MR. PLOW – NOT THE BEGINNING, NOT THE END
2014 – Pinkbox
I remember reviewing Mr. Plow’s previous album, ‘Joyful in song are we,’ and giving that recording four stars thanks to the quality of the music, the appealingly sparse instrumentation and the power of the deep dark lyrics and vocals. What gave it a little leg up from simply being a depressing album was that the darkness stopped just a little short of caricaturing itself and the feeling that, whilst not trying to parody dark murder ballads, he was actually adding something of an update to the genre and including an occasional, if slight, tinge of humour. Nothing that really detracted from the darkness but just the occasional twist that allowed a glimpse of something other than a bottomless deep dark well of depression! It is probably unsurprising to anyone familiar with Mr. Plows music to be told that not too much has changed. In some albums this would be a definite drawback but because of his slight variations in tempos and guitar sounds and the fact that there are still further depths of darkness to be explored I for one have no complaints about him staying with what he is good
It strikes me, after numerous listening sessions, that the music of Mr. Plow is in four parts. There is the dark lyrics, his dark often monotonous, (if containing a Cash like melodicism) vocal tone, the sparse beautifully arranged sound and the incredibly melodic guitar playing that is sometimes beautifully twangy, at others raw and driving, but always powerful and as noticeable as any of the other three elements. His vocals are in a similar vein to the late great Johnny Cash, not matching his power (nobody can) but he matches the ‘man in black’ for intensity and believability. That is part of the beauty of a Mr. Plow album, the dark monotonous but somehow melodic vocals contrast with the gorgeous melodic twang of the guitar sound, whether his own electric, or the steel guitar. Perhaps it is that sometimes deep dark monotone of his voice that gives the lyrics their power and enables the listener to concentrate on the content, rather than being sidetracked by any vocal gymnastics. There is a powerful poeticism to many of the lyrics, another element that adds to this memorable album that is cloaked in darkness but always highly listenable and whilst almost parodying the genre, where he is clever is in avoiding plunging over the border into parody.
The Band lineup is Mr Plow on vocals, percussion and guitars, Sarah Bird, additional vocals and John Shacklock on pedal steel. All songs were written by Mr. Plow and are an exercise in very clever and nearly always very dark lyricism. Most of the guitar sound has a beautiful melodicism, adding more appeal to the album and contrasting with the dark vocal and lyrics, but conversely enhancing the darkness; beauty and the beast maybe! Certainly this album has a little light, although not much. Even Sarah’s lovely if sparing vocals have a haunting element to them, whilst the guitar sound is often what injects a little light into proceedings but this is often suppressed by the lyrical and vocal darkness. Perhaps it is the miniscule tongue in check element that crops up occasionally that ensures the album, whilst not uplifting, is not a depressing listen
The songs range from slow dark murder ballads, an occasional rockabilly feel, even old time ‘country and western, although none of the songs could be said to fall within those categories, instead sounding only like Mr. Plow but with just a nod to those probable influences. Dwight’s Roadside Grave is an intensely dramatic tale lifted by the beauty of the steel guitar on a slow moody dark murder ballad, although perhaps the victim got his just desserts on this incredibly detailed almost epic story. Jesus Loves Monster Trucks is an excellent mid tempo song aptly described by it’s title, with an excellent drum sound underpinning everything, plus clanging guitar and Sarah Bird’s vocals adding a little variation to the song. Cotton Gin Babies is a beautiful song with it’s melodic twangy guitar, on a dark thought provoking story. As with virtually every song on the album he is not content to just make a point, instead choosing to explain every detail of the darkness that he writes about, in this case child labour, a tale as relevant now in some parts of the world as it was in the past nearer home. Colombian Cowboy’s Roundup Time has an easy loping old ‘country and western’ sound that evokes many of the old cowboy movies, with beautiful chiming steel guitar added, but lyrically it is an incredibly dark modern day tale of someone working in the cocaine smuggling business. As is often the case with Mr. Plow the easy musical tone and the power of the lyrics clash, giving the song more impact and removing any predictability. Final mention goes to The Children And The River, a story song that contains a lovely swampy bluesy guitar sound alongside some excellent drumming on an intensely sad, dramatic story tale of loss and the dramatic variations in the qualities and the power ‘of the river.’
Whilst not uplifting, this recording is, despite the darkness of the lyrics, far from depressing. In many ways it is a tremendous album to just lay back and let the beauty of the music wash over you with the overall slow moodiness of the music lulling the listener into a relaxed mood despite the intense dramas being carried out in the lyrics! Conversely you can concentrate more on the lyrics, in which case relaxation will be difficult but the rewards will still be there on this excellent multi faceted album.
http://www.mrplowsplace.co.uk/
I remember reviewing Mr. Plow’s previous album, ‘Joyful in song are we,’ and giving that recording four stars thanks to the quality of the music, the appealingly sparse instrumentation and the power of the deep dark lyrics and vocals. What gave it a little leg up from simply being a depressing album was that the darkness stopped just a little short of caricaturing itself and the feeling that, whilst not trying to parody dark murder ballads, he was actually adding something of an update to the genre and including an occasional, if slight, tinge of humour. Nothing that really detracted from the darkness but just the occasional twist that allowed a glimpse of something other than a bottomless deep dark well of depression! It is probably unsurprising to anyone familiar with Mr. Plows music to be told that not too much has changed. In some albums this would be a definite drawback but because of his slight variations in tempos and guitar sounds and the fact that there are still further depths of darkness to be explored I for one have no complaints about him staying with what he is good
It strikes me, after numerous listening sessions, that the music of Mr. Plow is in four parts. There is the dark lyrics, his dark often monotonous, (if containing a Cash like melodicism) vocal tone, the sparse beautifully arranged sound and the incredibly melodic guitar playing that is sometimes beautifully twangy, at others raw and driving, but always powerful and as noticeable as any of the other three elements. His vocals are in a similar vein to the late great Johnny Cash, not matching his power (nobody can) but he matches the ‘man in black’ for intensity and believability. That is part of the beauty of a Mr. Plow album, the dark monotonous but somehow melodic vocals contrast with the gorgeous melodic twang of the guitar sound, whether his own electric, or the steel guitar. Perhaps it is that sometimes deep dark monotone of his voice that gives the lyrics their power and enables the listener to concentrate on the content, rather than being sidetracked by any vocal gymnastics. There is a powerful poeticism to many of the lyrics, another element that adds to this memorable album that is cloaked in darkness but always highly listenable and whilst almost parodying the genre, where he is clever is in avoiding plunging over the border into parody.
The Band lineup is Mr Plow on vocals, percussion and guitars, Sarah Bird, additional vocals and John Shacklock on pedal steel. All songs were written by Mr. Plow and are an exercise in very clever and nearly always very dark lyricism. Most of the guitar sound has a beautiful melodicism, adding more appeal to the album and contrasting with the dark vocal and lyrics, but conversely enhancing the darkness; beauty and the beast maybe! Certainly this album has a little light, although not much. Even Sarah’s lovely if sparing vocals have a haunting element to them, whilst the guitar sound is often what injects a little light into proceedings but this is often suppressed by the lyrical and vocal darkness. Perhaps it is the miniscule tongue in check element that crops up occasionally that ensures the album, whilst not uplifting, is not a depressing listen
The songs range from slow dark murder ballads, an occasional rockabilly feel, even old time ‘country and western, although none of the songs could be said to fall within those categories, instead sounding only like Mr. Plow but with just a nod to those probable influences. Dwight’s Roadside Grave is an intensely dramatic tale lifted by the beauty of the steel guitar on a slow moody dark murder ballad, although perhaps the victim got his just desserts on this incredibly detailed almost epic story. Jesus Loves Monster Trucks is an excellent mid tempo song aptly described by it’s title, with an excellent drum sound underpinning everything, plus clanging guitar and Sarah Bird’s vocals adding a little variation to the song. Cotton Gin Babies is a beautiful song with it’s melodic twangy guitar, on a dark thought provoking story. As with virtually every song on the album he is not content to just make a point, instead choosing to explain every detail of the darkness that he writes about, in this case child labour, a tale as relevant now in some parts of the world as it was in the past nearer home. Colombian Cowboy’s Roundup Time has an easy loping old ‘country and western’ sound that evokes many of the old cowboy movies, with beautiful chiming steel guitar added, but lyrically it is an incredibly dark modern day tale of someone working in the cocaine smuggling business. As is often the case with Mr. Plow the easy musical tone and the power of the lyrics clash, giving the song more impact and removing any predictability. Final mention goes to The Children And The River, a story song that contains a lovely swampy bluesy guitar sound alongside some excellent drumming on an intensely sad, dramatic story tale of loss and the dramatic variations in the qualities and the power ‘of the river.’
Whilst not uplifting, this recording is, despite the darkness of the lyrics, far from depressing. In many ways it is a tremendous album to just lay back and let the beauty of the music wash over you with the overall slow moodiness of the music lulling the listener into a relaxed mood despite the intense dramas being carried out in the lyrics! Conversely you can concentrate more on the lyrics, in which case relaxation will be difficult but the rewards will still be there on this excellent multi faceted album.
http://www.mrplowsplace.co.uk/