Miles, this was a boost to his solo carer.

An even bigger boost to John Miles solo career during 1972, was getting the opportunity to support Roy Orbison at the Royal Albert Hall, in London. Gradually, people were beginning to know the name John Miles.

Orange Records continued to keep faith in John Miles. He released a trio of singles during 2013. This included Hard Road in March 1973, Jacqueline in May 1973 and One Minute Every Hour in August 1973. Still, though, commercial success eluded John Miles. 

It was a similar story in 1974. Fright Of My Life was released in January 1974, but failed commercially. That was all that was heard of John Miles until he released What’s On Your Mind in November 1974. While it didn’t trouble the charts, John was improving as a singer and songwriter. His songwriting partnership with Bob Marshall was beginning to bear fruit. Similarly, over the last three years John’s band, which featured bassist Bob Marshall and drummer Barry Black, John Miles had matured and evolved into a tight, talented band. Maybe John’s luck would begin to change?

That was the case in 1975. As the year progressed, record companies began to take an interest in John Miles. Both EMI and Decca Records were vying for John’s signature. This was a huge decision for the twenty-six year old. Eventually, though, John decided that Decca Records who were looking to add to their contemporary pop roster, offered more of an opportunity.

By then, Decca Records’ pop roster had become stale, with Tom Jones and Englebert Humpererdinck looking like yesterday’s men. Decca Records was desperately seeking a transfusion of new talent. That was where John Miles came in. He was seen as part of Decca Records’ future. So, after opening for The Ohio Players at the Hammersmith Odeon, John and representative of Decca Records signed a recording contract.


With John Miles signed to Decca Records, the label decided to pair their latest signing, with one of Britain’s top producers, Alan Parsons. He had worked with Pink Floyd on their Magnus Opus, Dark Side Of The Moon in 1973. Since then, he had worked with some of the biggest names in music. So it was a something of a coup that he agreed to produce John Miles new single.

The song they chose Highfly, which in Alan Parsons’ hands, took on an art rock sound. It was released on September 1975, and eventually, reached seventeen in the UK charts and sixty-eight in the US Billboard 200. Exactly five years after he released his debut solo single, John Miles had his first hit single.

After the success of Highfly, John Miles would complete recording of his debut album. It featured nine songs, including six penned by John and Bob Marshall. The exceptions were Music, Lady of My Life and Music (Reprise) which John wrote. They were recorded at Abbey Road Studios.

During November and December John Miles and his band headed to Abbey Road Studios in November 1975. Drummer and percussionist Barry Black and bassist Bob Marshall accompanied John. He added lead vocals, and played keyboards, guitar and synths. Andrew Powell took charge of the orchestral arrangements and Alan Parsons produced, what would become Rebel.

As 1975 gave way to 1976, Decca Records began to think about what should be the lead single from Rebel. The song they chose was Music, a near six minute epic. It was released in March 1976 and reached the upper reaches of the charts across Europe. Music reached number three in the UK; number four in Holland; number number one in Switzerland and eighty-eight in the US Billboard 100. Later, Music won John Miles an Ivor Novello award for Best Middle-Of-The-Road Song. Before that, Rebel was released.

Critical acclaim accompanied the release of Rebel, which was hailed as an album of carefully crafted pop songs. Music may have been the standout track, but there was much more to the album, including the John Miles and Bob Marshall penned You Have it All, When You Lose Someone So Young and Lady Of My. They had matured into a talented songwriting team, while John brought each of the songs to life. It was no surprise that when Rebel was released later in March 1976, it reached number nine in the UK and 171 in the US Billboard 200. Elsewhere, Rebel reached the top twenty in Holland and Germany, and the top thirty in Sweden. For John this the perfect way to begin The Decca Years.

After the release of Rebel, John Miles embarked upon a lengthy tour. It marked the debut of Australian keyboardist Gary Moberley. John had brought him onboard to augment the band’s sound. He would make his recording debut in the summer of 1976, when Stranger In The City was recorded.


Stranger In The City.

During the summer of 1976, John Miles was touring, supporting both Jethro Tull and the Rolling Stones. Despite what was a gruelling touring schedule, John Miles still found time to begin work on his sophomore album, Stranger In The City.

This time around, the eight of the nine songs on Stranger In The City were penned by John Miles and and Bob Marshall. The exception was Barry Black penned Do It Anyway. Recording of Stranger In The City began in the summer of 1976.

Despite the success of Rebel, Alan Parsons didn’t return to produce Stranger In The City. Instead, singer-songwriter Rupert Holmes took charge of producing John Miles’ newly expanded band. Recording took place at Mediasound in New York and Utopia Studios in London. That was where the newly expanded lineup of the band got to work.

Drummer Barry Black and bassist Bob Marshall were joined by keyboardist Gary Moberley. John added lead vocals, and played piano and guitar. However, the album wasn’t completed during the summer of 1976. So John and his band returned in October 1976, before heading off on their European tour.

In January 1977, Manhattan Skyline was released as the lead single from Stranger In The City. It failed to chart on either side of the Atlantic. For John Miles and everyone at Decca Records, this was a worrying time. However, in February 1977, Stranger In The City was released.

Reviews of Stranger In The City had been mostly positive. The occasional critic wasn’t convinced that Stranger In The City was as cohesive an album as Rebel. It was a much more eclectic album, with everything from pop to blue eyed soul, funk, rock and soul. Slow Down even married rock and funk with disco. Now that critics had cast their vote on Stranger In The City, the album was released.

When Stranger In The City in February 1977, the album reached just thirty-seven in the UK. However, in America, Stranger In The City proved much more popular, reaching ninety-three in the US Billboard 200. Elsewhere, the album reached the top twenty in Norway and Sweden. That, however, wasn’t the end of the commercial success.

Slow Down was released as a single in May 1977. It reached number ten in the UK and thirty-four in the US Billboard 200. Given its dance-floor friendly sound, Slow Down gave John Miles a hit in the US Dance Music charts, when it reached number two. The John Miles’ success story continued apace.

Clive Davis at Arista Records was watching events unfold. He had an unrivalled reputation as a talent spotter, and wanted John Miles on Arista Records’ roster. This he soon discovered, would come at a price. That price was in the region of $500,000. Undeterred, Clive Davis wrote the cheque, and John Miles was now signed to Arista Records in America. Back home in Britain, The Decca Years continued.



Following the release of Stranger In The City, John Miles spent much 1977 touring the album. Then in October 1977, John began to record his much-anticipated third album, Zaragon.

For Zaragon, the John Miles and Bob Marshall songwriting team wrote seven new songs. This included the eight minute epic Plain Jane, and the three part suite Nice Man Jack. These seven songs were recorded by John’s original band with Rupert Holmes again taking charge of production.

When recording began in October 1977, there was no sign of keyboardist Gary Moberley. He had left the band. This left just drummer Barry Black and bassist Bob Marshall. John added lead vocals, and played keyboards, synths and guitar. This time, it was decided that there should be no orchestral arrangements. 

John Miles wanted to be able to replicate the songs live. Just like many progressive rock groups, including Emerson, Lake and Palmer, John had discovered the more complicated the arrangement, the harder it is to replicate live. It seemed John had learned his lesson after two years of trying to replicate the arrangements on Rebel and Stranger In The City. That may not have been the only reason.

Music was changing, with punk, post punk and disco among the most popular musical genres So were people’s opinions on orchestral arrangements. Many critics and record industry insiders thought that albums with orchestral arrangements were yesterday’s sound. For John Miles, he was moving towards rock epics, like Overture, which lasted nine minutes. Keyboards and synths were to the fore, and replaced the lush, orchestral arrangements of previous albums. Over the course of three months, John Miles had reinvented himself. The reinvention of John Miles was complete in December 1977, when Zaragon was handed over to Decca Records.

With Zaragon complete, John Miles was preparing for his next tour. He felt he needed another keyboardist to augment the band. The man he turned to was Brian Chatton, who would head out on tour with John Miles in March 1978. Before that, the lead single from Zaragon was released.

No Hard Feelings, a beautiful piano based was chosen. It was released in late February 1978, but failed to chart. This didn’t bode well for the release of Zaragon.

At least Zaragon was well received by most critics. This mixture of the occasional ballad and rock epics proved to be a popular and potent combination. Especially songs like Overture, I Have Never Been in Love Before, No Hard Feelings and Zaragon.  They were among the highlights of Zaragon, which was released in March 1978.

Zaragon was released in UK on Decca Records, and reached forty-three. This was regarded as a success given how music had changed over the last year or so. Elsewhere, Zaragon reached number three in Norway and Sweden. John had built up a loyal following after years of constantly touring Europe. One place where John wanted his commercial success to continue was America.

In America,  Zaragon was John Miles’ debut for Arista Records. John was hoping that Zaragon would get his career with Arista Records to a successful start. Especially since Clive Davis had spent  $500,000 it took to buy John Miles out of his American recording contract. The pressure was on and John wanted to justify the $500,000 price tag.

Alas, John was out of luck, and Zaragon reached just 210 in the US Billboard 200. It was John’s first album not to chart in America. For John this was a bitter blow. All was not lost though.

Maybe though, a performance on British television and radio would help sales of Zaragon?


BBC In Concert (March 1978).

Back home in Britain, one of the BBC’s most popular music shows on television and radio was Sight and Sound In Concert. It allowed an artist to be heard by a vast audience. Many of them had a voracious appetite when it came to buying albums. A good performance on Sight and Sound In Concert, would given Zaragon and the rest of John Miles’ back-catalogue.

So on 11th March 1978, John Miles and his band headed to Queen Margaret’s College, London. Drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. Lead by John, they worked their way through a ten song set.

Opening with Nice Man Jack from Zaragon, John Miles returned to Stranger In The City, for Music Man. Then it was a return to Zaragon, for Plain Jane, Overture, Zaragon and No Hard Feelings. Having showcased Zaragon, John returned to his sophomore album Stranger In The City. Stand Up (and Give Me A Reason gave way to Stranger In The City. With just two songs to go, John returned to Zaragon and played Borderline, before closing the show with Slow Down from Stranger In The City. One song was missing, from what had been another accomplished and polished performance from John…Music. What John would given for another song like Music, for his fourth album for Decca Records, MMPH-More Miles Per Hour.

MMPH-More Miles Per Hour.

John Miles’ decision to eschew orchestral arrangements on Zaragon had backfired. It was time to rethink his future musical direction. Maybe it was time for John to return to what had become his trademark sound. That wasn’t the other decision that he would have to make; did Rupert Holmes have a future as John’s producer. 

Rupert Holmes had neither built on, nor replicated the success of the Alan Parsons’ produced Rebel. Maybe he should’ve cautioned John Miles about changing direction on Zaragon? What was clear, that neither Stranger In The City nor Zaragon, replicated the quality nor commercial success of Rebel. So a decision was made to bring Alan Parsons back to produce MMPH-More Miles Per Hour.

With Alan Parson back onboard, Andrew Powell returned to take charge of the orchestral arrangements on MMPH-More Miles Per Hour. It comprised eight songs penned by John Miles and Bob Marshall. Recording began in November 1978, at Super Bear Studios, near Nice, in France. That was where John Miles and his band began work. It featured drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. The recording of MMPH-More Miles Per Hour was completed at Union Studios, in Munich, Germany. January 1979. Now John’s thought’s turned to the release of his fourth album.

Just three months later, MMPH-More Miles Per Hour was released in April 1979. Mostly, it was to critical acclaim. MMPH-More Miles Per Hour was a much more cohesive and focused album, which featured carefully crafted songs. They had been sweetened by Andrew Powell’s orchestral arrangements, and definitely benefited from Alan Parsons’ guiding hand. He seemed to able to get the best out of John Miles. Maybe this would result in a change in fortune for John?

Can’t Keep a Good Man Down was released as the lead single from More Miles Per Hour, but failed to chart. When MMPH-More Miles Per Hour was released, it stalled at forty-six in the UK, and failed to enter the US Billboard 200. A small crumb of comfort was that MMPH-More Miles Per Hour reached number six in Norway and ten in Sweden. That was as good as it got.

Neither of the other two singles from MMPH-More Miles Per Hour, Oh Dear, nor (Don’t Give me Your) Sympathy charted. For John Miles, it must have been a frustrating way to end The Decca Years. MMPH-More Miles Per Hour. like all of John’s Decca Records’ albums, deserved to fare better.


After More Miles Per Hour, John Miles parted company with Decca Records. After just four years and four albums, The Decca Years were over. Little did John Miles realise that they would be the most successful and productive period of John Miles’ career.  Never again did he reach the same heights. That’s despite releasing another six studio albums.


The first of these albums was Sympathy in 1980. By then, John Miles was still under contract to Arista in North America. Clive Davis the founder of Arista, had spent $500,000 buying out John’s contract from Decca Records 1977.  Zaragon in 1978, was the first of John Miles’ albums to be released by Arista in North America. However, the followup to Zaragon, MMPH-More Miles Per Hour hadn’t been released in North America. Instead, Sympathy became the followup.

For John Miles’ new North American album, eight songs were chosen. This included five songs from MMPH-More Miles Per Hour, including It’s Not Called Angel, We All Fall Down, C’est La Vie, Can’t Keep A Good Man Down and Fella In The Cellar. They were joined by three new songs penned by John Miles and Bob Marshall, Where Would I Be Without You, Sympathy and Do It All Again. These three new songs were recorded by John’s band, and a new producer.

When MMPH-More Miles Per Hour had been recorded, it was produced by Alan Parsons. His services were constantly in demand as a producer. So with Alan Parsons unavailable,  producer Gary Lyons was drafted in. He and John Miles began work with his band began.

The band  featured drummer Barry Black and bassist Bob Marshall were joined by keyboardist Brian Chatton. John Miles played keyboards, guitar and added vocals. Once the session was complete, Sympathy was scheduled for release later in 1980.

Before that, critics had their say on Sympathy. Mostly, the reviews were positive. Despite this, Sympathy failed to chart in America. It was a case of so near, yet so far, when Sympathy reached just 202 in the US Billboard 200. This hastened John Miles’ departure from Arista.

After the end of Arista years, the next few years found John Miles move from label to label, in search of commercial success and critical acclaim. This began at EMI, where John Miles released Miles High.


Miles High.

For John Miles, signing to EMI was a fresh start. He hadn’t released an album in Britain since MMPH-More Miles Per Hour in 1979. 1980 had been spent fulfilling his contractual obligations to Arista. This meant John hadn’t released an album in Britain and Europe since  MMPH-More Miles Per Hour in 1979. Now that John had fulfilled his contractual obligations to Arista, he could begin work on his fifth solo album. 

John Miles and Bob Marhshall began writing what would  become Miles High. They wrote eleven new songs. These song were recorded at Pye Studios, London, during May 1981.

When the recording session began, John Miles’s band featured drummer Barry Black, bassist Bob Marshall and keyboardist Brian Chatton. John Miles played keyboards, guitar and added vocals. He also took on a new role, that of producer. Miles High was the first album John would produce. Some may have seen this as a gamble. However, John had worked with some top producers, including Alan Parsons, so must have felt qualified to produce Miles High. Critics and record buyers would have the final say.

Reviews of Miles High were mixed. What most critics recognised, was that John Miles was a talented singer-songwriter. Some critics praised Miles High, where pop, R&B and rock were combined with jazz and reggae. Seamlessly, John Miles and his band switched between genres. They came into their own on the ballads Foolin’ and Peaceful Waters. However, other critics weren’t won over by Miles High, feeling the album was “bland” and unfocussed. What however, would record buyers think?

When Miles High was released in August 1981, John Miles was sent on a thirteen date UK tour. Alas, this didn’t help sales of Miles High, It stalled at just ninety-six in the UK. This was the last  John Miles album that charted in the UK and twenty-eight in Sweden. Two singles were released from  John Miles, but neither  Turn Yourself Loose, nor Reggae Man charted. For John Miles this was a huge disappointment. EMI kept faith with their latest signing.


Play On.

So much so, that EMI promised John Miles that a top producer would be employed to produce Play On. Eventually, EMI  settled on Gus Dudgeon, who had been working with Chris Rea, Elton John and Elkie Brooks. However, the addition of Gus Dudgeon wasn’t the only change that was made during the recording of Play On in 1983.

While Bob Marshall cowrote the ten songs on Play On with John Miles, that was his only role in the album. John’s usual band were replaced by session musicians. This must have been a huge blow for musicians who had spent the best part of ten years working with John.

Recording of Play On began at Maison Rouge studios, in London. John Miles’ ‘band’  featured John Miles included drummer Graham Jarvie, bassist Paul Westwood and guitarist Martin Jenner. Producer Gus Dudgeon ‘played’ the tambourine, while John’s role was reduced to taking charge of the vocals. This was just the latest example of EMI seeming to call the shots on Play.

EMI had chosen the producer, and were even dictating the direction that John Miles’ career would head in. This was ironic, as one of the songs John and Bob Marshall had written for  Play On, was The Right to Sing. It was about record companies wanting to decide which songs artists recorded and released.  The Right to Sing become the lead single from Play On, but reached just eighty-eight in the UK charts. It was John’s last single that charted. This didn’t augur well for Play On.

Just like Miles High, reviews of Play On were mixed. Some critics felt the album was  an improvement on Miles High, and Gus Dudgeon’s experience resulted in a polished and accomplished album. Meanwhile,  Bruce Baxter’s orchestral arrangements were the perfect backdrop for John’s vocals, as breathed life and meaning into the lyrics. However,  others critics weren’t convinced, feeling that the album was too polished. Again,  record buyers had a the final say.

When Play On was released in 1983, it failed to chart in the UK. The only place Play On charted, was Sweden where it stalled at twenty-eight. It was a huge disappointment for John Miles. Things didn’t improve when Song for You was then released as a single, but failed to chart. However, things were to get even worse for John Miles when after touring Play On he was dropped by EMI. The EMI years were over for John Miles.


Despite being without a record label, John Miles and Bob Marshall began to write the nine songs that would feature on Transition. Meanwhile, John’s manager began looking for a new label.

With his manager looking for a new label, John Miles and his began concentrated on playing live. They had been booked to play a show on the island of Ibiza. After the show, John met, and began taking to Phil Carson. Little did John realise that Phil Carson was an executive at Atlantic Records. When he heard than John was without a recording contract, Phil Carson signed John Miles to a new record label, Valentino. John was back and was ready to record a new album.

Having used session musicians on Play On,  John Miles wanted his own band to accompany him on Transition. Alas, the only member of John’s old band that featured on Transition, was bassist Bob Marshall.  He was joined by former Jethro Tull drummer and percussionist Barriemore Barlow. John Miles played guitar, keyboards and lead vocals. To produce the album, John had settled on Trevor Bradin, That had been the plan.

It turned out that Trevor Bradin had too many commitments to produce Transition. He produced two songs, Blinded and I Need Your Love before realising that he hadn’t the time to produce Transition. Not wanting to delay the album until Trevor Bradin was free, John Miles decided the recording with engineer Pat Moran should produce Transition.  He produced six tracks, with Beau Hill producing the closing track Watching On Me. With the album complete, Transition was scheduled for release later in 1985.

Before that, critics had their say on Transition. It received mostly positive reviews. There were the a few dissenting voices, but mostly, critics felt John Miles was heading in the right direction.

That proved not to be case. When Transition was released in 1985, it failed to chart. The singles faired no better, with neither Blinded nor  Need Your Love coming close to troubling the charts.  John Miles never released another album for Valentino, Indeed, it would be another eight years before he retuned with a new album.



John Miles never released an album for eight years. After the release of Transition in 1985,  John Miles didn’t release another album until Upfront in 1993. However, John was kept busy and worked on albums with Joe Cocker and Jimmy Page. John became one of the guest vocalists on several albums by The Alan Parsons Project. Then when Tina Turner headed out on tour, she asked John to accompany her. However, eventually, John decided to record a new album.

When John Miles began work on what became Upfront, there was no sign of Bob Marshall. They cowrote seven albums, but on Upfront, John decided to write the thirteen songs himself. Then he put together a small band that would record the album what was his first album in eight year.

For the Upfront, John Miles would play guitar and add the vocals. His small band included a rhythm section of Jack Bruno and bassist Neil Stubenhaus. They were joined by keyboardist Ollie Marland. Producing the album was American mix engineer Chris Lord-Alge. Once Upfront was recorded it was released later in 1993.

After an eight year absence, John Miles returned with Upfront. It received mixed reviews from critics. Some were won over by the album, while others felt it was one of John’s weaker albums.  This didn’t bode well for the release of Upfront.

When Upfront was released in 1993, it failed to chart in the UK. The only place Upfront charted, was in Switzerland, where it reached twenty-six. Two  singles were released from Upfront during 1993, but neither One More Day Without Love, nor What Goes Around charted. Oh How The Years Go By was then released in 1994, but it too failed to chart. This was the last that was heard of John Miles  until 1999. 


Tom and Catherine.

When  John Miles returned in 1999, it wasn’t with a studio album. Instead, it was with the soundtrack to a musical about the life of novelists Catherine and Tom Cookson. It had been written by playwright Tom Kelly, who had worked with John on Machine Gunners. John Miles agreed to write the soundtrack, and enlisted the help of Sara Murray.

John Miles and Sara Murray wrote a total of sixteen songs. They then went into the studio, where Sara and John shared the lead vocals. Meanwhile, John laid down all the guitar and keyboard parts. Once the sixteen songs were recorded, they became the soundtrack to Tom and Catherine.

The soundtrack to Tom and Catherine was released in 1999, by Orange Records. This proved to be the last studio album that John Miles released. 

Over  a twenty-three year period, John Miles had released just nine studio albums.  His first four albums, including his 1976 debut album Rebel, 1977s Stranger In The City, 1978s Zaragon and 1979s MMPH-More Miles Per Hour were the best albums of John Miles’ career. They were recorded when John Miles was signed to Decca Records.  That was the most productive and successful period  of his career.

After his departure from Decca Records, John Miles never reached the same heights. Nor did John Miles enjoy the same commercial success. While his two albums for EMI, Miles High and Play On divided opinion, several songs showcase a truly talented singer-sonngwriter. The problem was, John Miles two EMI album lacked the cohesion of earlier albums. That wasn’t John’s fault. Especially on Play On, where EMI seemed to be calling the shots, and even paired him with session musicians. As a result, John Miles never again recorded with the tight, talented band that had served him so well for five albums. This included the quartet of albums John Miles recorded during the Decca Records’ years. 

It’s hard to believe that The Decca Records years began forty years ago in 1976. Since then, John Miles has recorded nine studio albums and  continues to play live. He’s also regular at the Proms Concerts across Europe, where he will regularly play his classic single, Music. That’s the song that’s become synonymous with John Miles. However, his career has spanned six decades and lasted over forty years. This is a reminder that there’s much more to John Miles than Music.

John Miles-Music and Beyond.





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