What would possess someone to attempt a solo guitar CD of Beatles tunes? We already have the superlative arrangements and flawless playing of Laurence Juber on LJ Plays the Beatles; Stephen Bennett's magnificent versions with his equally wonderful array of guitars; Tommy Emmanuel's Beatles medleys that leave audiences gasping in amazement nightly; plus the wonderful arrangements of individual songs by Chet Atkins, John Knowles, Craig Dobbins, and on and on. So why another?
I suppose it is because Bob Evans has such a strong rapport and - yes - love for these songs, as well as the ear to create fresh and original arrangements of them and the razor-sharp technique to pull them off effortlessly. As Evans himself says in the modest notes that accompany this wonderful CD, this is no tribute or homage to Lennon & McCartney, but a celebration of some great songs - and what a party it is!
Much as those of us whose hair is either grey or gone might wish to forget, the last of these songs was recorded 40 years ago, and these are certainly modern 'standards'. Like any standard, their quality goes unquestioned, and it is up to the artist to give us a worthy interpretation.
Evans starts his task off with the perennial favourite of acoustic guitarists, Blackbird. Although it starts off like the original, this bird soon takes wing into jazzy little flights of fancy. A very nice version that keeps the main guitar parts intact while never losing track of the melody, Evans gives it a solid, sometimes satisfyingly surprising support from the lower strings.
Older, more folk-inclined listeners might wonder what Anji is doing on a Beatles CD, but this is revealed as a surprise introduction to All My Loving. A bit of a jarring intro perhaps, but Evans works it in so delightfully between the verses that it makes sense in retrospect. Well, sorta. You do have to love this folk-jazz arrangement and that great walking bass!
And then, yet another beautiful arrangement of Norwegian Wood! It must be the year for this song (see Adam Rafferty's stunning arrangement on Gratitude). Evans keeps the tempo up, and the accompaniment flowing along with a nice moving bass. (I've played enough bass to really appreciate a guitarist who has the feel for it.) And that ending! Besides being a blast of fun, it hints at things to come.
Then Help!, played as a tender ballad. I hear this as another indicator that Mr. Evans' taste is dead-on as his notes make no mention of the actual genesis of this song, which is perhaps not a widely-known story. John Lennon actually wrote the song as a slow, reflective ballad - a true "cry for help" as he called it - but as with Please, Please Me before it, the production decision was made to speed it up to make it more commercial. Here you have the "what might have been version", played at a tempo very similar to one that Lennon plays it at on a bootleg recording that is in somewhat limited circulation (from the Lost Lennon Tapes).
We are back to the party with I Feel Fine. Evans takes full advantage of the opportunity to show his terrific command of touch on the guitar. Each note seems to get its own feel in this magnificent rendition. This is the technique that surely helped to win Bob Evans the U.S. National Fingerstyle Guitar Championship in what is generally considered the most prestigious such competition, held in Winfield, Kansas. Bob won in 2003, and from the sound of it, he's only gotten better.
I'm pretty familiar with different ways of tuning the guitar, but I have to admit that Ticket to Ride had me going to the notes to see if he'd snuck in a 12-string here. But no, this is the sound of open-C tuning in the hands of a master. It's such a full arrangement you can be excused if you fail to notice that the signature riff is left out entirely! Hey, it's a nice song on its own.
Rain is a simple song that is very difficult to play. The problem is that it is basically a simple song awash in the psychedelia of backward and slowed down tapes (the Beatles actually played it a fair bit faster(!) and then slowed the tape down to give it that sound - listen to that bass and imagine the true speed.) How is a solo guitar to play this song without it sounding too simple? There is Laurence Juber's approach in his Rain-Rainstorm, where a literal storm is unleashed on a ferocious performance. And now there is Bob Evans' version, opting for a more subtle suggestion of the psychedelia of the era, with his mysterious opening, insistent chords, and swooping bass.
In his notes to And I Love Her, Mr. Evans states that he tries to capture the spirit of the song. He sure does, along with most of the instruments. A fine version of one of Paul McCartney's great ballads. (And yes guitarists, he does include the sudden modulation at the lead break.)
Things We Said Today was one of those that had me waiting for the melody to hear just what song it was, but it came as a pleasant surprise. The driving bass keeps this whole arrangement on its toes, and listening to it might get you on yours - it begs you to get up and dance to it.
You Can't Do That is another that had me checking the tuning because it sounds uncannily like the actual 12-string opening, but no, that's open-G tuning. Here's yet another swinging arrangement that makes me wonder if Mr. Evans isn't a closet bass player. He sure comes up with some great bass lines. And some funny endings!
A very nice surprise is You've Got To Hide Your Love Away. We don't hear this song often, and it is great to hear how well it translates to solo guitar. Again, open-C provides a lush sound that Evans makes the most of in the chorus, but mutes nicely in the verses, to perfect effect.
After 11 wonderful solo guitar songs, we get to the piece de resistance, the one VOCAL selection on this CD - She's a Woman. If you didn't know, this song would tip you off that Bob Evans has done a fair bit of singing in his musical career. Besides showcasing his strong vocal skills, this version exhibits the humour and virtuosity that Bob brings to his concerts. Try to count the number of quotes from different Beatles songs he sneaks into the background! He even gives us a valuable spelling lesson! Good value for your musical dollar.
I've seen Bob Evans in concert twice: once in a small venue in Toronto where he absolutely charmed the audience, and once at the Chet Atkins Appreciation Society in Nashville, where he blew away a room full of hardened guitar-pickers. I have to say that the quality of the arrangements and the playing, not to mention the singing, on this CD came as no surprise to me. So why have you not heard of him already? I would have to say that he is Western Canada's greatest kept secret (well, musically speaking). At least he is highly respected at home, where this CD has been nominated for Outstanding Instrumental Album at this year’s Western Canadian Music Awards.
To sum up: This is a refreshing and fun set of truly great songs played with a great sense of humour and impeccable technique by a true master of the guitar. Bob Evans has a quick witted sense of fun that could only be based in a warm love for the music and endless hours of playing these tunes to evolve this inspiring set of arrangements. There are few ways to get this much fun for this little money. Buy the CD!
Buy it here: http://www.bobevansguitar.com/?p=667
And good luck at the Western Canadian Music Awards Bob! (Next year, the Grammies!)