My career began when I was eight years old. I followed in the footsteps of my Mom (Kay) and my Aunt ( Kay's sister Helen).

Originally from Lansing, Michigan, The Lewis Family moved to Los Angeles in the 1950's.

Kay and Helen Lewis had studied music all their lives and L.A. was the place to get noticed. They performed as a duo called "The Lewis Sisters".Many auditions and live shows brought them an introduction to Les McCann. He had not been in L.A. long and they became fast friends and working partners. Les produced   "The Lewis Sisters" first vocal jazz album on Liberty Records called "Way Out Far". It was ethereal sounding and way ahead of it's time.

Next the sisters went to Verve Records ( 1960) and recorded an album called "Voices, Strings and Percussion". Still very jazz.

"The Lewis Sisters" moved to World Pacific's subsidiary Aura Records with the help of their friend Jimmy "Mack" McEachin, head of the rock and roll division. He helped to influence Kay and Helen into a more rocking pop sound. They released a single called "Shooby Dooby" (1964)

During 1963 Kay and Helen had a meeting with Marc Gordon at Motown. Soon after they met Hal Davis. This began a lifetime working relationship with Hal. He got the girls signed to Motown as a singing duo ( " The Lewis Sisters", "The Singing Schoolteachers" etc.) and as songwriters. Kay and Helen were prolific songwriters and so spent everyday in a studio, recording new songs.They helped in establishing a true west coast presence for Motown.

I was about eight years old at that point in time and I had accompanied Mom (Kay)and  Helen to almost every rehearsal and session they'd ever done.

One day, Hal (Davis), Kay and Helen were auditioning singers for a song demo at Motown. I was there waiting and hanging out, talking to everybody I could. They weren't finding anyone they thought suited the tune. I decided to tell Hal that I knew the song. He put me behind the mic and we recorded it. The song was called "Don't Let Me Off the Hook". They recorded me on another song ( I'll Follow Him") and immediately sent the demo's to Berry Gordy. It didn't take long before we were invited to Detroit to meet with Berry ( I mean Mr. Gordy). I was signed as a recording artist "Little Lisa". (1965) My whole world changed.

We spent the summer of 1965 recording, going to shows ( The Supremes, Smokey Robinson and the Miracles, The Four Tops, The Temptations), parties and becoming part of the Motown family. I recorded about a dozen songs and met everyone at Motown.

Berry Gordy was like a father to me. His kids Hazel, Berry Jr. III and Terry were like my family. When "The Lewis Sisters" were on the road I would stay with them at the Gordy house.They were wonderful to me and I loved them. I knew Pops Gordy and Robert, Gwen and Anna Gordy ( she was married to Marvin Gaye). I knew Stevie Wonder, Smokey Robinson, Diana Ross, Mary Wilson, Florence Ballard, Martha Reeves, Marvin Gaye, Tammy Terrell, The Temptations, The Four Tops, it was more amazing than I knew. These were my friends.

When I would record I also worked with the writers and producers on staff. Berry and Smokey foremost but also Brian Holland, Lamont Dozier, Eddie Holland, Frank Wilson, Johnny Bristol, Harvey Fuqua etc.

Motown recorded and released a single (1965) on "Little Lisa" titled "Puppet On A String" ( produced by Berry Gordy and Hal Davis)  The B side was called "Hang On Bill" ( written and produced by Berry and Robert Gordy) This began a life on the road for "The Lewis Sisters" and "Little Lisa" (1966-1967) We toured extensively on the east coast doing shows, radio interviews, press and television. I performed on a special Hullabaloo Show with Jerry Lewis  ( and his sons, who I became friends with) during Christmas of 1965. I got tons of exposure, press and management.

Although success seemed at the door, Motown didn't feel it could promote me in the right capacity ( I was 10 and white) so we moved on. Our relationships however remained with our Motown family.

A company called Canterbury Records was looking for A&R execs ( 1967-1968).

Kay and Helen met with the owner Ken Handler ( his parents were Elliot and Ruth Handler founders of Mattel Toys. You guessed it his sister was Barbara (Barbie). Ken hired Kay and Helen for the job. I  in turn signed with Canterbury. A single was released late in the fall of 1967. "Love Is" and "The Loneliest Christmas Tree" reached #18 in the Christmas charts. Things were building. A fully orchestrated album was next for me. Predominately written and produced by Kay and Helen Lewis, "Within Myself" by Lisa Miller was recorded.

The arrangers were the biggest. Capitol's H.B.Barnum, Motown's Gene Page and Disney's Jack Eskew. The musicians were equally astounding. It was Pop-Psychedelic heaven. Only a small amount of albums were pressed for promotion. Canterbury became a casualty of the decision to take Mattel Toys public and sell off all their stock.

"Within Myself" was released in October 2010 by Sundazed Records.

( Also available on iTunes) It was a long wait.

Through a Motown writer Kay and Helen met Bob Mercy ( 1967) He founded Cyclone Records ( subsidiary of Bell Records). We signed with Cyclone and released a single titled "Castles In The Sky" by "Lise Miller" ( The real spelling of my name! It however did not get pronounced the proper way most of the time and I have been modifying it since) It was a time of growing up and into my style.

Oak Records was the next stop (1969). Ray Ruff was the owner and he commissioned Kay and Helen to help him finish writing a rock opera called "Truth of Truths". Very much in the style of "Jesus Christ Superstar". It was a huge endeavor, sounded amazing but did not get exposure. Company problems.

During this time I began to work on band projects ( 1970) as well as auditioning for movies, T.V. and of course any vocal recording I could do. I had management. My career became more focused on rock and roll and the blues. New material was never an issue because Kay and Helen were writing machines. ( 1971) We were courted by A&M, RCA ( David Kirchenbaum) and Columbia ( Michael Dilbeck).

We recorded constantly. We rehearsed even more. ( 1972-1975) Many recordings and  a couple of bands later, still no record contract. Which at that time in music history was the only way to "make it". I was still working like crazy.

In the latter part of 1975 I got an audition with Sergio Mendes ( & Brazil 66 turned 77) I was signed to Sergio's company in 1976 and began a journey into the world of jazz and many years of touring. We went to Japan, Canada, South America, Europe, Israel and many state side tours. The touring was intense and exciting. We did a couple of shows a day, a lot of promo, press and television where ever we went. We would sometimes record a song in the language of the country we were in ( we did a recording in  Japanese and Hebrew as I recall)

The first album I recorded with Sergio was titled "Homecooking" ( 1977). I was given the opportunity to bring much of my own sound to the album by suggestion of two cover tunes I had always loved to sing. I recorded both "Where To Now St. Peter" by Elton John and "Tell Me In A Whisper" by Edgar Winter as a solo singer on that album.

In between tours I did sessions and live performances. Television and movies offered a lot of work. My friend Mark Hudson was the musical director for "The Late Show" with Arsenio Hall and later Joan Rivers, he hired me to work as a background singer on the show. I made tremendous connections and friends. The list of artists we sang with was staggering. Elton John, Thomas Dolby, Joe Walsh, Tony Basil, Bobby Caldwell, Supertramp , the list went on. It was awesome.

I worked for numerous song writers and producers, Eric Bulling, Umberto Gatica, Hal Davis, Tom Scott, Mark Hudson, Michael Sembello, Phil Ramone, Yutaka Yokokura, Robbie Buchanan, James Newton Howard, Glen Ballard, Al Kasha and Joel Hirshhorn, Disney, Nickolodeon…….. I made as many contacts as I could to stay in work when I was home.

In mid 1983 I recorded "Never Gonna Let You Go" ( with Joe Pizzulo) for the "Sergio Mendes" album ( Not quite to CD's yet!) After recording the album Sergio took us to South Africa on tour ( Sept. 1983) By the time we returned "Never Gonna Let You Go" had been given radio push and was climbing the charts.

I had recorded a song called "Love Is Waiting" which received much radio attention on the east coast up till then but it did not get a push.

My association with Sergio became strained as I asked to be paid for my work fairly. It was not a good time as it should have been."Never Gonna Let You Go"   (written by the infamous writing team of Barry Mann and Cynthia Weil) reached #2 in the nation and about a year later was noted by BMI as having had it's millionth play on the radio.

I was finding my place in L.A. as a singer full time difficult. ( 1984-85)

I worked on developing my own sound. ( 1984-1991) I did showcases, gigs, sessions, auditions……… It was a changing business.

In 1992 along came a Hallmark Special that Al Kasha and Joel Hirschhorn hired me to sing on. There I met a producer named Tom Tataranowitz  from Marvel ( Tom T. for short) He invited me to audition for a new animated series Marvel was developing. I landed the female lead as "Charlie Davidson" in "Biker Mice From Mars". The show had a top flight cast and I began my journey into a career in voice-over. (1993- 1995) We recorded 65 episodes and had the luxury of working with a full cast most of the time. It lasted several years.                                                                   

Time to get an agent and start auditioning.

I signed with ICM, it was too big for me but I learned first hand how it works.I was so fortunate to meet casting directors, producers and actors while being a working actor. I became a voice over actor as well as had my musical career. Although voice over became predominate at that stage in my life.

Singing, songwriting, and anything vocal have always been my world so it was a natural progression.

I recorded original music for most of 1996- 1998. Always seeking the illusive record contract. I wrote with some awesome songwriters and became involved in publishing. Great learning process.

1998  The music business began a technological shift that has only escalated since. Now "we" don't have to have a record deal to get an audience and have our music shared. "We" can all take" command" of our own career and where it leads.

I took a break from the business in 2001 to have a family. I am a Mom to a ten year old boy ( Jayden) and have learned lifetimes of lessons from him. So now as always I am re inventing myself and pursuing music and acting as I have for a lifetime.

I am always singing, practicing guitar, piano, songwriting, character development, scenes, improvisation, and now film making to empower myself and keep content flowing.

Life is as it has always been…………………..CREATIVE!