Mike Evin - Something Stirs When You Sing (2024) Hi-Res

It’s been a long time since I heard a piano troubadour with lavish little melodies. Years ago, Elton John was an example, as Billy Joel & Phillip Goodhand-Tait also. But with Toronto-based Mike Evin’s (piano/acoustic guitar/handclaps) friendly vocal approach along the lines of the late Andrew Gold (“Lonely Boy”) with a smattering of Gerry Rafferty musicality & Bruce McPherson (“I Believe”) spare imaginative vocal & songwriting. It has to be appreciated.

Evin consistently lays out satisfying songs beginning with “Outside With a Guitar,” & “The Ham In You.” A sample of the 10 delicate movements on Something Stirs When You Sing produced by Chris Stringer (percussion/handclaps).

There’s nothing new being revealed but because this type of showcase is so rare today it sounds inviting & timely. Some songs will remind older listeners of the late Harry Nilsson (though Mike doesn’t have his sarcastic humor, yet). Mike’s a bit nostalgic vocally & his piano approach will also open up the dusty trunk of 45s that hide Gilbert O’Sullivan (“Alone Again, Naturally”) & the more serious material of Neil Sedaka (“Solitaire,” “The Hungry Years”).

Few songs on this are commercially driven or mainstream-shaped. They’re more in the tradition of a modern-day easy-listening pop structure once catered to by the likes of George Gershwin, Cole Porter & Hoagy Carmichael. The songs (“Dancing To Sir Duke”) are arranged tightly & adorned with wonderful instrumentation & backup vocals.

Mr. Evin understands the songwriting alchemy of the past (“I Almost Called You Babe”) & his light-hearted melodies if rearranged can even be interpreted by a jazz singer. It’s a tradition in songwriting that even The Beatles’ Paul McCartney dabbled with on songs like “When I’m 64” & “Here, There & Everywhere.”

What makes Mike’s songs ripple is his diversified ability as a craftsman. He sings about topics not evident in other artists’ material. “No Carnival” could’ve been a Tom Waits ballad if it were sung with a coarser voice. But here, it’s sadder because of Mike’s bright singing — it sounds like bad news from a trusted voice.

“Middle of the War,” while not a song The Beatles would’ve done does sound like their production-arrangement value with George Martin. Quite an impressive serious song. Maybe a group in the 70s like Stackridge would’ve done this. The cascading notes of the piano on the short “Along the Way” are alluring. The Beatle-like backup vocals elevate the tune decoratively.