“Buffalo Blood” – Buffalo Blood

5 stars (out of 5)

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Humour me for a minute. Every so often, a piece of work like this comes along (it’s not just an album it’s a project, maybe even a concept) where every aspect and detail is absolutely perfect. The humouring bit concerns my particular slant on the project. MusicRiot’s gig team, The Riot Squad, are big fans of Dean Owens, the UK representative on the project, so forgive me if I spend a bit of time on Dean’s contribution. It’s fair to say that Dean’s solo material has a strong sense of location; he writes about the area and the people he knows, just like Ian Rankin and Irvine Welsh in their novels and short stories. It’s also fair to say that he’s always been willing to push the boundaries in his collaborations, spreading out into traditional Scottish folk ballads as Redwood Mountain with Amy Geddes, rockier material with his occasional band Deer Lake and his consistently excellent work with Will Kimbrough (more about that later).

Buffalo Blood is something else indeed. Dean teamed up with his Nashville friends and collaborators Neilson Hubbard, Audrey Spillman and Joshua Britt, along with sound engineer and photographer Jim DeMain to spend two weeks deep in the New Mexico desert feeling the forces of previous lives played out there while writing and recording  fifteen songs that tap into the echoes of centuries of betrayal, exploitation and alienation of the Native American peoples. And it’s not just the songs; there’s video and photography as well. The incredibly ambitious aim of the project is to immerse the listener in five hundred years of Native American experience. What’s truly incredible is that they actually succeeded. “Buffalo Blood” is an album that will entrance you, engage you and enrage you; maybe it will even make you take a serious look at the history of the indigenous peoples of the American continent. That’s what can happen when creative artists follow their instincts and beliefs and just create; I can’t imagine any of the major music providers bankrolling this project, but I believe “Buffalo Blood” has a real shot at commercial success; it’s that powerful.

The songs were recorded live outdoors in the desert, the wind and animal noises contributing to the feeling of immersion in an environment that retains echoes of centuries of struggle. The quality of the songwriting is consistently high across the album as Celtic, European and Native American influences combine to create a perfect musical backdrop for a message that is still relevant (Standing Rock ring any bells?).

The album has a narrative flow; it moves from the original contact with European settlers through time to the closing lament “Vanishing World”, which is perfectly suited to Dean Owens’ plaintive voice. This album is a classic, carrying a very potent message through the medium of haunting melodies and flawless performances; get it on your wishlist.

If you needed the album to be ground-breaking in any more ways, it’s the first UK release on the Eel Pie Records label and it’s available as a vinyl gatefold double album or digitally from Friday February 15 (EPRLP001)

Breaking news – Dean Owens won UK Song of the Year at the UK Americana Awards 2019 for the title track from his 2018 “Southern Wind” collaboration with Will Kimbrough. And that’s not the only good news from the Buffalo Blood camp; Neilson Hubbard produced “Southern Wind” and also Ben Glover’s “Shorebound” (UK Album of the Year winner) and “Rifles and Rosary Beads” for Mary Gauthier, who won International Artist of the Year and is up for a Grammy this year. Not a bad haul, and that’s before “Buffalo Blood” is released.

If you need any more recommendations for Buffalo Blood, try this: