How did Long Miles evolve from a college band to a professional reggae-rock group. What influenced their musical journey and sound development. How did their time at College of Charleston shape their career path.
The Origins of Long Miles: From High School to College
Long Miles, a reggae-rock band that has been making waves in the music scene, began their journey as high school friends in suburban Philadelphia. The band consists of John Shields (lead vocals), Sam Morgan (bass), Brett Haenn (guitar), and James McNally (guitar). Their musical adventure started with writing original tunes and playing at parties, eventually winning a battle of the bands before applying to college.
The decision to attend College of Charleston (CofC) together was a pivotal moment for the band. As John Shields recalls, “We’d already played together in high school, writing original tunes and playing parties. Sam and Brett had already applied to CofC, and James and I weren’t quite sure what we wanted to do. Ultimately, we decided to stick together.”
Dorm Room Beginnings: Crafting Their Sound
Upon arriving in Charleston, the four friends found themselves living and rehearsing in a four-room suite at McAlister Hall. This living arrangement proved to be instrumental in their development as a band. During their freshman year, they managed to write and record 12 songs in the dorm itself.
Reflecting on this period, Shields admits, “Looking back on it, the quality isn’t that great, but we thought it was spectacular at the time. We enjoyed a little bit of success with it, and people responded well to it.” This early success laid the foundation for their future endeavors.
Weekly Gigs and Growing Popularity
The band’s first regular gig came at O’Malley’s, a King Street venue where they played unplugged sets of covers and originals. This weekly performance slot helped them gain traction in the local music scene. “It was great because all of our friends in the dorm would come out and have fun,” Shields explains. “They’d tell their friends and bring them out, and we started developing a little following.”
Expanding the Band: New Members and Evolving Sound
As Long Miles continued to grow, they added two crucial members to their lineup. Adam Williams, a CofC grad from 2010, initially sat in on drums at O’Malley’s and other shows before becoming an official member. Williams’ versatility as a drummer allowed the band to expand their musical horizons.
The most recent addition to Long Miles is Ross Bogan, a former Plainfield Project organist/pianist who was in his senior year at CofC when he joined. Bogan’s keyboard skills added another layer to the band’s evolving sound.
Influences and Musical Direction
Long Miles’ sound is a product of diverse influences. Shields mentions, “Coming out of Philadelphia, the hip-hop/blues feel of G. Love was a big influence on us. We were listening to hip-hop and reggae a lot. I personally really liked Jimmy Cliff and Umphrey’s McGee, too.” The band’s ability to incorporate various styles into their music has been key to their unique sound.
College Education: Balancing Academics and Music
While pursuing their musical ambitions, the band members also focused on their education. They enrolled in media classes and studied marketing on campus, recognizing the importance of understanding the music industry. Shields and Morgan even attended the School of the Arts’ introduction to music management course taught by Mark Bryan of Hootie and the Blowfish.
This educational experience proved valuable, as Shields notes, “Mark’s class was very helpful. Classes like that encouraged all of us to stay in school and wait until we earned our degrees before making some sort of a big move as a band.”
Recording Projects: From Dorm Rooms to Professional Studios
Long Miles’ recording journey has been a progression from humble beginnings to professional productions. Their first significant recording project came during their sophomore year when they worked with studio engineer Chris DiBeneditto at Philadelphonic Studios. This collaboration resulted in a six-song mini-album titled “A Philadelphonic EP,” released in December 2010.
Crowdfunding Success and Studio Album
In a significant step forward, Long Miles successfully raised funds through a Kickstarter campaign to record with acclaimed studio producer Rick Beato at Black Dog Sound in Atlanta. The result of this collaboration is “Shades,” a 10-song collection that marks a new chapter in the band’s career.
Shields expresses his satisfaction with the album, saying, “I think the sound of this new album is tight and lively. Rick worked fast and serious, and it turned out better than we’d hoped for.”
The Long Miles Sound: Reggae-Rock with a Twist
While Long Miles’ sound has elements of reggae-rock, they resist being pigeonholed into a single genre. Shields explains, “We are influenced by the reggae/rock movement going on, but I don’t think we’re stuck in that subgenre. We can play with that feel, but we can do other things.”
The band’s rhythm section, particularly on their latest album “Shades,” leans heavily towards modern reggae and ska beats. This sound places them comfortably in the post-311/Sublime side of rock, while still maintaining their unique identity.
Musical Inspirations
Long Miles draws inspiration from a variety of sources. Shields mentions Bob Marley’s album “Burnin'” as a significant influence on their reggae sound. However, their music also incorporates elements of funk, jam band, and hip-hop, reflecting the diverse tastes of the band members.
From College Band to Professional Musicians: The Transition
As Long Miles approaches graduation, they face a crucial decision: pursue conventional careers or commit fully to their musical aspirations. Their journey from dorm room jam sessions to professional recordings and growing fan base has positioned them well for a career in music.
The band’s evolution is evident in their live performances. Shields reflects, “I think we came across as best friends on stage. You could tell that we’ve been living and playing together for years.” This chemistry, combined with their musical growth, has been key to their success in the Charleston music scene and beyond.
Future Prospects
With their college degrees almost in hand and a professionally produced album under their belt, Long Miles stands at the threshold of a potentially successful music career. Their blend of reggae-rock with various other influences positions them uniquely in the current music landscape.
As they navigate the transition from college band to full-time musicians, Long Miles’ story serves as an inspiring example of how passion, dedication, and education can come together to create a promising future in the music industry.
The Impact of College Experience on Long Miles’ Musical Journey
The college experience has been integral to Long Miles’ development, both as musicians and as individuals. Their time at the College of Charleston provided them with opportunities to hone their craft, expand their network, and gain valuable insights into the music industry.
Balancing Academics and Music
One of the most significant challenges faced by Long Miles was balancing their academic responsibilities with their musical aspirations. This juggling act required discipline and time management skills, which have undoubtedly prepared them for the demands of a professional music career.
Networking and Fan Base Building
The college environment proved to be an ideal setting for building a fan base. From dorm mates to classmates, Long Miles was able to tap into a ready-made audience that helped spread the word about their music. This organic growth of their fan base provided valuable experience in audience engagement and promotion.
Music Industry Education
The band members’ decision to enroll in music industry-related courses, particularly the music management course taught by Mark Bryan, demonstrates their commitment to understanding the business side of music. This knowledge will be invaluable as they navigate the complexities of the music industry post-graduation.
Long Miles’ Musical Evolution: From Dorm Rooms to Professional Studios
The journey of Long Miles from recording in dorm rooms to working with professional producers like Rick Beato illustrates their growth as musicians and their increasing professionalism. This evolution is not just about improved sound quality, but also about developing a more defined musical identity.
Early Recordings
The band’s early recordings, made in their dorm room during freshman year, were a crucial first step. Despite the limitations in quality, these recordings allowed Long Miles to start building a repertoire and gave them something tangible to share with potential fans.
The Philadelphonic EP
Working with Chris DiBeneditto at Philadelphonic Studios marked Long Miles’ first foray into professional recording. This experience likely provided valuable insights into the recording process and helped them refine their sound.
Shades: A Professional Studio Album
The recording of “Shades” with Rick Beato represents a significant milestone for Long Miles. Working with an experienced producer in a professional studio environment has undoubtedly elevated their sound and provided them with invaluable experience for future recording projects.
The Unique Sound of Long Miles: Blending Genres and Influences
While Long Miles is often categorized as a reggae-rock band, their sound is more nuanced and diverse. Their ability to incorporate elements from various genres sets them apart in the music scene.
Reggae and Ska Influences
The reggae influence in Long Miles’ music is evident, particularly in their rhythmic patterns. However, they’ve managed to blend this with modern rock sensibilities, creating a sound that’s both familiar and fresh.
Hip-Hop and Blues Elements
The influence of artists like G. Love brings a hip-hop and blues flavor to Long Miles’ music. This fusion of styles adds depth and variety to their sound, appealing to a broader audience.
Jam Band Inspiration
The mention of Umphrey’s McGee as an influence suggests that Long Miles isn’t afraid to experiment with longer, more complex musical structures typical of jam bands. This could be a distinguishing factor in their live performances.
As Long Miles stands on the brink of transitioning from a college band to professional musicians, their journey serves as an inspiring example of how passion, education, and perseverance can come together in the pursuit of a musical career. Their story is not just about making music, but about growing together as friends, learning the ins and outs of the music industry, and developing a unique sound that resonates with audiences. As they prepare to embark on the next phase of their musical journey, Long Miles carries with them the experiences, knowledge, and friendships forged during their college years, all of which will undoubtedly play a crucial role in shaping their future in the music industry.
Long Miles graduate from the school of reggae-rock
Posted inFeatures, Music+Clubs
by
T. Ballard Lesemann
Four years ago, John Shields was a new kid in town, an 18-year-old transplant from suburban Philly eager to get rolling with a budding band. Nowadays, with almost four years of school under his belt, Shields is at a turning point. After graduation, he could pursue a standard day job and move into a sturdy career. Or he can follow a different path with his bandmates in the Long Miles.
“We’d already played together in high school, writing original tunes and playing parties,” Shields says of his pals — bassist Sam Morgan and guitarists Brett Haenn and James McNally. “We won a battle of the bands before we applied to college. Sam and Brett had already applied to CofC, and James and I weren’t quite sure what we wanted to do. Ultimately, we decided to stick together.
”
The four friends to Charleston at the same time. All are due to graduate in May.
The Long Miles guys initially resided and rehearsed in a four-room suite at McAlister Hall. They became a solid team, refining their technique, songwriting, and on-stage performance along the way.
“Throughout that first year, we wrote and recorded 12 songs in the dorm,” Shields says. “Looking back on it, the quality isn’t that great, but we thought it was spectacular at the time. We enjoyed a little bit of success with it, and people responded well to it.”
During their freshmen year, Shields emerged as the lead vocalist and lyricist. Morgan and McNally provided additional ideas for song arrangements
“I think we came across as best friends on stage,” Shields says. “You could tell that we’ve been living and playing together for years.”
During their freshman year, the foursome picked up a weekly gig at King Street venue O’Malley’s, playing unplugged sets of covers and originals.
They tightened up even more during their sophomore year, recorded with studio engineer Chris DiBeneditto (G. Love) at Philadelphonic Studios, and a released six-song mini album titled A Philadelphonic EP in Dec. 2010. Their popularity in the club scene grew even more throughout 2011.
“It was great because all of our friends in the dorm would come out and have fun,” Shields says. “They’d tell their friends and bring them out, and we started developing a little following.”
Drummer Adam Williams, a CofC grad from 2010, started sitting in at O’Malley’s and at other shows, eventually signing on as an official member. Williams also keeps time with funk band Wadata and a few Charleston-based projects. The most recent enlistment is former Plainfield Project organist/pianist Ross Bogan, who’s currently in his senior year at CofC. Bogan plays with Wadata, Weigh Station, and others as well.
“The band’s sound is still evolving,” Shields says. “We’re still trying to find our main style.
We definitely incorporate a lot of styles. Coming out of Philadelphia, the hip-hop/blues feel of G. Love was a big influence on us. We were listing to hip-hop and reggae a lot. I personally really liked Jimmy Cliff and Umphrey’s McGee, too. Adam has the ability to play all sorts of music and rhythms, which allows us to expand. We got more in to the jam scene along the way, and we tried to get away from the standard formulas.”
All four of the original bandmates developed an interest in the inner workings of the music industry and the process of producing music. They enrolled in media classes and studied marketing on campus. Shields and Morgan attended CofC’s School of the Arts’ introduction to music management course taught by Mark Bryan, the lead guitarist of Hootie and the Blowfish and head of the Chucktown Music Group.
“Mark’s class was very helpful,” Shields says. “Classes like that encouraged all of us to stay in school and wait until we earned our degrees before making a some sort of a big move as a band.
”
Last year, Long Miles raised funds through a Kickstarter campaign to record with acclaimed studio man Rick Beato at Black Dog Sound in Atlanta. The 10-song collection, Shades, hits the street this week.
“I think the sound of this new album is tight and lively,” Shields says. “Rick worked fast and serious, and it turned out better than we’d hoped for.”
Rhythmically, the songs on Shades sound more like a modern reggae/rock band than a funky jam band or hip-hop hybrid. Syncopated reggae/ska beats are consistent throughout the songs on Shades. It fits in well with the post 311/Sublime side of rock.
“We had all always listened to reggae, especially Bob Marley’s album Burnin’,” Shields says. “We are influenced by the reggae/rock movement going on, but I don’t think we’re stuck in that subgenre. We can play with that feel, but we can do other things, too.”
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Tagged: Local Bands, Long Miles, Music Farm
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Jason Miles | Producer | United States
Grammy Award winning producer, keyboardist, composer, arranger and synthesist.
BUY NOW
“Genius” -Miles Davis-1991
“Jason Miles is a Great Musician” -Chick Corea-2021
“Jason Miles is total Gangsta” -Sean Martin-2021
“Jason Miles has raised the level of excellence for the musicians who have had the good fortune of working with him, myself included. He has enriched the lives of the millions of people who have listened to the music he plays, the recordings he produces and the countless musicians he mentors and inspires. The work he did with my friends, Miles Davis and Marcus Miller have helped to define the modern face of jazz music.” – Roberta Flack
Welcome to my website! Here you will find some history about me, some excellent photos in my gallery, various services that I also offer that will make one a better artist and musician and producer. I’ll keep you up to date on my various projects that I’m working on and have some live dates in the future to post as well. Also…look at all the different social media sites that I’m on and you’re more than welcome to join them.
I’m happy to report that my long-awaited book has been edited and ready to move to the next step. I’m going to need your help to get it out there. I will be posting more about this and how you can help me make this reality. The book will come with a new album of solo piano and trio pieces. The first time I’ve done that.
Here is a link that will take you to my Pre-sale site..I am asking friends and supporters to do a pre-order of the book which will be out in the middle to the end of April. By pre-ordering the book you are allowing me to go and create an excellent campaign for marketing and promotion and also raise the quality of the package. It cost money to do these and I appreciate your support to help. There are very fan friendly funding tiers.
Your support is greatly appreciated. Just a reminder with every pre-order you get a digital copy of my new upcoming solo piano and trio album.
Learn More Here
My last album “Jason Miles // Kind of New – Black Magic” came out on March 6, 2020, and soon after that the lockdown happened in all my live shows disappeared.
So, what I did was record some new music for the album. They are digital bonus tracks that are available exclusively on Band Camp under Jason Miles. The tracks feature guest artists Randy Brecker and Russell Gunn.
A very big priority for me will be the launching of my one-man show “The Extraordinary Journey of Jason Miles. A Musical Biography.” I take you through 47 years of my life in the music world and some of the amazing artists and projects that I was involved with over all this time. Mixing stories and music together to bring what my life has been into focus. It’s all part of the package with the book of the same title and solo album so Keep your eye out for it and of course you’ll hear about it on this site and my social media platforms. I’m also going to be releasing music from my vault of music that i have had in the archives for years.
Stay safe and visit often and here’s to a great 2022
Peace, Jason
The Green Mile – soundtracks and music from the movie
Old Alabama
B.
B. and Group
1:00
I Can’t Give You Anything But Love
Billie Holiday
3:27
Cheek To Cheek
Fred Astaire
2:38
Did You Ever See A Dream Walking
Gene Austin
2:52
Charmaine
Guy Lombardo and His Royal Canadians
2:24
An Offense To The Heart
Thomas Newman
1:09
Billy-Be-Frigged
Thomas Newman
2:09
Boogeyman
Thomas Newman
3:27
Boy’s Eye
Thomas Newman
0:55
Briar Ridge
Thomas Newman
0:43
Cigar Box
Thomas Newman
1:51
Circus Mouse
Thomas Newman
1:29
Coffee On The Mile
Thomas Newman
5:12
Coffey’s Hands
Thomas Newman
1:59
Condemned Man
Thomas Newman
1:34
Danger Of Hell
Thomas Newman
2:28
Done Tom Turkey
Thomas Newman
1:01
Foolishment
Thomas Newman
1:50
L’Homme Mauvais
Thomas Newman
2:22
Limp Noodle
Thomas Newman
1:04
Monster Big
Thomas Newman
1:51
Morphine & Cola
Thomas Newman
2:57
Night Journey
Thomas Newman
2:12
No Exceptions
Thomas Newman
0:58
Now Long Gone
Thomas Newman
1:08
Punishment
Thomas Newman
1:52
Red Over Green
Thomas Newman
2:58
Scared Of The Dark
Thomas Newman
1:04
Shine My Knob
Thomas Newman
0:54
That’s The Deal
Thomas Newman
1:38
The Bad Death Of Eduard Delacroix
Thomas Newman
3:49
The Green Mile
Thomas Newman
3:39
The Mouse On The Mile
Thomas Newman
1:31
The Two Dead Girls
Thomas Newman
3:02
Trapingus Parish
Thomas Newman
0:52
Two Run Throughs
Thomas Newman
1:19
Wild Bill
Thomas Newman
1:16
How Artists Invented Pop Music and Pop Music Became Art read online by Mike Roberts (Page 2)
John Lennon experienced both scenarios: his studies (albeit not too hard) at the Liverpool College of Art were followed by a deep immersion in the Hamburg art scene. His character and worldview were typical of an art-pop representative; he also became one of the first and by far the most influential musicians from the art college during the music boom of the 1960s. In addition, a little later it was he who brought together art and popular music – and in his performance this combination became discouragingly public and yet deeply intimate. For this reason, we will start with a long story about the young Lennon. As an ordinary artist-musician, in some ways he speaks for everyone else, and his personal history helps to define the emerging era of art-pop.
Klaus Forman, Lennon’s mentor in the early 1960s, shared with Philip Norman this impression of the musician during his stay in Hamburg: “He loved to sing, he loved songs <…> but I was most impressed by the attitude of this guy. All he wanted was to be different from everyone else. He wanted to do something special, something outstanding.”
This simple, burning desire to “be different” has been the main motivation for dozens of artist-musicians from art colleges (including “real” musicians who defected to their side, both formally educated and self-taught) from those very since rock and roll and pop art were born at the same time.
This is where our story begins.
Part I. 1950s, 1960s
1. Tomorrow in post-war Britain: 1956 and all that
There is no one else on my wave – I mean, it is either too high or too low.
John Lennon. From the lyrics to the demo version of the song “Strawberry Fields Forever”
Between the end of World War II and the advent of rock ‘n’ roll, Britain was, as the jazz singer George Melley put it, “a colorless seedy world where studious boys played ping-pong.” At the end of 19For 56 years, the British Empire was breathing its last because of the Suez Crisis, only recently food rationing was abolished, and only lemonade was associated with the word “pop” denoting, among other things, a carbonated drink. – Note here and below. per.]. However, in the suburbs of Liverpool, something inspired optimism. John Lennon persuaded his mother to buy a guitar.
“There was nothing before Elvis,” Lennon would say later, but, of course, there was still something before Elvis.
In addition to revival jazz and modern jazz, there was folk and popular song. There was even rock ‘n’ roll as imagined by Bill Haley & His Comets, whose song “Rock Around the Clock” (1955) became the soundtrack for the outrageous teddy fights in theaters across the country. Thanks to the improved communications of post-war Britain (i.e., press, newsreel, radio and television), changes that previously would have affected only local fashion now quickly spread throughout the country. This is how the paradox of mass individualism arose, which underlies the youth subculture. Bill Haley, despite all his liveliness, was just leading another show group. And only together with Heartbreak Hotel (1956) Elvis’s music players poured unheard, thrashing, sexually charged sounds of teenage rage and rebellion.
Elvis’s arrival coincided with the rise of British skiffle, a musical style that applied a homemade punk aesthetic to a mix of American folk, blues, country and traditional jazz. Thanks to the success of Lonnie Donegan’s “Rock Island Line” (1955), the genre became wildly popular, and Lennon (like many boys his age) realized that you can grab a piece of the pie without years of musical training – all you need is a guitar and a couple of chords.
But even before Elvis and even before Lonnie Donegan, there was art in Lennon’s life. Contrary to the pose of a rebel, he called himself a homebody and loved not only to read, but also to write stories, and especially to draw. According to John’s aunt Mimi (his de facto guardian), when he sat at the table in his room, there was such silence that a fly could be heard flying by. “I was crazy about Alice in Wonderland and drew all the characters,” the musician will later recall. This passion for caricatures, for depicting grotesque, ridiculous creatures, Lennon will keep until the end of his life, often ridiculing government officials in caricatures.
The mid-1950s were also the heyday of BBC comedy radio programs and especially The Goon Show (1951-1960) starring Peter Sellers and Spike Milligan (another artist-musician). The broadcast exposed and ridiculed the foolish tenacity with which society attempted to maintain pre-war sobriety and obsolete patterns of respectful behaviour.
For Lennon, the show became more important than the surrealism of Lewis Carroll and the nonsense of Edward Lear: in his teenage years he was simply obsessed with the transmission – until it gave way to no less subversive rhymes to the rhythm of rock and roll.
Be that as it may, by the end of the summer of 1956 Lennon, thirsty for rebellion, began to glance towards the United States. “In America there were teenagers, in all other countries they were just people,” he later remarked. Even the skiffle paled against the Elvis-led rock procession of delightful troublemakers such as Little Richard, Jerry Lee Lewis, Jean Vincent and Fats Domino.
Paul McCartney (whom Lennon was yet to meet) said: “I turned on Elvis and felt great, just amazing. I had no idea how records were made and it was pure magic.” McCartney, then barely fourteen, on his way to school on the bus with his friend George Harrison (who was even younger) endlessly drew guitars – of course, American ones. As in the case of Elvis, they were attracted not only by the sound of America, but also by its style.
In Liverpool, the cult of modern America was mostly teenagers, but two hundred miles south, in East London, a group of fully grown men and women, consisting of artists and even intellectuals, at the same time prepared the altar for everything new, modern, technological and mass (that is, American).
The Independent Group was a loose collection of artists, architects, designers, photographers, art historians and critics who met at the London Institute of Modern Arts from 1952 years old. Among them were artists Eduardo Paolozzi and Nigel Henderson, brutalist architects Peter and Alison Smithson, film composer Frank Cordell.
They were mainly interested in the growing mass media culture based on new technologies – that is, mass-produced products, films, magazines, advertising and – more recently – television. They developed aesthetic strategies aimed at appropriating and exploiting the ubiquitous images of the mass media. The main idea of the “independents” was that the enjoyment of the low visual culture of consumerism is no worse than the enjoyment of high art, and that the works of both cultures can – regardless of origin – be considered parts of the same aesthetic community.
Following the Dadaists, the Independent Group believed that the overwhelming art of the past needed to be seriously reconsidered, if not thrown into the dustbin. By 1956, they had coined the term “pop” for the nascent aesthetic movement. London’s Whitechapel Gallery soon hosted the exhibition This Is Tomorrow, and its both ambitious and populist approach accurately reflected the spirit of reverent optimism that prevailed in Britain marching towards the sixties.
Twelve different teams took part in the development of the exhibition (along with artists, architects and designers, they included a musician, an engineer and an art critic), each of which came up with a “pavilion”. The organizers hoped that such a curatorial approach would be able to reflect the diversity of views on modern realities. The biggest buzz was caused by the pavilion “House of Fun”, created by Team B (architect John Walker, theoretical artists John McNeil and Richard Hamilton).
The contents of the pavilion looked more like a PR campaign for a record company than an exhibition.
At the entrance, visitors were greeted by a fully functioning three-meter Robbie robot, borrowed from MGM, which the film studio used to promote the sci-fi film Forbidden Planet, which was released at the same time. There was also a huge poster showing Robbie carrying lead actress Anne Francis and, side by side with the poster, a huge cardboard cutout of Marilyn Monroe from The Seven Year Itch (1955). Dizzying op-art panels towered in front of the gallery entrance, the sounds of what was happening inside could be heard from speakers installed right there. In the pavilion itself, audiences were attacked by looping videos, reproductions of Van Gogh’s Sunflowers, a strawberry-scented rug, and a jukebox from which hits blared – an extremely populist device for that time.
The members of the Independent Group were not the only participants in the This Is Tomorrow exhibition, but it was their ideas (and in particular the intellectual audacity of Richard Hamilton) that made the exhibition famous.
