Is a monster standout track a curse or a magnet? If Van Plating passed through your listening sphere in a fleeting moment, the absolute guarantee is that you would be left with a song succulent enough to make you drool. The wise decision would bite deep into this autobiographical gem and savour something dressed from head to toe in gut pouring Americana. Umpteen plays into ORANGE BLOSSOM CHILD sees ten sterling tracks forever playing catch up behind a song leaving a far marker potentially out of sight. Some may tail off in the chase, but those hanging in will fill a space with an octane-pumping album that captures the drive of an emotive singular pursuit.
This album is stamped in Florida from first beat to final lyric. The summit is scaled third track in when two Floridians team up to send listeners into a retro tailspin with the monumentally impressive 'The Heron'. The esteemed Elizabeth Cook joins Van Plating on a megaton of a track bequeathed with spirit, steel and a spine tingling chorus melody for the ages. We are awash with references to Seminole land, Suwannee River, bluegrass, banjo strings and heaps more evocative recollections of growing up in the land of oranges. We get a huge clue in the title to what Van Plating grew up as and this magnet of a song goes a long way to summing the whole record up.
This project redefines personal drive and intensity. All eleven tracks are written by Plating who decided the best route to get the songs out was to invite eight artists to collaborate with and thus invite the up front credit. Producing and engineering the album, as well, assumes total control which seems fit when its's your story being told. Of the three tracks without an up front credit, it is unsurprising that Plating kicks off solo with the title track. 'Orange Blossom Child' is an autobiographical blast off pulling stuff into the open including wise words from momma. We know the starting point and it does pan out as representative.
Eyebrows are raised at the second title 'They're Going to Kill You Anyway' which tempts you to dive into the lyrics. On the outside, the track hones in on the husky vocals and the subtle planting of fiddle in the driving seat of a rock set up in a hard hitting rip roaring sound. The collaborators are The Damn Quails, one of several choices that may be unknown to overseas audiences. In fairness, Van Plating is a likely a new name to many and there is a lengthy hiatus from recording when delving into her music career.
One recognisable name is Reckless Kelly who help out on 'The Hard Way'. Steel is detected in the background of this track that peddles 'hard' without really getting in touching distance of the impact generated from other servings. Things get quieter when Plating teams up with Kirby Brown for 'Hole in My Chest/Big Feelings' showcasing the huskier tones to the vocals and implication that things are deeper and more intense in the content. 'Big Time Small Shot' is an addictive story song that draws attention to comparisons with artists like the aforementioned Elizabeth Cook and in minor quarters some early Lucinda Williams. Here a band called Boys Club for Girls are featured.
'Jesus Saved Me on the Radio' featuring Crystal Bowesox is the most curious track on the record. It almost doubles up as the younger sibling of 'The Heron' in sound and borrowed melody albeit on a different plane. An experimental sense comes across as once again the listener is tossed carefree into the back story of an artist ceding to the yearn of telling their story.
Ultimately, leading the pursuit of the runaway track is upbeat blues rocker 'The Sugar Palm Club'. The vibes from this number seemingly complete the jigsaw of the roots input as we have already sampled country, folk, bluegrass and straight up rock 'n' roll. Shelby Lee Lowe lends the vocals in duet mode and creates a different feel by leading off solo. A somewhat unexpected move when first listening to what is perceived to be a personally driven album.
Collaborations fizzle out as we head into the final throes of an album that shimmies with depth. 'Zion is a Woman' reverts to Plating alone in the credits and is one of the more left field offerings with a slightly swirling vocal style being circled by violin parts. All this instrument's parts are played by Plating who also adds guitars, piano and percussion to unveil a multi-instrumental bow to an armoury that begins with songwriting and singing the fruits of the pen. 'Joel Called the Ravens' is joined on the credits by Ottoman Turks and creates a wave in the penultimate slot. As per the theme, Florida references crop up as another story bounces from memory bank to record many years later.
We end as we begin. Van Plating deciding against collaboration and bringing violin to the fore to tell the tale. 'Joshua' in one of the album's tenderer moments. Like so much preceding it, the voice aches with gut wrenching qualities and being drawn into the web of an immersive story is no bad place to be when Americana music is fuelled by the soul of the song.
ORANGE BLOSSOM CHILD bristles with uniqueness. The multitude of named collaborators juxtaposes against the reality that one person owns the show. Van Plating is unafraid of digging deep and personal, cushioned by the fact that all the faculties of making a pulsating album are intact. Mindy you, many listens just edges the standout track further into the distance. Eventually it does define the record. That may not be a bad a thing and each ear lured may wander down Florida's tracks to take in what else Van Plating has to say.