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Plaehn spices his own album with pocket-piano workouts -- "Stranger Blues" strips it all down to one man and his troubled mind -- but "Amos Got Soul" rides a more contemporary pulse or, more accurately, MIDI keyboards, through 12 diverse tales of darkness and delight. When I ask if there's any significance to that title, Plaehn replies, "It was one of those stream-of-consciousness events. It doesn't have any meaning, although it sort of means something in the context of the (title) song" --which, incidentally, is a lovely number that evades interpretation thanks to such lines as "I wrote myself a letter that nobody's seen / It doesn't make any sense, but I know what it means."

"Amos" is rife with sonic surprises, highlighted by the Echoplex (tape delay)-laden shadows of "Hold My Tears," co-carved by Walk the Plank; the sunsplashed "Doodle Li," featuring saxophone by the late Stuart Curtis, in whose memory the disc is dedicated; and a pair of shots with longtime Plaehn-Hino partner Jeff Hino in "The Woman I Left Behind" and the toe-tappin' "Harp Stomp II." Creighton Lindsay drops in with electric mandolin on "Praise [sic] Jesus" and bottle-bottom peals in "Pickin' Up the Pieces" (though his playful wolf-curl does lighten the mood).

From "Lindsay & Plaehn"

Cory Frye

The E, Corvallis Gazette Times, May 23, 2013

Dave Plaehn: Amos Got Soul

Inter-/Re-view with Cory Frye/Corvallis Gazette Times

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