The man the 80's left behind
MILES
All I Ever Wanted
(from the album Complex)
by Miles Wilkes (c. 2018)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Electric Guitar; Miles Wilkes, Mel Jones​
Acoustic Guitar; Miles Wilkes
​
I wrote and started recording this song back in 2018. It was one of those times where it started off with me playing four notes on the piano and thinking; "Mmm, that sounds nice", and consequently built the rest of the song around that piano line.
Due to some neurological damage I'd incurred the previous year my hands were no longer able to play guitar as I used to. So, for me to produce the triplet rundown you hear on the electric guitar I had to use a bit of jiggery-pokery and play it in small sections to later join together.
Having finally completed the the bulk of the song, in early 2024, I sent it over to Mel Jones who complemented it, as he does so eloquently, with his electric rhythm and beautiful guitar solo.
The theme of All I Ever Wanted speaks for itself and is, very much, an expression of overwhelming desire.
Always Trying
(from the album Complex)
by Miles Wilkes (c. 1985)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Guitar; Mel Jones
​
This was the second song I wrote for Jan (after The One I Love's in Canada).
Originally written on guitar, I reproduced it in 2023 on piano thereby giving it a much improved romantic feel. Mel Jones has reintroduced both electric and acoustic guitar (at a far higher standard than I ever could) to complete the song to what you hear on this recording.
Bread & Jam
(from the album Bushbury Hill)
by Miles Wilkes (c. 2022)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
​
Written in 2022, this was the last song I wrote prior to releasing the "Bushbury Hill" album.
I’d only started playing the piano a couple of years before writing this, and I know that my mum would be very proud of me for doing so as she’d played piano her whole life.
So, having come up with a melody I wanted to dedicate a song to her. Bread and Jam is a list of snap shots throughout her ninety-year life from 1920 to 2009. I’ve tried to sum up what an incredible person she was. There’s so much I could have added to this song, I could have filled up an entire album and then some. I’ll just point out that she was the kindest person I’ve ever known and everybody loved her.
In addition to the song I've also made my first attempt at producing a video utilising several photographs, many of which I'd only recently discovered.
Bushbury Hill
(from the album Bushbury Hill)
by Miles Wilkes (c. 2012)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Miles Wilkes
​
This is the first song that I've written where I've looked back on my life.
It starts with a summary of some of my best life experiences followed by the realisation that they can’t compare to the joy of growing up in my home parish of Bushbury. In it I’ve picked out small segments of my Northwood Park/Pendrill Road “playground” area. The banks adjacent to my house and playing curby etc. Being the best of days and Bushbury being my forever home. From this song I decided to make “Bushbury Hill” the fitting album title it is.
Creatures of the Storm
(from the album Bushbury Hill)
by Miles Wilkes (c. 1986)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Miles Wilkes
Electric Guitar; Mel Jones
​
I wrote this around 1986. It’s about paranoia and being lost and frightened in one’s own mind. It was a fairly unusual way in which I wrote this as, other than the lyrics, I wrote it entirely in my head with no musical instrument around me. I knew the melody I wanted and the bass line I wanted and also the guitar lick I wanted. At the time I didn't have the means to record it or the output of a band to play it. It was too big a production to play on my own so it sat in my head for about twenty-five years until I could finally record it and actually play it to myself to listen to. It was a great feeling to actually hear it for the first time.
Once it was recorded I called on my old pal Mel Jones to add the guitar solo in the middle of the song which he did to great effect.
Day to Day
(from the album Complex)
by Miles Wilkes (c. 2012)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Miles Wilkes
Aditional Guitar; Mel Jones
​
I'd learned a finger style on the guitar which John Lennon used during 1968 on such Beatles classics as Dear Prudence, Julia and Happiness is a Warm Gun. Lennon, in turn, learned the style from Donavon while in Rishikesh.
Using this finger style, I developed a chord sequence and the basis of the song was complete. I wrote some lyrics, along with the melody and while recording it I decided to keep it fairly simple (less is more). However, no song is complete without Mel Jones's input so he added all of the additional guitar work you hear on this song.
Dreaming of You
(from the album Bushbury Hill)
by Miles Wilkes (c. 1985)
Executive Producer; Miles Wilkes (based on original production by Mel Jones 1990)
Producers; Miles Wilkes, Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
Backing vocals; Jan Wilkes, Claire Wilkes
​
I wrote this around 1984, the title being self-explanatory.
Mel Jones had started recording from home long before I did and this was the first of a batch of three songs that he had originally produced/recorded for me in 1990.
The latest recording, as on the album "Bushbury Hill", is very much based on Mel’s original production and includes Mel’s guitar work throughout.
Mel and I had sung the original backing vocals on the 1990 recording but I felt it really needed the female touch. Therefore Jan Wilkes and Claire Wilkes kindly obliged and in so doing, complimented this recording greatly.
Forever
(from the album Complex)
by Miles Wilkes (c. 1981)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Guitar; Mel Jones
Backing vocals; Jan Wilkes, Mel Jones
​
I wrote this in 1981 originally as a guitar based piece. By the end of 1982 my band at the time; "Beat X", had started playing it live at various places with Jan Stewart (as she was back then) singing the backing vocals. Once Mel Jones teamed back up with me again in 1983 he produced a harmony to the backing vocals making it quite a special little song to play live.
I've recorded a couple of other versions of this song since then but the version you hear now is far closer to the original concept.
Originally played on guitar, I reproduced this version on piano which is exactly what I feel that the song needed.
Mel Jones has also enhanced this recording with his skilful guitar creativity along with sharing the mic, once again, with Jan Wilkes to reproduce the original backing vocal from the early 1980's live performances.
​
Going Away to Texas
(from the album Bushbury Hill)
by Miles Wilkes (c. 1981)
Executive Producer; Miles Wilkes (original production by Mel Jones 2008)
Producers; Miles Wilkes & Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
Bass Guitar; Mel Jones
Percussion; Mel Jones
​
This was the first song that I was really proud of when I wrote it back in 1980/81. I wrote it on my old “Antoria J200" guitar (which I still have to this day). The lyrics follow the journey of a man who’s flying out to Texas to see his love. Why Texas…? not a clue.
This recording was mostly produced by Mel Jones in 2008. I've since added a new vocal along with some additional effects and final mixing but this is essentially Mel's production.
The Great Marine Machine
(from the album Complex)
by Miles Wilkes (c. 1997/2023)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Mel Jones
​
I started writing this during the mid 1990's on my old Pentium 486 computer using "Cakewalk 3" software. I got as far as recording an electronic version of the bass line and the Caribbean style melody.
However, it wasn't until March 2023, during a cruise around the Caribbean, that I finally got around to writing the lyrics allowing me to record a more acceptable version of the song later that year.
Mel Jones, once again, completed it (as only Mel Jones can), with his own guitar creation.
I also complimented the song myself with a video of me acting daft on the cruise for your enjoyment (at my own expense of course).
Heavenly
(from the album Complex)
by Miles Wilkes (c. 1977)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar solo; Miles Wilkes
Guitar; Mel Jones
​
At around the age of fourteen, Heavenly was one of the first songs I'd written. Although being short and sweet, Heavenly went on to become one of the more popular songs that we'd go on to play live during the 1980's. One of the main reasons was probably due to me pushing it as I wrote (and was very proud of) the guitar solo. Mel Jones was always the main guitarist in the band but the solo in Heavenly was my claim to fame.
I got around to recording the song in around 2012 but was never happy with my production. Originally it was intended to be on my first album; "Bushbury Hill", but I left it off in favour of the newly written; Bread & Jam.
I persevered with the production throughout 2023 for the new album and finally sent it to Mel Jones in case he had any ideas to improve it as I didn't really want to ditch it completely. Mel chose to turn it into a "slow jazz" number and added the beautifully played additional guitar pieces.
As soon as I heard this version I loved it and went about stripping back all of the original tracks I'd previously laid down. Having re-recorded the vocals with three part harmony, the only part remaining of the original recording was my guitar solo, now greatly enhanced by Mel's guitar input. Having now added the double bass and brush drums I'm more than happy to release it on the album.
Hot Lips Lizzy
(from the album Bushbury Hill)
by Miles Wilkes (c. 1976)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Guitar; Mel Jones
Bass Guitar; Mel Jones
Backing Vocals; Mel Jones, Aaron Wilkes, Ross Wilkes, Brian Wilkes
​
This is one of the very first songs that I ever wrote. I must have been around thirteen years old. It’s a little bluesy/rocky piece that took over forty years to finally get a live performance back in 2013. I just hadn’t put the chord structures together during my teens and so the song remained sat on a shelf in my head and became overlooked until I started recording it around 2012. The backing vocal response was always going to be a big part of the song requiring an all male compliment. So Mel, along with my two younger sons; Aaron and Ross, plus my brother Brian, kindly offered their services.
At the end of the take, Brian made a little "Muttly style laugh" which I thought was great, so I, of course, left it in the final mix.
I Don't Need You Anymore
(from the album Bushbury Hill)
by Miles Wilkes (c. 1983)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
​
This is a story about a man whose girlfriend preferred “another guy” and he’s trying to play it cool when in reality its driving him crazy.
It was originally called "You don't need me anymore". I changed the title due to the the realisation that it was a rather sad song lyrically but with quite an upbeat tempo. Renaming it; I Don’t Need YOU Anymore has given it a bit of a sarcastic charm. This song was originally a popular rocky little song played by my band; "Beat X" from around 1984 onwards. I've now reproduced it on piano to give it a rather different flavour.
Impossible Dreamer
(from the album Bushbury Hill)
by Miles Wilkes (c. 1983)
Executive Producer; Miles Wilkes (based on original production by Mel Jones 1990)
Producers; Miles Wilkes, Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
​
This is one of three songs on the Bushbury Hill album based on an original production that Mel Jones made for me back in 1990. It was always meant to be heavy on guitar work and I would probably have written it with Mel Jones in mind to play it.
Although I didn’t start out as a bass player several of my songs have been written around bass riffs that I’ve come up with over the years. This was probably one of the first of this kind, written at home on the guitar around 1983/84, this song never got played live until many years later. It was my first attempt at writing a rock song and is lyrically based upon a story of a relationship where one partner needs a lot more out of life than the other can offer.
Live Forever
(from the album Complex)
by Miles Wilkes (c. 2014)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Acoustic Guitar; Miles Wilkes
Bass Guitar; Miles Wilkes
Electric Guitar; Mel Jones
Backing Vocals; Ross Wilkes
​
The focus of this song is not intended to be political. It's about my belief that we ALL live on forever beyond our mortal coil. Once there we see each other for who we all really are, warts and all. So, if you've been bad or good, honest or dishonest, EVERYBODY gets to see you for who you really are and there's nowhere to hide from the judgment you'll recieve..."you're living with it forever".
I thought the production of this song was relatively complete having asked my son, Ross Wilkes to add a vocal to the "La, la, la" section. Then I handed it to Mel Jones who put the icing on the cake by adding some great electric guitar work making it what you hear today.
Merry Christmas 2U
by Miles Wilkes (c. 2023)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Bass Guitar; Miles Wilkes
Guitar; Mel Jones
Backing Vocals; Chloe Williams, Jan Wilkes, Claire Wilkes, Oliver Wilkes, Valery Williams
​
Out of all the standard Christmas pop songs I'd always considered Slade's; "Merry Christmas Everybody" to be the best, setting the bar for future songs to come. I thought that if ever I wrote a Christmas song I would want it to be in a similar upbeat part style.
I wrote the song in March 2023 in, of all places, the sunny Caribbean.
Mel Jones once again added the guitar structure and I got the girls in my family and my grandson to add the backing vocals in the chorus.
Special shout out to Chloe Williams who added the adlib vocals towards the end of the song.
Modern Transfer
(from the album Bushbury Hill)
by Miles Wilkes (c. 1981)
Executive Producer; Miles Wilkes (based on original production by Mel Jones 2008)
Producers; Miles Wilkes, Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
Bass Guitar; Mel Jones
Drums; Mel Jones
​
I wrote this when I was around seventeen. However, it was the 13-year-old Mel Jones who came up with the lead guitar hook to this. In my opinion it’s what makes this song drive and became a favourite with my band; "Complex" from around 1981.
Growing up in Bushbury, I had seen the odd gang of lads hanging around and, at times, had been involved with them. Many of them would just be out having a laugh. I imagined what would go through the mind of some lonely old soul, on his way back from the pub, coming face to face with a gang of lads but being perceived by this, “lonely old soul” as out to get him on a dark winters evening. He’d be petrified and might well head for a streetlight so that any passers-by could see what was going on and help him. The “streetlight” that inspired me (don't ask me why) sits halfway along Cromwell Road in Bushbury at the bottom of “the ally”.
The album recording is layered on top of an original production that Mel Jones made for me from 2008 and features Mel playing his newly added and resurrected guitar work plus the drum and bass tracks that he also put down during production.
Never B
(from the album Bushbury Hill)
by Miles Wilkes (c. 1986)
Executive Producer; Miles Wilkes (based on original production by Mel Jones 1990)
Producers; Miles Wilkes, Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
Bass Guitar; Mel Jones
​
Originally called; I Could Never Stay With You Again, it’s a story about a man who has had a rough time with a girl in the past but now she wants him back.
I wrote this around 1985/86 and was originally intended to sound similar to George Michael’s, Careless Whispers but it has clearly changed over the years.
This is one of three songs on the Bushbury Hill album based on an original production that Mel Jones did for me back in 1990.
I started the new album recording as an 80’s style synth version. This was later enhanced by Mel reproducing and enhancing his original 90's version over the top. The combination is what you'll hear on this album.
Number One
(from the album Complex)
by Miles Wilkes (c. 1984)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Mel Jones, Miles Wilkes
Piano; Miles Wilkes
Bass Guitar; Miles Wilkes
Backing vocals; Chloe Williams, Claire Wilkes
​
Another old song I wrote back in the mid 1980's. I'd always wanted to produce a song with that early 1950/60's "Rock n Roll" feel that I've always been very fond of.
I wrote the lyrics down at the time but once learn't, I stored them along with the melody in my head, never to be heard again, until I finally recorded them in 2023.
As it has never, as of yet, been played live I had to establish the key and produce the "Rock n Roll" vibe using my Rckenbacker 330 for the rhythm guitar to drive the song along. I then added the bass line (the idea of which I "pinched" off Mel Jones).
I always knew the backing vocals I wanted so I called on my talented family members, Claire and Chloe to add their part as they did so perfectly.
Then, of course, came the icing on the cake where Mel Jones added all of the remaining guitar parts to finish the job.
Having initially been in doubt, I finally added the piano part to complete the song.
The One I Love's in Canada
(from the album Bushbury Hill)
by Miles Wilkes (c. 1982)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Miles Wilkes
Flute; Miles Wilkes
​
This is my song to (my girlfriend at the time) Jan and written in the spring 1982. During the early days of our dating, she had to take an urgent trip to Canada with her mum for five weeks. It is basically about my loneliness at the time and how the days dragged on. On the day I wrote it, Mel Jones was on his way to my house to have a jam. It was the fastest song I’d ever written, taking around 15 minutes while waiting on Mel to walk down. I’m a bit proud of that fact. I clearly remember writing it sitting next to the phone in my hallway at home.
Reaching Out
(from the album Complex)
by Miles Wilkes (c. 1983)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Mel Jones
​
I recall writing this at work while hanging around waiting to be told what to do having just completed my apprenticeship. I recall that I wrote it back to back with I Don't Need You Anymore. I'd already worked out the base line which was a twist on my bass line for Impossible Dreamer.
I've produced two or three different recordings of this song over the years but never managed to get the right guitar sound that I envisioned. Having produced what I could, of this recording, to an acceptable level I passed it on to Mel Jones who, as per usual, complemented it perfectly with his unique guitar stile making the song what it is today.
That Knowing Look
(from the album Complex)
by Miles Wilkes (c. 2023)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Piano; Miles Wilkes
Guitar; Mel Jones
​
By 2023 I'd been playing the piano for about three years learning a few Beatle tunes along the way. One day, while feeling a little tired I'd started playing "Let it Be" but got it wrong. With a bit of enhancement, what I'd played was the opening to a new song. I liked it because it had McCartney's "Maybe I'm Amazed" feel to it.
And so "That Knowing Look" took shape.
I hadn't intended it, but a couple of sources suggested it sounded a little "musical theatre" but I can live with that. Once again Mel Jones added all of the guitar work to the track including a great effect on the solo.
There's Times
(from the album Complex)
by Miles Wilkes (c. 1981)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Guitar; Mel Jones
Bass Guitar; Miles Wilkes
​
One of many I wrote in 1980/81 but never got played beyond my front door. I recall Mel Jones and I used to jam with it but never got around to taking it any further.
A simple little song that I "synthed up" for this recording (originally written on guitar) to give it that early 1980's feel. And, as was always intended, Mel finally got to add his own guitar creation to it.
Wolverhampton
(from the album Complex)
by Miles Wilkes (c. 1981)
Producer; Miles Wilkes
Vocals; Miles Wilkes
Bass Guitar; Miles Wilkes
Mandoli; Mel Jones
Ukelele; Mel Jones
​
I remember writing this while on holiday in Rhyl with some freinds and had to write the melody in my head as I didn't have my guitar with me. I didn't write it because I was home sick, I actually wanted to write a song about my home town. The original lyrics I'd written down for the verses are long gone but I remembered the melody and the words for the chorus (after all the word "Wolverhampton" is pretty easy to remember).
Towards the end of 2023 I realised that I needed a finale song to complete my new album ; "Complex", so I went about re-writing four new verses.
I also had to amend the chorus line as it was originally; "Deep in the heart of the BLACK COUNTRY". Without sounding too political, back in 1981 I didn't realise that Wolverhampton wasn't exactly deep in the heart of the "Black Country" at all, so I amended it to "deep in the heart of this GREAT COUNTRY"...meaning England. I thought that would also go down well with the footy fans.
Instead of his usual guitar performance, Mel Jones added the finishing touches to the song utilising both the Ukulele and Mandolin to compliment the accordion I'd added.
You're Mine
(from the album Bushbury Hill)
by Miles Wilkes (c. 1981)
Executive Producer; Miles Wilkes (original production by Mel Jones 2008)
Producer; Mel Jones
Vocals; Miles Wilkes
Guitar; Mel Jones
​
This was written about my own insecurities of being a teenager and my need to “possess” the love of the woman of my dreams.
I originally wrote this song as an upbeat pop song and we often played it live back in the early days of my band; "Complex". The young Mel Jones created a lead guitar part that played throughout the entire song giving it that upbeat feel to it. Many, many years later in 2008, Mel reproduced the entire song as the beautiful guitar piece that you hear on this recording.
I have only made minor additions to Mel's production on this piece plus added a new vocal. This entire track is essentially Mel's 2008 production.