From singing the National Anthem for the final game of the season for Los Angeles Galaxy to performing Vibe 2009 in Dublin, this Irish singer/songwriter/musician is taking his art very seriously and leaving road kill of naysayers in his path.
Should you get on Paul Toal’s bandwagon? I’ve hitched my trailer, and like his fans (Myspacers and Dubliners), we all have so much to look forward to.
Paul Toal is not only talented, but he also has what critics would call the total package. This
musician plays bass, guitar, sings, and writes songs. He was introduced to record producer Rich Mouser and started a collaborative effort of songwriting and music production. Mouser is known for taking independent artists and developing their true potential. Well, once again, Paul Toal’s true potential was revealed with his self-titled debut EP.
“I never planned to be a solo artist but sometimes the best things aren’t planned.” –Paul Toal–
You have put together a really beautiful body of work. Why don’t you tell me what inspired you to do this.
It came about in a lot of different ways. It wasn’t my original idea to come over, when I originally came to Los Angeles to do my solo record. But the friends I got together with—Rich Mouser being one and Jimmy Coup (formerly with Andrew W.K.) being the other, the original plan was to come over and do studio work and audition for certain bands. I did do the auditions and was offered a couple of things, but they just didn’t really seem right. When the opportunity came up for me to do my own piece, I just grabbed it with both hands.
So this is your first solo EP? Tell me about your music.
Yes, a 5-track EP. I’ve always listened to blues and rock, and I’ve always been attracted to and drawn to commercial music. I don’t like to use the word pop too much, but commercial, as it appeals to a vast array of people . . . which I suppose really is pop essentially. I wouldn’t like to alienate anybody. The sole reason the songs were out, even what the themes originally were at the start when we were writing . . . when we finished, those themes became universal. And that was very important to me that it wasn’t one particular story. [A variety of interpretations] So in essence more people can listen and appreciate it. It’s not from a point of view of selling records. I just want more people to be able to enjoy it. As we got deeper into the writing, that became a big goal.
What are your songs about?
“Go,” the ballad, the original theme on that was leaving something. “Job Ain’t Done” is a story about me coming from Ireland and moving west to America. I’m telling myself let’s keep going. The job’s not done. The song “Never Be the Same” has the opening lyric, “Sometimes in this crazy life, one moment changes everything.” We tried to do it [the EP] from a positive view. For instance, I came over [from Ireland] not to do a solo record; then I meet some people and everything changes. The second song is called “Where You Belong.” That track wrote itself. It’s the ascension of your soul going to another place. For me it’s about going to heaven, but it can be more universal. “New World,” Rich [Mouser] started the lyrics on that one. It’s about taking a step and making things better for yourself. I believe that positive thinking can make anybody do anything they want. If you want to believe in something, you can make things happen for the better. The songs are pretty much positive songs. “Go,” the last one, could be described as a sad song, but there is definitely a positive message in there, too.
Could you tell me one or two experiences that could define a pivotal moment during your recording process?
There were a couple of different moments. When originally Jimmy [Coup] and I did the demos for the start of the project and we first sat down with Rich officially. We were discussing the songs and how to improve the songs. They really took shape quickly. We were three people who worked well together, but we didn’t know we did. Jimmy and Rich had worked together before, but I had never worked with Rich, and it was pretty exciting. We ruled out seven songs. We pinpointed songs which could definitely make. “Where You Belong” was straight in. For me, the first guy to come in and actually play, Josh Freese (Nine Inch Nails, Daughtry) came in and laid down the drum tracks. He’s someone I admired for a long time. He was so professional, an amazing drummer. When he started playing, I went “Okay, this is really happening.” We laid everything on top of what he did. Those two were big moments for me.
So this is literally the first solo project. Was it what you had expected?
Absolutely way beyond what I had expected—even when we started the project. When I first did the demos, when I first talked to Rich, and we started putting the songs together, even when we knew which five songs were going on it. It’s still way better. I’m not saying I didn’t have high expectation; it’s over and beyond. I’m already excited about trying to beat them, which is a scary task. I had really cool people come on board.
How did you know that you wanted to be a performer like this?
I actually didn’t. I learned guitar when I was 14, later joined a couple of bands playing guitar. Never sang, no backup vocals, never even hummed a tune. And a guitar player friend of mine wanted to do a demo. I was 20 at the time. He needed a bass player. So I helped him out. He was still searching for a singer, and I said I’d give it a go. So that was the first time I sang and played the bass, which was the first time I ever picked up a bass. It was very beneficial for me. It’s worked out for recording because I have a good rhythm. I usually land on the beat. But that’s from the bass playing. I can’t really take credit for that.
That’s a huge advantage over a lot of singers.
Yes, at the time I had no idea how significant it was or how difficult it can be. Over the years in Dublin I played in three-piece bands where I played bass and sang, and it really helped my vocals for timing. It’s a good talent to have to do both. Often bass and vocals are not the same, so it’s like your body having two different beats going on at the same time.
Was it a big deal to come over here from Ireland?
It never crossed my mind to move to America. It never crossed my mind to move to England. I was quite happy living in Ireland. I was what we call in Ireland a home bird. I was very happy living there doing my few gigs. Then the opportunity arose where a studio contacted me to come over here and do some work for them. I thought it was too good an opportunity to turn down. Once I landed it was fine. I thought I would have been more homesick, but I wasn’t at all.
You have done something that a lot of independent artists are striving for, and that’s to get a good recording. Is there any advice you’d like to give?
There is one thing that has been fairly constant throughout the whole process. With anyone you get involved with, try to get a feel for the person yourself. Also, if you feel you can trust them and you feel comfortable in their presence, let them also give back to you before you go, “Okay, you’re the one.” I felt comfortable around Jimmy and Rich, but they also followed through.
What’s the difference between the music scene in Los Angeles and Dublin?
It’s a huge difference. In LA there’s very much an acceptance and a want for original music from artists and performers. Be it in a local bar, on the street, or on the biggest of stages. In Dublin, when people go out to hear a band, they want to hear songs they know. Sometimes when an Irish band goes away and has a little bit of success and comes back, that’s cool. But it’s a lot more difficult to build yourself in Ireland and then spread your wings. There are a lot of bands who did that. Like U2—their big moment was at Live Aid—the Cranberrys made it big in America and came back. They had no hits in Ireland at first.
Currently, Paul Toal resides in Dublin Ireland, where he is performing his EP and recording new material. To learn more about Paul Toal and to purchase his music, visit www.myspace.com/Paultoal.
It came about in a lot of different ways. It wasn’t my original idea to come over, when I originally came to Los Angeles to do my solo record. But the friends I got together with—Rich Mouser being one and Jimmy Coup (formerly with Andrew W.K.) being the other, the original plan was to come over and do studio work and audition for certain bands. I did do the auditions and was offered a couple of things, but they just didn’t really seem right. When the opportunity came up for me to do my own piece, I just grabbed it with both hands.
Yes, a 5-track EP. I’ve always listened to blues and rock, and I’ve always been attracted to and drawn to commercial music. I don’t like to use the word pop too much, but commercial, as it appeals to a vast array of people . . . which I suppose really is pop essentially. I wouldn’t like to alienate anybody. The sole reason the songs were out, even what the themes originally were at the start when we were writing . . . when we finished, those themes became universal. And that was very important to me that it wasn’t one particular story. [A variety of interpretations] So in essence more people can listen and appreciate it. It’s not from a point of view of selling records. I just want more people to be able to enjoy it. As we got deeper into the writing, that became a big goal. 
“Go,” the ballad, the original theme on that was leaving something. “Job Ain’t Done” is a story about me coming from Ireland and moving west to America. I’m telling myself let’s keep going. The job’s not done. The song “Never Be the Same” has the opening lyric, “Sometimes in this crazy life, one moment changes everything.” We tried to do it [the EP] from a positive view. For instance, I came over [from Ireland] not to do a solo record; then I meet some people and everything changes. The second song is called “Where You Belong.” That track wrote itself. It’s the ascension of your soul going to another place. For me it’s about going to heaven, but it can be more universal. “New World,” Rich [Mouser] started the lyrics on that one. It’s about taking a step and making things better for yourself. I believe that positive thinking can make anybody do anything they want. If you want to believe in something, you can make things happen for the better. The songs are pretty much positive songs. “Go,” the last one, could be described as a sad song, but there is definitely a positive message in there, too.
There were a couple of different moments. When originally Jimmy [Coup] and I did the demos for the start of the project and we first sat down with Rich officially. We were discussing the songs and how to improve the songs. They really took shape quickly. We were three people who worked well together, but we didn’t know we did. Jimmy and Rich had worked together before, but I had never worked with Rich, and it was pretty exciting. We ruled out seven songs. We pinpointed songs which could definitely make. “Where You Belong” was straight in. For me, the first guy to come in and actually play, Josh Freese (Nine Inch Nails, Daughtry) came in and laid down the drum tracks. He’s someone I admired for a long time. He was so professional, an amazing drummer. When he started playing, I went “Okay, this is really happening.” We laid everything on top of what he did. Those two were big moments for me.
Absolutely way beyond what I had expected—even when we started the project. When I first did the demos, when I first talked to Rich, and we started putting the songs together, even when we knew which five songs were going on it. It’s still way better. I’m not saying I didn’t have high expectation; it’s over and beyond. I’m already excited about trying to beat them, which is a scary task. I had really cool people come on board.
Yes, at the time I had no idea how significant it was or how difficult it can be. Over the years in Dublin I played in three-piece bands where I played bass and sang, and it really helped my vocals for timing. It’s a good talent to have to do both. Often bass and vocals are not the same, so it’s like your body having two different beats going on at the same time.
You have done something that a lot of independent artists are striving for, and that’s to get a good recording. Is there any advice you’d like to give?
It’s a huge difference. In LA there’s very much an acceptance and a want for original music from artists and performers. Be it in a local bar, on the street, or on the biggest of stages. In Dublin, when people go out to hear a band, they want to hear songs they know. Sometimes when an Irish band goes away and has a little bit of success and comes back, that’s cool. But it’s a lot more difficult to build yourself in Ireland and then spread your wings. There are a lot of bands who did that. Like U2—their big moment was at Live Aid—the Cranberrys made it big in America and came back. They had no hits in Ireland at first.