Treasured New Music from Doyle Dykes - Interview and Review by Keith Miller

Cover Art by Pierre Matisse

There, written in red, are the words of the King: "For where your treasure is, your heart will also be." It is wisdom that addresses how one can measure the priorities of a life. An amplified version of this verse defines treasure as one's, "...wishes, desires, and that on which one's life is centered." Well, guitarist, Doyle Dykes, leaves no doubt to where his treasure resides on his latest release, Treasures of the Spirit.  In it, Doyle takes the listener on an eighteen track journey where he generously, and masterfully, shares his heavenly gift from a treasury that seems to have no end.

Recently, I had the opportunity to talk with Doyle one on one about the project, and the life and treasures that inspired it. It was a real joy to have him share some of the details, from the stunning cover art to the world class creative partners, behind the project, and it's equally a joy for me to take this opportunity to share my impressions and some highlights from our enlightening conversation with each of you.

Framed and accented from beginning to end with his signature composition, White Rose For Heidi,  Treasures of the Spirit is quite simply, a masterpiece. Fittingly, the cover art is a custom original rendering of that very white rose painted by celebrated artist, Pierre Matisse, grandson of the renowned French master, Henri Matisse. The rich cover art, set against a Tiffany blue background, is striking, and serves as an appropriate foreshadowing of what awaits the listener.

Custom "White Rose" Olson

The soothing opening track is a fading, but soulful, snippet from White Rose For Heidi performed on his custom Olson guitar that bears a breathtaking white rose on the headstock. Like the Matisse cover art, the Olson is also a one of a kind work of art, but from one of the most revered master luthiers in the business, James Olson. The top choice of discerning players like James Taylor and Phil Keaggy, the waiting list for an Olson can be years, but this instrument was crafted with Doyle specifically in mind and promoted to the top of the waiting list just for him. That speaks volumes for Doyle as James Olson has little need for the endorsement of anyone these days.

After Doyle establishes a peaceful and reverent setting, he seamlessly transitions into a medley of Were You There and the triumphant Easter Song.  Performed on his Kirk Sand nylon stringed guitar, the latter emotes some of the finest classical tone as I've ever heard in a recording; performed flawlessly, Doyle delivers with a passion that cannot be denied. For me, it is a mountain top experience in terms of emotion, but the programming of the tracks have a way of maintaining the joy throughout the remainder of the album.

Eric Johnson with Doyle's Signature Guild
(Photo: doyledykes.com)

On Tracks three and four, Doyle returns to his Olson, and on the latter is joined by the legendary Eric Johnson on the original composition, Cuerdas de Luz. Translated, "strings of light," the collaboration is just that as it shines with the unmistakable, flawless tone from Eric Johnson's '54 Stratocaster. On a side note, the title of the album actually derives from Doyle's abiding friendship with Eric, as Eric personalized a copy of his acoustic album, EJ, that Doyle played on with the words, "To Doyle, You're such a treasured friend."  The profundity of the word "treasured" stayed with Doyle, and found its honored place in the album's title. Additionally, several of the album tracks were recorded at Eric's Saucer Sound and Studio Plush in Austin, TX.

Doyle with his Gretsch
White Falcon - Dec 2018

The fifth track is probably my next favorite moment on the album. For the soulful spiritual, Deep River, Doyle switches to his '55 re-issue, Gretsch White Falcon. Those unfamiliar with Doyle's mastery of different styles, and tones, might be tempted to think this piece is the work of another guest player, but it is signature Doyle through and through. Still, finding such an interchangeable ease and mastery with such strikingly different instruments as the Olson, Sand and Gretsch, is a marvel to most guitar players. On the selection of the tune, Doyle expressed his deep appreciation for the history of the song, and how its origin goes back to the profound faith of those who shouldered unimaginable burdens during their time...this appreciation is not lost on the listener.

From here, the album takes several nostalgic trips with new covers of previously recorded songs. Each done with a maturity in the arrangements that can come only with the years of having performed them in front of countless audiences around the globe. Among those re-visits is the complete performance of, White Rose For Heidi. There is touch of melancholy, or maybe better stated, sentimental joy about it that wasn't  present in the earlier recording. I could be wrong, but I sense the change perhaps reflects the passing of time, and the joyful, but perhaps a bit wistful, look at those days gone by. The song and the story that inspired it has blessed, and continues to bless, so many. It has gone full circle with Doyle in several ways, and I think takes on a sense of love and gratitude not unlike that of an old friend. 

Among the gems in the middle, so to speak, is the hymn, I Bowed on My Knees, and Cried Holy, Nearer My God To Thee, and Blessed Assurance. Each of these are what I referred to as heaven centered hymns as they point to another time, and place of peace, perfection and awe. Doyle acknowledged the observation, and said that it was possibly a subliminal factor in his choice of songs. He then went on to explain how some losses and life events have had a way of finding expression in his art. For me, this speaks of his joy that is independent of his circumstances...a common theme for anyone with a testimony to God's faithfulness, and that is something that Doyle knows so well.

Tommy Emmanuel
(Photo: Live Sessions:
People, Places and Pickin')

As the album starts to approach a landing, Doyle shares a remarkable moment with the Australian wonder, Tommy Emmanuel, on What a Friend We Have in Jesus. Doyle is playing his Taylor on this one, and Tommy just does what he does so well finding accent after accent to add to Doyle's cascading harmonics and piano-like chording movements. A little studio chatter is included to let the listener share a little in the intimate experience.

The final full track on the album is a gorgeous arrangement of the Antonin Dvorak inspired, Going Home. It was performed on Doyle's Godin Signature Model guitar, and to me at least, serves to firmly establish the heaven minded theme that I feel throughout the album...a reminder that this world is not our home. That is actually a good thing to ponder as we store up our treasure during this life. The earthly treasures we amass here will return to earth, but the treasures of the spirit...those we take with with us. It reminds me of a line from the Grandpa Jones medley that I've heard Doyle sing many times: "When you leave this earth for a better home some day; the only thing you'll take is what you gave away." Thanks Doyle for sharing your treasure with us...You are a treasure.

Follow the link to order your copy today: Treasures of the Spirit