JP Doyle – Songs From The Sky
JP Doyle – Songs From The Sky – Album Review
Alrighty…JP wants complete and total honesty from a guy that always gives it regardless of requests…this should be fun. How’s this for starters JP…if you don’t have your artwork ready, or your songs in order yet…you’re very much on the early side of when you should probably be seeking out a review. Artwork…meh…I’m neither here nor there on that really…that doesn’t matter too much to me – but as a fan of music, as a person that respects the art form and the craft that goes into making it, as a person that has himself toiled over what song goes where – wouldn’t you want someone to listen to your record as you’re intending it to come out, as opposed to a generic alphabetical order? If you want honesty my friend, lemme start by saying take the three minutes it takes to send out the real order your album is supposed to be in, and overall, don’t rush the process if you’re looking for feedback that might help ya. More often than not, artists/bands design a layout of songs on their albums that they feel works best, provides some kind of flow, or allows for an interpretation of how they’d like the music to be listened to…you’d want the same, wouldn’t ya?
Anyhow. Alphabetical order it is. I’ve got “Down Another Road” at the start, which instantly shows the roots to the classics that Doyle draws his influences from. We’re talkin’ about a dude that’s probably got artists and bands like Toto, Supertramp, Chilliwack, Gowan & Elton John in his catalog, among many others from the era I’m sure. I can appreciate the composition of a track like “Down Another Road,” even as I readily acknowledge that it’s infinitely tougher to get a song like this out into the world today. Nothing wrong with it as far as I can hear, it’s just noticeably old school is all. It’s that borderline ballad type of tune, set right in the mid-tempo, which is also about the toughest sell to the masses out there when it comes to pace & whatnot…it’s always hard to get the people excited with the mid-tempo material. So if we’re talkin’ about set-lists and finalizing an order to this record…my man…do not go startin’ out Songs From The Sky with “Down Another Road” unless you enjoy the idea of a particularly uphill battle to follow. You can make things easier for people to get into this record, and give a song like “Down Another Road” a better chance of being well received with a different place in the lineup – that’s why things like the order genuine matter – not just because I like to be a dick about things. I think for fans of different eras of music or those that have been raised on tunes from day one will have no problem finding a way into “Down Another Road” – the songwriting is undeniably solid, but it’s got a dated vibe.
Production-wise, things get dicey quickly with the noticeable drop in volume for “I’ve Been Trying To Sleep” right afterwards, which is admittedly closer to the rest of the material – it’s the opening track that seems to be the anomaly volume-wise at the start of listening. Overall though, this cut could work – we’d be arguably talking about something much closer to what you’d find in the music of Ben Folds here, and there are tons of people out there that would love that for sure. Melodically, it follows what feels like a familiar pattern, but that familiarity is welcome, and it’d be hard to cite exactly where you feel like it really comes from in a comparison…it’s one of those melodies that’ll remind you of lots of things you’ve heard without actually being something you’ve heard – you follow me? JP’s got a good voice and great ideas on how to use his harmonies…”I’ve Been Trying To Sleep” is still rooted in the past in terms of the influence on the writing, but it’s more of a modern fit. Lyrically, it’s gorgeous…it’s sad…it’s descriptive, evocative, sweet and sincere – all that stuff checks out. It is definitely not going to be the happiest song you’re gonna hear this year, but it’s beautifully in a very tributary way as well. A reflection of love in the past…of memories gone by…it’s a really well-written song that just needs a bit of a tune-up & polish of its production. I’d be looking more towards the volume achieved on “Down Another Road,” but sometimes you can learn a lot from lower volumes too…like how the digitalized hi-hat or whatever you’d wanna call the element guiding the beat in this song being up too high in the mix – you’d only know that because when the volume drops, it becomes the most prominent things we hear. With so many other great things going on from the writing to the performance on “I’ve Been Trying To Sleep,” I’d certainly be making sure it’s just about everything else that we hear instead of that. It’s the kind of high frequency sound that’ll still come through even at a much lower volume, trust me. The rest of the song is the real star of the show, so make sure that’s the way things come out in the end.
“Leave Me Your Number” is a solid & completely accessible cut…I mean…let’s be real here, whether you feel like it sounds somewhat dated or not, JP’s a heck of a songwriter and he knows how to execute on the kind of sound he’s looking to create, which is great. You know how you can usually easily identify an artist or band that is familiar with, and has respect for the history of music? Honestly it’s pretty simple y’all…there’s an easy tell you can always find – it’s called a bridge. You know that thing that modern day music has essentially decided to do away with because it’s too challenging for the short attention spans of the era we’re in? Yeah! That thing! JP’s still using them, and good on the man for doing so! Don’t get me wrong…I ain’t hear to argue that it’s going to be a popular decision in the court of public opinion, but it does show that there’s effort in the writing. So far, I really haven’t heard anything that needs any kind of major adjustments other than the volume issues between the first two cuts, which is an easy fix – as far as the performances are concerned, JP’s got everything dialed right in, and I feel like he’s got a good dose of Pop into “Leave Me Your Number” in the main hooks that’ll easily connect with listeners. Plus, for as simplified as the bass-lines are, they’re highly effective and key to moving this song forward.
While many of the things JP’s doing in the music are great, I’ll lay it out simple & plain for ya – none of that is actually where he’s trying to establish his name. It doesn’t take more than a quick listen to this album to know he’s a lyricist at heart. The rest might come naturally, or could be stuff that he’s worked on in order to have a vehicle for his thoughts, feelings, and words to get out there – but yeah…make no mistake, he’s an artist with something to say, and that always seems to be among the highest priorities in each song that we hear. There is the occasional track here & there, like “Melody” that might not run quite as deep as some of the others by comparison, but we’re not talking huge degrees – listen to the way this song opens for example, and you’ll find the guy’s a gifted poet when it comes right down to it. “Melody” is a pretty tune when you consider everything combined. It could be a song about someone that is named “Melody” or it could very well be comparing a great relationship to the real comfort of “Melody,” or it could indeed be a tune about music itself…that’s possible too. JP’s given you the ability to interpret this track in a few ways, and I think you’ll find that’s something he likes to do in the songs on Songs From The Sky. “Melody” might not be my favorite of the bunch, but it’s a quality piano-led tune.
“My Yesterdays” is one of those tracks that could very well be mood-dependent. Don’t get me wrong, there are just as many cuts out in this world about heartbreak as there are about love, just as many tracks about looking back as there are looking forward…and it’s fair to say, you’re not always in the mood for both – make sense? You’ll know when you want to reach for a forlorn song like “My Yesterdays,” and as much as that can seem like its detrimental, it’s actually an advantage for a song like this. People will seek this out when they want some comfort, are feeling down, or simply don’t want to feel alone – there’s catharsis and healing in a song like this, whether you’re making it, or listening to it. Do I think it’s a track that is perfect for every day, or those sunshiny times in the summer heat? Heck no! Good lord no…in fact, I’d practically recommend you run completely in the other direction of this tune for at least the next couple of months…but like I was saying, you’ll know when you need it after having a listen for yourself. It’s a very nostalgic kind of song, wishing for “My Yesterdays” to come back – which is a very relatable feeling we all share in at some point in our lives. “I still love them so” – and believe me, I miss “My Yesterdays” and “all my used-to-bes” too…but I basically slap myself back into the present and do my best to remind myself that forward is the only path we’ve really got every time I find myself dwelling too long on the sweet memories of things I couldn’t possibly change at this point.
“Overload” is heckin’ DUSTY JP…and it definitely deserves to be polished up. Here’s the thing about rushing the process though…you already KNOW what I’m talking about Doyle, because your ears clearly work just fine. You KNOW that “Overload” isn’t ready yet by comparison to the rest…so what gives? You couldn’t possibly want confirmation on the obvious, right? When this song is officially ready to roll, I have no doubt that “Overload” is gonna be one of the most accessible tracks you’ll find on his album – it’s lively, it’s catchy, it’s got spark to it…all of which sounds like it’s been buried underneath the ground six feet deep as it’s currently mixed. Does JP have a single-worthy cut here though if he can shine this up good & proper? Quite likely, in my opinion. I’m not saying that makes it a better song, I’m simply saying there’s a very widespread audience out there that a cut like this appeals to. I’d personally take an album’s worth of “My Yesterdays” over one “Overload” for the content and introspective songwriting you’ll find…there are miles of difference between tracks like these, which also makes you wonder about whether or not both tunes should appear on the same record. That’s gonna be up to JP at the end of the day…but based on what we’ve heard so far, I’d be looking at a separate EP or putting this song out there as a single on its own even. Judging by the lack of official artwork coming with Songs From The Sky at the moment, I’d say that Doyle’s still got plenty of time to make adjustments to the final lineup. This cut’s got rhythm and groove to it though…great harmonies, organ sounds, even a solo for ya…it’s not all that far removed from some of the earlier tunes you’d find by one of my Aussie favorites, Eskimo Joe.
“Paralyzed” ain’t a bad tune either y’all…I could see this becoming a fan favorite for sure. There’s no doubt that Doyle has been freakishly scorched by love at least a time or two in this lifetime…to the point where you end up even wondering if this album is for him, for us, or designed for those folks he spent time with to hear one day and understand just how much he’s been hurtin’ as a result of them leaving. Catchy tune though…for as heartbroken as he clearly is on this track, the song itself has got some real life in its veins…great guitar work, great percussion to go along with it, smart synth accents…lots of key elements that combine to create a track people are sure to enjoy, long before they even realize what it is that JP’s singing about. Rarely does heartbreak sound so catchy, but he’s nailed that aspect of this song. Production-wise, I still feel like there’s a bit of work to be done here; it’s not remotely as dusty as “Overload” was just beforehand, but we’re still not out of the woods just yet. With a bit more sparkle & shine on “Paralyzed,” I think Doyle’s got something significant here, and another potential single too. When it comes right down to it, the main hook/singing of the title, simply works as perfectly as it should – you can’t hear that moment in the song & not acknowledge how much it really steals the show, 100%. Dig the guitar solo too though…probably my favorite solo in any track to this point, and I’d encourage good ol’ JP to keep leaning on the strengths in his musicianship even more…it’s often sensational stuff.
“SOMEBODY ELSE’S NOW” FEELS LIKE IT FOUND THE VOLUME AT LONG LAST. How’s that for honesty JP? There you have it…it has taken this long for a song to rival the clarity & production we heard in the very first song, way back when. In between “Down Another Road” and “Somebody Else’s Now,” there is still a whole lot of work that needs to be done under the hood to generate the consistency he’s looking for. The last thing you ever want in a lineup of songs is your audience to be constantly reaching for the volume to turn things up or down…because chances are they’re just gonna leave it down, or turn it off. To me, it was actually a bit on the surprising side to find “Somebody Else’s Now” had the updated sound in its production…I was probably more on the fence about the inclusion of this track in the set-list than any other cut so far. Regrets…JP’s got a few y’all…he’s been singing his pain out loud throughout this whole album for the most part, and “Somebody Else’s Now” has him down to an all-new low. I’m not saying that it couldn’t be a track that people would connect with in that similar way to how they’d know to instinctively reach for “My Yesterdays” when they need to…but at the same time, I’m willing to acknowledge how much Songs From The Sky can be a heavily emotional experience that really weighs on you. Thematically, there’s much less variation than what you’ll find in the music & overall sound, which is exactly why I’d tell ya that JP’s made this album much more for one or two people to hear, as opposed to something more universal for the rest of us to enjoy. Like…so much of this sounds like FRESH pain to me…I could be wrong about that, but that’s how I’m hearing it. This is that sad record you make so that others can exist afterwards…the only way out of the pain for an artist is to go through it, and turn it into art. As to whether or not everyone is gonna feel like taking this heavy emotional trip with JP on a daily basis…honestly, I think that’s a tough sell…but I do think there’s a time and a place for songs like these.
“Someone As Beautiful” is probably right on the edge for me too. Sounds like a completely different voice added into the mix this time around in the backing vocals too, yes? I like that. I suppose it could be a tweak on JP’s vocals, but it sounds like someone different shows up in the chorus. “Although it may sound cliché…it’s you that has me feeling this way” – JP is right, it does. As to the role that special someone plays, I’ll leave that up to him to address…but yeah…if I’m being real with the guy, I think he’s walking a real fine line with the lyricism in this tune and how many clichés he’s got added into this song…at the very least, I’d advise some serious caution. There comes a point where sweetness can quickly turn into parody if you’re not too careful, and I’m not so convinced that Doyle hasn’t crossed that threshold on this track. I listen to this track, and it basically reconfirms how much easier it is to write a sad song than it is to nail a tune when you’re in a good mood. Doyle’s got all kinds of authenticity and identity when it comes to his moodier moments, but I feel like he’s lost the plot a bit when it comes to “Someone As Beautiful” overall. Don’t get me wrong, I dig the core sentiment, and he’s clearly got great intentions behind writing this song…but it’s coming out just a bit on the schmaltzy side of things in my opinion…which is due to JP reaching for more standard descriptions of love, as opposed to identifying the uniqueness of what makes it so very special. I think that he’s already proven to be much more of an adept writer based on just about everything we’ve heard to this point in the lineup…and whether it’s a sad song or a happy one, that’s the level we wanna hear him at consistently. “Someone As Beautiful” is unquestionably pretty, but doesn’t quite have the substance we’re now used to hearing from the guy. Great harmonies in this song, and that ultimately becomes its main strength.
“Someone Save Me” goes for a darker mood as you’d expect from the title, but incorporates what’s almost a light-disco vibe in the hooks to give it that catchiness you hear. It’s got a long intro – nearly a minute, which might play better in a live setting than on a recorded version, but I’d imagine the main hooks of “Someone Save Me” are gonna be what convinces folks to stick with this one. I suspect it’s somewhat of a case where one half of the song needs the other in terms of the verse and chorus…I’ll admit, I’m not all that jazzed about the verses, but the chorus really seems to come alive as a result. When it comes to JP’s performance and how he sings this song, I think he’s done a stellar job – there’s just not a whole lot of meat on the bone when it comes to the verses and they seem a bit ordinary. As for the chorus though…it’s nothing short of stellar – Doyle’s tapped right into what works with the overall catchiness he’d want to pull people in with the contrast of such devastating lyrics along with it. It’s not always an easy combination to create…you don’t wanna be so sad that you’re turning people off or making too many of those tunes that you’d consider mood-dependent…and the verses nearly take us into that terrain before the chorus comes along to rescue “Someone Save Me.” As I’ve said many times on these pages of ours, a moment can make an entire song sometimes…and this song has that moment; for as sad as it is all-around, the chorus has an uplifting spark to its sound that makes the difference.
Wait…what? Something’s not right here. JP – is that you? Who’s singing on “The Door Into My Past?” I’m not saying it couldn’t be Doyle…maybe it is…and I’m generally all for trying new things…but…they gotta work, and I don’t know that I can say this song does. Apologies…I’m not here to piss in anyone’s cornflakes…but yeah…”The Door Into My Past” doesn’t come out with half the same confidence as we’ve heard in the rest of the surrounding material, and in my opinion, it’s gotta go. At least for now. It’s always up to the artists & bands in question as to how much time they wanna spend in saving a song – I’m not necessarily saying there’s nothing here in this tune…I think there possibly could be something – but it’s gonna take a serious amount of mining to bring out the best in it. As I’ve also said on these pages way too many times, any album above 10-12 songs has got its work cut out for it in convincing me that something shouldn’t have been cut…there are about five perfect records with more than twelve songs on’em throughout all of music’s history. “The Door Into My Past” is a stellar example of where objectivity is needed and why it’s so entirely necessary. Everything we’ve heard to this point on Songs From The Sky has had JP in the 80%-100% range for what he’s capable of…and a track like this one threatens to take those statics downward…this is like hearing Doyle’s music at 50% confidence and strengths. It’s perplexing as to how it’s gotten this far or made it over here to be reviewed…again, he’s workin’ with functional ears like I’ve got, so he knows the issues that “The Door Into My Past” is facing. Whether it’s disappointing a guest-star, or just being brutally objective about what works or doesn’t in the performances when you’re listening back through the material, hard decisions need to be made, and not every song we’ll ever make belongs on the albums we put out. The cutting room floor exists for a reason, and it’s stocked full of moments that could have been, while also containing room for one more.
“Try To Imagine” could potentially work in a few spots on this album, but not everywhere. I’d be looking at the beginning or the end if I’m being real with ya…I don’t know that it’ll end up being as effective anywhere else in the lineup. This is the kind of cut that makes you appreciate the many opportunities for material like this to exist…like, a track like “Try To Imagine” is much better suited to a musical or a theatre-play than it would be for your drive to work, know what I mean? It’s got a vivid sound and has the kind of imagery you can practically see as you listen. I’d probably try to draw out some of that instrumentation a bit more like we hear as the song passes through its second minute, and I think JP’s gotta really keep an ear on not over-harmonizing to the point where he ends up sounding like Weird Al unless that’s what he’s looking to do…but there are plenty of redeeming qualities in this tune as well. It’s a track for the dreamers out there, and there’s something special about the perspective in this cut.
I don’t think that “You’re Always So Far Away” is quite as out of place as “The Door Into My Past” was earlier on, but it’s close enough that I’d really consider what the priorities are on this record if I was JP. If it’s about making music with others and seeing what’s possible, then right on, have at it hoss…you’ll get no objections from me on that front. If it’s about making the best music that Doyle can possibly make, then I think there is a level of objectivity and honesty with the material that he’s missing a little. I’m not completely against “You’re Always So Far Away” – like I said, it’s not “The Door Into My Past,” which is definitely a track that I’d be cuttin’ asap…but I don’t know that I could convincingly argue that “You’re Always So Far Away” completely belongs either. I can get behind the melody, I can get behind the lyricism and how this song is pointing out how crucial it is to be in the present and attentive when we’re with someone, not just staring at our phones or off in space thinking about something else – but yeah…I dunno JP…I feel like there is something overcomplicating Songs From The Sky that doesn’t need to, and I’d be taking a hard look at the kind of record you want to make, versus where it’s drifting off to. I really like the music around the 1:20 spot…and even vocally, there’s a noticeable degree of charm that works to this song’s advantage…it’s hurt, but humble, and I dig that. I still feel like “You’re Always So Far Away” is going to need something more for me to advocate on behalf of its inclusion, but it ain’t bad.
“You’re Starting A Fire” is the final cut I’ve got here…and…hmm…I mean…there’s a whole lot of uniqueness in this last track that we simply haven’t experienced in any of the other songs, so I’m kind of inclined to dig it for that reason, yet still question whether or not it’s cohesive in the way that it should be in order to belong with this particular set. “You’re Starting A Fire” sounds noticeably serious and dramatic…and honestly, I think that all works really well. Vocally, I wrestle back & forth with it – it’s a bit too metered out or choppy, and doesn’t always feel like the words have a natural cadence in the verses. It becomes less prevalent in the chorus, which seems to have more fluidity and flow to it. This song is also another track that’s got a bit of a theatrical flair to it, which could be a good thing for many listeners out there, though not exactly the selling point for me personally. What is goin’ on with the line around the 1:30 mark though? JP knows the one I’m talking about, because there’s no other moment in the song that’s like it…it’s like that one line was recorded by entirely different means, or produced in a different way…and I’m confused as to why that’d be in either situation…there’s nothing in the song or the words that seems to be calling out for that to happen. I’m not saying don’t include it if that’s what you really want in there JP, just know that as a listener, it takes us right outta the whole song for a moment and it’s weird to experience on this side of the speakers. For me, it’s the mood and intensity in this tune that I like most, and I felt like the solo really worked brilliantly too…the music is what could lead this track to a victory in the end, but I feel like “You’re Starting A Fire” still has a ways to go too.
So we’ve got some hits, we’ve got some misses, and we’ve got some work to be done. Who knows if JP Doyle will agree with any or all of what I said, but at the very least, now he knows who’ll be honest with him about what they hear. That’s me…that’s how I do what I do…I just call things as I hear’em, simple as that. Honesty is what the scene truly deserves and I understand how extremely rare it is in independent journalism – I’ve always felt it was my responsibility to combat all the BS out there – you’re welcome.
Find more music by JP Doyle at Apple: https://music.apple.com/us/artist/jp-doyle/554641859
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