Mark Bishop Evans latest CD Something’ ‘Bout Tomorrow is chock-full of good songs. More importantly, his inclusion of driving rock to round out his tender singer-songwriter ballads results in a well rounded disc as well as one rounded out by fine songwriting, fine vocals, and fine musicianship.
The assertive, barn burning title track opens this album with a persistent push forward. Evans’ raw, raspy vocal is self-restrained. The accompaniment beneath his voice features a rippling lead guitar and a gritty banjo. The rhythm pumps out a forceful groove for the melodic instruments to romp over. the banjo over a bass line being a particular keen partnership. Evan’s anthem like approach at the vocals guides this steady march with a swaggering cool.
Moving into “Liza Liza,” Evans conjures an eerie, forlorn vibe with his seriously deadpan vocal. He expresses deep longing for the song’s title character as acoustic string instruments tenderly nudge things along with a melancholy sweep. Gentle acoustic notes fall like sullen raindrops as a slide guitar extends the emotions here with juicy notes and a freedom of motion. This one sets the scene, develops the story, and makes it feel deep and soulful.
“Touch In The Dark” is highlighted by a lilting fiddle melody, one that wafts through the tune with emotive underpinnings. Other acoustic notes strummed around it adorn that melody with ripples of feeling, a tapestry of longing and loss that this singer-songwriter makes you feel. His voice, self-restrained, is full of gentle expression, expression that finds a good home amidst all that instrumental tenderness.
An intriguing tune titled “Dance Gypsy Dance” makes one tap his toes to its sly percussive movements. Evans maintains the vibe with a slight foreboding in his timbre. A bouncy groove in the acoustic guitar and a colorful flair from a fiddle bring authenticity to this piece with its hints of 19th century traveling troubadours.
“Turtle Shell” offers some of the most sensitive musicianship on this disc. One can feel the emotion in every note played. Evans sings with a tender glow for all of the creatures who cannot defend themselves before, in a subtle way, he compares himself to those creatures after losing a love. His sympathetic vocal is a careful balance between message and emotion, keeping the entire emotive content moving within a meaningful cusp of motion.
Unfurling at a considerate pace, “Don’t Stop Your Dreams” touches the listener like a friendly tap on the shoulder. Evans, using his warm, thick timbre, coats the accompaniment with a tender blanket of warmth and support. His voice lands perfectly on the soundscape of acoustic instruments and carries the listener into his welcoming world of hope.
“Breakin’ Down” returns Evans to the rigorous swagger that begins this album. His assertive rasp gives this whole thing a nice rustic feeling. That gritty banjo and that feisty electric guitar return to spark things up with their perky, pushy notes. This one travels with a wagon train of heartiness and determination, and it’s a good showcase for Evan’s huskier timbre and for his harmony lines that are well fleshed out with backing vocals.
“4th Iron – Queen Of The Ball” finds Evans crooning with a respectful, reverent tone, showing a fine regard for his subject matter while offering a handsome vocal. His lilting vocal melody carries one through this piece with true assurance. He brings us into his story, and carries us through it with references to a person and a day gone by and makes it a place we enjoy visiting with him. His usual support from fiddle, acoustic guitar, and more fills in the space beneath his voice as they take the journey into yesteryear with him.
Evans cannot resist a chance to showcase his rock and roll side. He jumps into “Don’t You Think I Know” with a swift pounce. He calls out a dishonest partner with a sandpapery vocal that makes clear he means business. That he adapts so well to a more rock band format shows versatility and complexity. He croons over a fuzzy, smoldering lead guitar phrase like a man who is used to mingling with tough customers. He rocks out here with a clarity of voice and purpose, and the bonfire of musicianship beneath his voice gives him a challenge to meet and he does.
“Big Sir Lullaby” follows a puff of acoustic guitar strum, with Evans spreading his warm, considerate vocal over it. This song is a true lullaby as it lulls one into a comfortable, safe space to rest in. Evans’ lyrical descriptions are complete, with easeful feelings and idyllic images of rustic bliss. A slight shift in dynamics when the vocal seems to double give this piece even more lift, making the listener feel its sense of being suspended above a pleasant scene of towering red woods.
Close out track “A Laugh Or Two” leaves the listener with a warm reminder of this entire album. Ripples and rivulets of acoustic guitar notes carry this one along a welcome path. Evans is inviting further camaraderie, and he has the warm, tender tone in his rasp to make this feel real.
Evans has come up with a gem of an album. Balancing gritty rock and roll elements with his softer, singer-songwriter said has paid off well. Produced by EJ Ouellette at Whole Music Studios, the acoustic and electric notes percolate with clarity and freshness. Including musicians like multi-instrumentalist Ouellette, drummer Dave Mattacks, bassists Eric “Snake” Gulliksen and Shane Pender, and The Whole Soul Vocal Ensemble could only make things even better. Somethin’ ‘Bout Tomorrow will become a well respected work in the New England singer-songwriter community.
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