NY Singer-Songwriter/Multi-Instrumentalist With a Sparkling Groove
A sparkling debut from a New York based singer-songwriter/multi-instrumentalist who started his career as a studio musician. This album is somewhat a debut for “Miles East,” but not as Jonathan Ellinghaus – his real name. This new collection was produced by the very capable singer-songwriter Blake Morgan.
Blake played a pivitol role in restoring 60’s pop icon Lesley Gore to center stage by producing what became her final album. The excellent “Ever Since,” (2005) that included “Better Angels,” which was used heavily in TV crime dramas. The result brought Gore renewed notoriety and put her no longer silky vocals to good use as a latter-day Marianne Faithful-type vocalist. The results were magical.
Miles East is in good hands here – and he starts with some fine acoustic guitar picking and a haunting melody that opens “Ghosts of Hope.”
While not possessing a powerful or distinctive voice (he doesn’t project like Elvis Presley, or has the growl of a Joe Cocker, the distinctive and raspy Rod Stewart, the in-a-class by itself sound of Bob Dylan or even the folkie-rootsy Arlo Guthrie. But allow me to make a case for Miles East: none of that really seems to matter with these types of songs. He sounds like some other singers but he is treading down his own stylistic path.
His singing does have attractive qualities and possesses at times, the same magical quality as the late, but somber Nick Drake. There is a Simon & Garfunkle quality to his musical approach, a Robert Ellis Orrall tone and the opening track “Leave It All Behind,” exemplifies East’s wonderful melodic talent. East’s vocals are an introduction to a poignant and sincere singer and this can be — all a singer needs.
A Warner Bros. artist from the 70’s with these same qualities — Matthew Ellis — had a song called “Avalon,” that reminds me of Miles East. Ellis was a little more novelistic in his lyrics, but the use of acoustic guitars and melody were put to good use — and Miles East does this today and he does it consistently.
(Many songs and referred artists in this review can be sampled on YouTube).
“Learn to Bend,” is exceptional.
Absorbing vocals, powerful backup vocals and meticulous musicianship. All driven by steady drum brushes and no heavy beat. I was a drummer and never cared for using brushes but this effect is appealing, and well applied in this type of song. It’s all well-worked out, thought-out and effective. East is no stranger to a good groove.
The ten-track long-player continues with “You Win,” – and more beautiful acoustic guitar picking, colorful vocalizing with many tints and hues, gentle percussion with simulating brushes but maybe from electronics and not drums this time.
A haunting pedal steel weaves through and adds a ghostly effect. This is solid in the neighborhood of Nick Drake, but the chorus thunders in with a piano that reminds me of the fine duo Lowen & Navarro who were so effective with subtle dramatic turns in ballads that built up from the ground. No sooner does that duo sound lasso your ears East is back with moody, simple lyrics and guitar. “I wonder if your world has room for me as well…” Nothing overwhelming here but in a song structure — it becomes memorable because many listeners will relate. The song is also composed in a very clever, original and creative manner. If I were a singer who didn’t write his own songs…this one I’d want to cover. It has…substance.
“Saltwater Breeze,” starts cold – vocals and guitar immediate. My experience with music goes back decades so I know I’m going to cite artists here many younger readers may not make an immediate connection with. But, when I do, that’s when they should explore and see what I’m talking about. Miles East treads beautifully in the frontier of a singer-songwriter from the early 70’s named Emitt Rhodes.
Emitt was highly regarded for his time, a multi-instrumentalist as well. Everyone in the early 70’s was lauding the greatness of Paul McCartney when he released his first solo album and played all the instruments. It was a great album. It gave us “Maybe I’m Amazed,” and “Every Night,” which were wonderful songs for a one-man band. Everyone thought only Paul McCartney could do this — that is until Emitt Rhodes released his solo albums. Emitt went beyond that on his first two albums. These were filled with one melodic, memorable, ear-candy song after another and he alone wrote and played everything. The album Emitt Rhodes (1970) — with the cover art with a young Mr. Rhodes staring from a window frame of a burned out building (“With My Face On the Floor,” “Fresh As a Daisy”). Rhodes continues to record today and it’s this style of singing (similarities are evident) and writing that is the strenght of Miles’ songs such as “That’s The Way.” This song is heartwarming, and infused with sophisticated stabs at emotion. Oh, Emitt Rhodes would get along with Miles East – no doubt. They’re cut from the same cloth. Songs like this are somewhat similar in spirit to Rhodes’ finest – and this is what cuts Miles East away from the moodier Nick Drake comparisons. Miles’ has an optimistic streak in his craft. This is a good route to be on.
Emitt Rhodes released his fifth album – “Rainbow Ends” in 2016 – 43 years since his last. What’s remarkable is that he still sounds like he did in the 70’s. It has all the trademark original approaches, and it maintains the remarkable singer-songwriter he was. Playing Miles East songs besides any Emitt Rhodes would be ideal. Two absorbing talents with something to say. And maybe 43 years from now, we will still be listening to Miles East.
Because Miles straddles both the melancholy and the melodic seamlessly this guarantees that East is not entirely someone who “sounds” like someone else — but someone who has the recipe to take the best from others and bake his own cake. Example: “The Fight,” sounds like a song that could have been taken from the songbook of late legendary folk-rock singer-songwriter David McWilliams. Now many will say who?
But, McWilliams recorded many UK albums for decades prior to his passing, and his one hit in the US was also covered by Marc Almond. That song was “The Days of Pearly Spencer” — a classic tune McWilliams penned in the 60’s and became known for his poetic lyrics – much the same as Miles East will.
McWilliams’ lovely “Marlena” is a beautiful, waltz-melody with captivating lyrics. Amazing no one has ever covered this beauty. Miles East on his own tracks isn’t so much writing or singing similar to McWilliams as he is using the same musical instincts that dominated McWilliams’ diversified catalog. And yes, Miles probably never heard of McWilliams. It doesn’t matter. He’s walking down the same roads.
One obscure song from McWilliams’ catalog would have been a great Frank Sinatra cover had someone brought it to Frank. It was on his 1977 LP and called “Don’t Need Your Blues.” A perfectly suited saloon song. Miles East has many great songs on this collection like McWilliams, that are coverable – and that alone is a special talent. Each song has merit, each song tells a unique story and Miles is capable of changing vocal textures enough to always keep his songs interesting.
“Camouflage,” is a song that finally has Miles East’s signature all over it. Lyrics that are not often used as lyrics work musically and perfectly. Lyrics with up to four syllables! I love this songwriter!!! This song is vivid, the beat comes in with a blacksmith’s hammer, steady and sharp. Ethereal backup vocals support the song and it creates a wonderful ambience. This is great songwriting…a wonderful example of how a singer weaves those bigger than average lyrics into tight, musical clarity. Many songs by many writers are thick like pudding, some get a little light like ice cream, or too sweet and watery like yogurt – but, here – Miles East has whipped up a feathery chocolate mousse. It’s perfect. This LP is worth the cost just for this song.
Something a little more serious with a nice guitar and piano interchange and resounding to a close-miked Miles East vocal. Probably the best Miles East vocal on the album. “Joy,” is written with the care Leonard Cohen uses. It sounds like every word was labored over so it would unravel weightless and economical. It also has a nice Paul Simon groove and Simon & Garfunkle-type vocal texture as it proceeds. “You are my friend, you are my partner, You’re on my side, and I’m on yours…forever…”
“You have made the past a distant memory…” The song’s lyrics are simple, but still, in the interpretation the words take on special weight, an emotional weight – a persuasive weight and the acoustic guitar paints with broad strokes with each note picked.
A delightful conclusion to an album that will ripen sweetly in any listener’s ears.
The album was released June 24th 2016.
Website: http://www.ecrmusicgroup.com/artists/miles-east/
Facebook: https://www.facebook.com/jonathan.ellinghaus
Soundcloud Samples: https://soundcloud.com/ecrmusicgroup/sets/miles-east-ghosts-of-hope/s-teb6W
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John Apice / No Depression / June 2016