iven his resume in the music business, Mark Doyle can do what he wants. The versatile guitarist and arranger had two releases on RCA as a member of Jukin' Bone in the early 1970s; worked with Hall and Oates, Judy Collins, Meat Loaf, New Kids on the Block, Tiffany and Bryan Adams; and landed a job working for Sony and Pioneer in Tokyo. He doesn't need to prove anything to anybody, except maybe himself.
Doyle continues his recent foray into evocative instrumentals with Out of the Past (Free Will), as he draws inspiration from the music of his youth. The disc's 12 instrumentals resurrect the mid-1960s genesis of psychedelia: Blame the Beatles for Doyle abandoning his future as a jazz pianist to become a rock'n'roller. Much like a salmon heading upstream, Doyle returns to the musical headwaters that spawned his passion and creativity.
Out of the Past branches off from the journey of Doyle's 1999 CD Guitar Noir (Free Will), a foggy road less traveled of dreamy instrumentals, rock and jazz. The changes in course on this trip down memory lane come from techno and hip-hop influences that sneak into a few tracks.
He treats the 10 covers on Out of the Past as if he were creating a painting from an old photograph, reinventing the image while keeping it recognizable. "Interpretation" is a better description of Doyle's handiwork than is "covers," since he noticeably omits the lyrics from songs such as the Beatles' "Tomorrow Never Knows," Cream's "Politician," and the Doors' "Crystal Ship."
Despite those songs, it's not all rock here. Doyle joins pianist Mark Nanni as the most recent local musicians to pay recorded homage to jazz pianist Bill Evans, lifting a few bars from Evans' "One for Helen." The disc is a hybrid, perhaps the interior musical identities of Doyle, the rock yin and the jazz yang, exposed on guitar and keyboards.
Actually, he does more than that. Apart from most of the drum tracks, Doyle plays just about every instrument on the album. He also ventures into the world of sampling, adding trippy tracks on theremin, Sarongi, a Vox Continental organ, bagpipes and a creepy instrument dubbed an Optigan. Doyle uses the latter on "Into the Mist," an original track he wrote after reflecting on the 1959 vampire western flick Curse of the Undead, and it lends an eerie, whirling pitch to the song.
This is mood music, kind of like Muzak for people with good taste--an oxymoron, yes, but an apt description. The songs are lush and dreamy enough to shop to, with fancy guitar work that is assertive yet not overstated. Rest assured, Grandma could do a crossword comfortably with Doyle's version of "It's All in the Game" playing in the background.
Given his love of the Fab Four, Doyle has his way with two songs from the lads. He adds a big-bottom Moog bass to the Beatles' "Tomorrow Never Knows," transforming it into a song with a club beat. It's reminiscent to R.L. Burnside's injecting his Mississippi blues with beats the rave crowd could dig. While Doyle's modern version doesn't equal the potent immediacy of the original track, he succeeds at giving it a new and interesting identity. The same holds true for his merging the Rolling Stones' "Paint It Black" and the Beatles' "Eleanor Rigby" into one song; they are familiar yet distinct.
Doyle takes chances. His programmed drums on "The Politician" sound like a prelude for a Beastie Boys track, setting up Ad-Rock to bust some rhyme about having the Cream supreme. From there, the song becomes a treat for guitar lovers. Doyle plays a long, fat melodic lead with grace and ease. He can readily express himself on a variety of instruments, giving him a sonic voice without having to sing.
While Doyle looked to the past for his inspiration, he is certainly up to speed on technology. He made the record at home with his G4 computer with Digital Performer software. The sound he created on Out of the Past jumps out of the speakers, with a notable amount of kick from the bass and clarity. At times, the programmed drums add sterility, especially in contrast to the vibrant tones of the guitars and the organ. Still, the disc offers plenty for the techie crowd.
Similar to Guitar Noir, Out of the Past is a statement about the music important to Doyle. These songs help define him as a player, and perhaps, a person. It is the soundtrack of his life as a musician, showcasing his stellar technical skills, interpretive ability and yen for creativity that all sprung from his initial love of this material. Consider it a slick and savvy sonic thank you from a man who has done a lot, and a lot well.
iven his resume in the music business, Mark Doyle can do what he wants. The versatile guitarist and arranger had two releases on RCA as a member of Jukin' Bone in the early 1970s; worked with Hall and Oates, Judy Collins, Meat Loaf, New Kids on the Block, Tiffany and Bryan Adams; and landed a job working for Sony and Pioneer in Tokyo. He doesn't need to prove anything to anybody, except maybe himself.