“Southern Wind” – Dean Owens

5 stars (out of 5)

0

It’s about time we had a new album from Dean Owens, isn’t it? It’s been two and a half years since “Into the Sea”, not that he’s been resting on his considerable laurels, that’s not his style. He’s been involved in production, collaboration and loads of touring and somehow managed to fit the “Southern Wind” sessions in to the mix. Although the album’s released under Dean’s name, it’s fair to say that it’s more of a collaboration with his guitar-slinger of choice (and mine), Will Kimbrough. The musicians and production team are Dean’s regular Nashville crew and they all do the usual superb job, but the creative thread running through the centre is “Southern Wind” is the Owens/Kimbrough partnership.

They bonded over, among other things, a mutual love of Ronnie Lane and that’s the starting point for the album. “Last Song”, the album’s opener, wouldn’t feel out of place on any of the Faces albums with its loose rock feel and characteristic melodic basslines. It’s an homage and a tribute and it’s loads of fun; proof that Dean and Will can write an upbeat song (and it’s not the only one on the album).

Although the title track and “No Way Around It” have a slightly menacing Delta feel, “Southern Wind” still has very strong sense of time and place in twenty-first century Scotland and the stories of its inhabitants in difficult social and personal circumstances. “Elvis Was my Brother”, “When the Whisky’s not Enough” and “Bad News” all fit into this category, while “Famous Last Words” is a typical Dean Owens slant on the longest day of the year; that things can only get worse from here on in. Nights are fair drawin’ in, eh? “Anything Helps”, another Will Kimbrough co-write, fits neatly in to this little group with its Ronnie Lane solo era stylings and one of the album’s greatest lines ‘Took a swing at life and missed’.

There’s a place here for the intensely personal as well; the gorgeous “Madeira Street” looks back to more innocent times through a prism of grief and celebration, while “Louisville Lip” celebrates the life of Dean’s hero Muhammad Ali. “Mother” is a light-hearted sixties pastiche (just imagine it on the soundtrack to “Inspector George Gently” or “Call the Midwife”) with clipped guitar and a hint of Phil and Don, while “Love Prevails”, closing the album, channels The Chordettes’ “Born to be With You”, particularly in Will Kimbrough’s laid-back solo.

Dean Owens has that rare poetic ability to fashion perfect songs from life’s everyday stories and the ability to deliver powerful, plaintive performances of those songs. On this album, the partnership with Will Kimbrough and producer Neilson Hubbard has created perfect settings for both the melancholy and the upbeat songs. ”Southern Wind” is a fine piece of work from one of Scotland’s finest songwriters.

“Southern Wind” is released on Friday February 16 on At the Helm Records.

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