I promised to give a definitive list of JM's Orange Singles. More specifically, I will cover his singles pre Decca i.e. before Highfly.
I Want to Live ( Bergman & Bergman) / Driving Me Wild (John Herrington) This was the single recorded by "The Influence" which is referred to in most biographies about JM. It was recorded in 1969 and produced by Danny Beckett at Oranges studios. The A side has the feel of a hymn with a church organs intro. Quite slow ballad like song with john on vocals (not one of my faves) The B side was written by "Herrington". "Errington" is JM's real last name and so I think the H is either a typo or must have thought it sounded better. Driving me Wild starts with a Tudor / Mediaeval harpsichord sound. It is quite a rocky sound with a hard bassline.
Why Don't You Love Me? (Errington) / If I Could See Through (Errington) Both songs were written by John this time (under his real name). This was released in 1970 and really needs no introduction as it appears on the 1992 Anthology CD. I think it is a terrific pop song that still sounds good today. If I could see through is a simple song. The chorus is kinda medium paced with slower verses. It deals with the inability to see a persons real motives. Someone who is obviously used. Both tracks were produced by Beckett and Shock.
Jose (King) / You Make It So Hard (Miles) This single is the much publicised debut on Decca and was released on 9th July 1971. Again both tracks were produced by Danny Beckett. Both tracks are noticeably different from the earlier tracks as a great deal of use is made of Strings. The A side pronounced Joe Say seems to deal with a lunar theme, "Let me look into your eyes Jose, Count the Stars among the Milky Way" and "My journey into space". It seems to be very much a throwaway, but well orchestrated pop song, along the lines of the New Seekers if anyone can remember them. "You make it so hard" demonstrates Johns vocal range very well. It is also very poppy but the words are much better. In my opinion this should have been the A side. This was also the 1st time "miles" appears in the song-writing credits.
Come away Melinda (Tim Rose) / Walking With My Head Held High (Miles) After Decca did not extend their recording deal, it was back to Orange, and JM released the above in 1972. Come Away Melinda is a song about a little girl who finds a picturebook. It turns out that the photo are of her mother who appears to have died during the war. I think it is a very good song that gains in momentum and emotion as the song progresses. I recently discovered that there are in fact two versions of this, a shorter version on promo and a longer which was actually released. For some it is too emotional and I think the shorter version may have done better. The second song, is self explanatory from the title as it about not becoming downtrodden. It complements CAM as it is more optimistic.
Yesterday (Was Just the Beginning) (Vanda & Young) / Road To Freedom (Paul Morrisson) This was released on 24 March 1972. The A side is just brilliant. It a very uptempo number that would go down well at a disco. The chorus is very catchy and singable. It's a bit like Love Grows (where my Rosemary goes) by Edison Lighthouse. It was produced by Shock. The B side is a bit plodding. It talks about taking the Road To Freedom but its more of a walk than a run. It is the first track to be credited as produced by John Miles himself.
Hard Road (Vanda & Young) / You're Telling Me Lies (John Miles) This was released in 1973 and was produced by John Miles and Dave Humphries. These tracks are much harder than the previous more commercial offerings with guitar work being more to the fore. Hard Road shows a harsher side to John with the vocals. The A side track is more rocky than the B. I think the B side verges on Hard Rock.
Jacqueline (John Miles) / Keep On Tryin' ( John Miles) This was released later in 1973. The A side has more of a country feel to it. It is about a guy telling a girl that he is not going to run after her. While not exceptional it shows John can turn his hand to anything. The B side I find to be a bit too repetitive. Trying in fact! Again both tracks were produced by JM and Dave Humphries.
One Minute Every Hour ( Vanda and Young) / Hollywood Queen (John Miles) This Northern Soul classic needs no introduction. It was released on 29 June 1973 and the tracks were again produced by JM and DH. It was included on the Anthology album and still holds up well today. It is very danceable (although I think Yesterday is better). The B side is done in a Buzby Berkeley style, similar to "You Gave me the Answer" by Wings. A quirky number that harks back to the roaring twenties and old style microphones.
Fright of My Life (Miles and Marshall) / Good Time Woman (Miles and Marshall) This single marked the debut of the Miles and Marshall writing partnership. However, in my opinion it wasn't immediate synergy. It has a rockiness and a song structure reminiscent of Gary Glitter. And I wasn't that keen on GG. Good Time Woman sounds more like the lighter songs of some of the heavy metal bands, but it doesn't do a great deal for me. The songs were produced by JM and Keith Allen.
What's On Your Mind / Rock And Roll Band The single does not credit any writers but both are copyright of Orange and RAK so I guess they were Miles and Marshall compositions. The A side is again very danceable and is very like Superstition by Stevie Wonder. This is perhaps not surprising as both JM and BM have acknowledged him as one of their influences. The B side does sound like a true B side as it is a bouncy track but I think the lyrics leave a little to be desired. It is about trying to make it in a band. There is another What's On Your Mind detailed in some catalogues with a B side of To be Grateful. However, I have never seen it and an article I once read questions its existence.
Putting It Down to the Way I Feel About You / April Fools Connection (Miles, Marshall) In 1975 but before he signed to Decca, John recorded the above billed as "The Realistics" on Warner Brothers (I can't recall who wrote the A side). It has a Philly feel about it. Tony Nufrio told me that it was a spoof of The Real Thing and The Stylistics. I can understand that as the A side sounds just like the Stylistics ala I Can't Give You Anything. I am unsure if it actually got commercially released. I seem to recall that there was some pressure to can it. The B side sounds very 70's as well.
Stephen Carson