OurStage

I've just learned about some additional press that I've received and will receive from Wall Street Journal writer Robert Tomsho’s recent article, “No Dough in the Do Re Mi”. Besides being featured on the cover of the WSJ on February 6th, his article, about contemporary songwriters who have taken on the recession, was also released on February 11th in the European edition of the Wall Street Journal. After seeing the article in the Euro WSJ, the French news magazine, Courrier International, decided to include this piece in their next issue. Their weekly publication reprints news stories from all over the world. Their art department contacted me requesting photos to use with their reprint of this story. I offered them the same image that was originally published with the article.

I was featured in an article by Rob Tomsho, a writer for the Wall Street Journal. Rob contacted me on Inauguration Day to interview me. His story, that made it to the cover of the paper on Friday February 6th, talked about those who had written songs about our tough economic times. My image also made it into the article. The WSJ art department contacted me the day before the article was to go to press and asked me for some hi res photos. Then, later that day, I was told that they had chose one of my photos to use with the article and that 2 million people would see my face the paper the next day. I was thrilled! An even larger version of the photo was also included in the online version of this article. To find my picture, my name, my music and my songwriting featured in the same article as legendary songwriters Woody Guthrie, Neil Young, Tom Paxton and others was a real treat and a most welcomed discovery. This was all due to my having written my new song, "Wall Street Bail Out Blues" and having a video crew capture my performance of this song as I played it on the street at Seattle's Pike Place Market and then post it to YouTube. I posted links to the YouTube video on all of my websites and Rob found my song via one of those links. Here's the link. http://www.youtube.com/watch?v=QCdWEHqZJuw This video represents a rather primitive version of the song. I had just written it a few days earlier when the stock market took that big 777 nose dive in early October of 2008. Newscasters called that day Black Monday. I hope to have a current version of the song recorded soon. Stay tuned! Stay true to your dreams!

Reggie Miles: War Mongerin' Man NOBRO RECORDS 016 CD MIles is self-producing some of the finest series of CDs coming out of the Northwest. His voice is mature, strong and totally convincing. The words ring out clear and distinct like on the life overview of "I'm Old". The title tune is convincing condemnation of our life. He lightens up with the blues "Sometimes That Bear Bites You," that has slide and harmonica lazily emphasizing with accuracy the fun time lines. His reply to Land of Plenty is "Chasin' The American Dream." The big expansive clean sound is all just him jumping out of the CD tracks. This is a comensurate singer songwriter recording with a heavy blues undertone. He kind of mixes the Guthrie politics, with the distinct gravel of Tom Waits and all pulled in the blues direction. He gives you "Hell No To The WTO," and states "You Can Be A Street Musician." Miles tells about being stuck in traffic in the fun, not so funny "I'm Stuck In Gridlock Again." Reggie has performed, met and been tight with street people and takes all the symbols of Salvation Army, Soup Kitchen, Goodwill and St. Vincent to task asking , where are they all now that he is sick in "Homeless Broke and Hungry." This will tear at your insides. But he will pick you up out of the gutter on his upbeat quickly delivered "F-R-E-E" and all that word's connotations. Miles has developed into one of our finest writers and life interpreterss with a direct, clear strong presentation on a quality recording.

In February 2007, Reggie Miles performed at Tacoma’s Wintergrass, one of the nation’s premiere annual bluegrass celebrations in Tacoma. I was fortunate to catch up with Reggie and learn more about this exceptionally talented bluesman. "I've been attending this event for years, casually sharing my music in the jams that happen there to try to attract some of the lovers of acoustic blues," Reggie said. "I'm no bluegrass player, but some of the fans of that music find my acoustic blues, humorous songs, storytelling, homemade guitar, musical saw, and washboard playing very entertaining and have been supporters of me and my musical pursuits for many years." Reggie Miles has a personal style that’s absolutely captivating. He makes you want to listen to his every word. "Actually, I may be one of only a handful here in the Northwest who chooses not to get involved with turning up the volume of my playing by plugging into an amplifier,” he said. “In my performances, I've tried to rekindle some of the passion, drive, emotion, and spirit of those early blues performers. It's those early artists that caught my ears and soul so many years ago with their acoustic guitar and unadorned voice. Of course, I dearly love much of what was recorded back in those early days. Not just roots blues, but jazz, jug band, hillbilly, ragtime, novelty, and folk music. They all have really influenced my writing and playing." Reggie Miles writes a lot of his own music. He is inspired by the events that happen around him. He was in Seattle on November 30, 1999, during the well-known “Battle in Seattle,” the protests against the World Trade Organization, or WTO. He wrote "Hell No to the WTO" in response to his experiences that day. He walked by the Starbucks store in downtown Seattle, and saw the police and crowd interact, and wrote about what he felt. Seeing the “Battle in Seattle” unfold, Reggie wrote these lyrics: "What a glorious day to be an American and see/all the people in the streets with protest signs/fighting corporate tyranny/in this land of the free/don't you know, brothers and sisters/I got mine." His song goes on to say that "I was pleased to see so many stand up for their beliefs against such odds." I too was at the Battle in Seattle. I appreciated sharing his experiences that day. Reggie had the courage to put his experience into words. He writes the words he lives; he writes about personal relationships. His songs waken feelings lost within our souls. Reggie is the storyteller that helps us remember the history of events, and his words are moving; he has strong convictions. Reggie writes of hope and the fighting spirit. He writes about the feelings that have touched, and continue to touch, his life. Reggie eloquently tells the story of the tragedy of Katrina. Reggie is an acoustic performer who lives what he does. He makes everyone feel that society is important and that he cares about everyone. He writes songs so that people do not forget. Independent filmmakers Gustavo Villanueva and Alessandra Zeke included seven minutes of his "Katrina Blues" in the soundtrack of their 2006 documentary film, Katrina and the Three Million Dollar Tiger. As I listened to Reggie’s story, and heard his exceptional bottleneck guitar playing, I was captivated by each and every word. As I heard each of his songs, I appreciated and savored his life-affirming and uplifting performance. We need more musicians like Reggie Miles, and I hope that you’ll discover this talented and passionate artist soon.

Fresh Picked Reggie Miles, 2005 Dont let the albums title fool you. Fresh Picked isnt chock full of cutting-edge indie-rock, but rather, contains a random assortment of goofy, blues-based songs sprouting from everyday experiences with produce, governments and livelihoods gone bad. In the vein of Shel Silverstein, Reggie Miles has let his inner child roam uninhibited, pulling down thoughts at random, while plucking his guitar strings intuitively. Hailing from Sultan, WA Miles has honed his skills on the streets of Seattle, performing at Bumbershoot, The Northwest Folklife Festival, Hempfest and many other local venues. That Miles has been a struggling blues musician for thirty-plus years is not surprising when one sees song titles such as "Homeless Broke and Hungry", "Blue Collar Blues" and "You Can Be a Street Musician" adorning his first compilation of original material. Although much of the humor tends toward the obvious and juvenile (as a substitute teacher, some of these songs were inspired by and written for a younger audience), Miles manages to move past any Larry the Cable Guy comparisons. Just when you think youve landed in the middle of an episode of Blue Collar TV, Miles slips in a Bush jab, lays down some sweet sounding slide-guitar work and smoothes it over with his medium-grain raspy vocals a mellower Joe Cocker, perhaps. If youre looking for a good laugh, check out "F-R-E-E", which is intelligently written, with some perfectly placed vocal inflections. Miles soul really shines through during the quietest moments, though. His delivery of potentially banal lines such as "Wasn't it just yesterday? Our lives entwined as one/ Sharing love and laughter/ Damn it, that was fun" from "Only Memories Remain" is so heartfelt that the listener can practically see Miles life flashing before his eyes. Be forewarned that this album is the farthest thing from hip and flashy. Its just Reggie and his Resonator, homemade no less and a few other garage sale found guitars. Check out his latest the topical "Katrina Blues" which is featured in the 2006 documentary on the disaster, "Katrina and the 3 Million Dollar Tiger". To get a better feel for his diverse style listen to his online offerings.(http://www.ezfolk.com/audio/reggiemiles).

Miles delivers 14 of his original tunes on the condition of humans, life, and the state of things political and personal. Previously he has released blues compilations, been on recordings and performed with Strangers With Candy, and played in many other groups and duos. He is a major performer, highly animated, commensurate musician, delivers gravel throated vocals, plus guitar from finger pickin' to bottleneck. Also in performance he plays musical saw and washboard among other instruments. I've enjoyed Miles for a couple of decades and watched him develop in one of our finest musical ambassadors. He can take a blues mood like in "Dream Come True" and have it hit your core. He can make you laugh at every day tripe like the labels of get it "F-R-E-E" where his ever-present sense of humor bubbles over. This is one of the many tunes he wowed and commanded the attention of the Oregon Country Fair with this summer. He's done Folklife, Bumbershoot, Festival of the Rivers in West Virginia, Monroe's Summer Fest and many more. He'll have your audience laughing, often at themselves and wondering what this world is all about. Reggie Miles as a performer, life observer and translator is about as good as it gets.

By TED S. WARREN THE ASSOCIATED PRESS Amid the shouts of fishmongers as they toss salmon for tourists at Pike Place Market, the melodic -- and metallic -- notes of "O Holy Night" fill the damp, chilly air. A holiday shopper pauses, as if searching for the person playing the flute or whistle that produces such a seamless melody. But there's no flute in sight, and the only musician nearby is Reggie Miles, who deftly moves a bass bow across the non-toothed edge of the handsaw he flexes in his lap. As he nails the final high note with perfect pitch, a small crowd of shoppers breaks into applause and several people place dollar bills in his cap. "Not bad for a hand tool," he says, and then he launches into an almost otherworldly version of "O Christmas Tree," but not until he notes that the song will be played "on the saw, the enemy of wood products everywhere." There's a host of guitar players playing holiday music at the Market, a nationally known showcase for street music performers. But this season, there's only one guy making music on a saw. Miles, 51, who drives more than 45 miles each way from his home in Sultan to play at the Market, has been playing the musical saw for about 15 years. He has a degree in art education, but he hasn't found that work or several other temporary non-musical jobs he has pursued to be as consistent or as soul-satisfying as street music, so most days he can be found busking. From a spot either directly in front of the famous flying fish stand, or, as he prefers, at a quieter location between the tables of produce and handicrafts, Miles performs Christmas carols punctuated with bad puns and a hearty laugh nearly as trademark as the unique sound of his instrument. "I believe that there are many folks who harbor grave concerns about life on this planet," Miles said. "It's been a privilege and a blessing for me to be able to offer a few moments of peace on Earth for all those who carry such burdens." Miles' only foes are roving parking enforcement vehicles and the cold and foggy air that rolls off Puget Sound, which slows his hands and dampens the sound of his saw. His joys are when kids start singing along with his songs and when old men stop to tell tales of their fathers playing musical saws in days long gone by. "I'm committed to continuing this most unusual pursuit," Miles said. "For me, the moment is when someone says 'I've never seen this before.' "

I thought I'd kick-start the month with a review of 'She's Trouble'.... Now I am a HUGE blues fan (And I mean blues - not the kind of Gary Moore rock that has neither soul nor groove!) - I even run British blues band, so reviewing good blues is always a pleasure! And this is good blues. I note from your page that you made your own 'Nobro' - (Great name BTW)! - and your acoustic sound is awesome - I have a 57 National Duolean, which is much more brittle sounding than yours - good for soloing but not really for self-accompaniment! Sound-wise I'd say you're on a par with John Hammond (He maybe plays a bit better, but he's never done anything else so I should bloody well hope so!) The subject matter of the song is pure blues, and it's delivered with the passion & integrity of some of the early blues men - you've developed the knack of making the drones on a six-string sound like a 12-string on the open parts of the one-chord - excellent playing. Vocally I thought this was pretty close to Ry Cooder in terms of delivery, it's got more grit & gravel than his style. It also reminded me of something by Ben Harper, but I can't remember which tune. - The main similarity is in the way you take the tail of each line in a different direction - I think it's a down-swing to the lyric, but it works really well and gets the point across. All in all, this is a really good blues. You're obviously an accomplished player with a really good feel for the genre. And the production is excellent! There are so many good artists doing this that a mark out of ten is really difficult, as there's so much to compare it with, but next to the likes of Ben Harper, Eric Bibb, John Hammond (And Buddy Guy & Junior Wells Unplugged) I'd have to give it 7/10 but if I was comparing with other unsigned acts, that would be a 9! David