Our good friend Dean Owens recently returned from a short tour and working holiday around Tennessee and South and North Carolina. He’s just completed his final show of 2018, a reunion with his old band, The Felsons and found some time to tell us about five of his favourite things from his travels in the Southern states. And, just a little teaser for you, Dean’s latest project Buffalo Blood, a collaboration with legendary producer Neilson Hubbard and Joshua Britt will be the first release on Eel Pie Records in February 2019.

 

The Louisville Lip

I got to visit my hero Muhammad Ali’s grave in Louisville Kentucky. A special moment for me. I wrote a song for Ali that’s on my new record – Southern Wind. I wrote it the night Ali passed away and it’s called Louisville Lip, which was one of Ali’s nicknames when he was first starting out and still called Cassius Clay. I drove up to Louisville with an old friend of mine and we just made it to Cave Hill Cemetery before it closed for the day. I left a copy of Southern Wind by the grave and sang him a verse of Louisville Lip. I’ll never forget it.

 

The Levitt Shell

Getting to play the historic Levitt Shell in Memphis was fantastic. Levitt Shell was where a young Elvis Presley played his first show all those years back. I’m the first Scottish artist to play there so it was a real thrill to be able to play on that stage on a hot Memphis evening and to get to sing my latest single – Elvis Was My Brother. Amazing really.

 

Wild Ponies

Meeting and becoming good friends with Nashville duo – Wild Ponies. Doug and Telisha Williams are brilliant in their own right and to have them back me as my band was just fantastic. Great people with big hearts. We’re going to be hooking up again in the US in the Spring. Bring it on

 

Albino Skunkfest

Playing the Albino Skunkfest in South Carolina and getting a standing ovation……at NOON!!! It was here I was given my new nickname – Merle Haggis. Ha ha. Wonderful people at a wonderful festival. I’ll be back.

 

Buffalo Blood

Meeting up with my www.buffaloblood.com friends Neilson Hubbard and Joshua Britt and finalizing our plans for our debut album and world premiere at Celtic Connections in Glasgow on the 25th January.  Can’t wait.

Dana Immanuel & the Stolen Band - 'Come With Me' - cover (300dpi)It only seems like ten minutes since the last Dana Immanuel album, “Dotted Lines”, was released and now we’ve got another one. “Come with Me” is Dana’s third album, although it’s being described as the debut of Dana & The Stolen Band, so the fairly equal split between songs from each of Dana’s two solo albums and new songs seems about right. Apparently it was recorded live-ish to catch the chemistry of the band’s interesting instrumental line-up featuring Dana (banjo, vocals and guitar), Feadora Morris (guitars and banjo), Blanche Ellis (vocals, washboard and thimbles), Maya McCourt (cello, vocals and upright bass)  and Hjordis Moon Badford (cajon and foot tambourines).

What Dana and the band have achieved on “Come with Me” is to subvert the macho culture of Outlaw Country by showing that the sisters can do it for themselves, competing with the boys in the bad behaviour stakes whether it’s the cocaine of the claustrophobic title track, playing the casino tables (“Devil’s Money” and “Viva Las Vegas”) or misguided sexual encounters (“Clockwork”). There’s no holding back lyrically and even the musical arrangements subvert the genre by using cello to round out the bottom end of the sound and contrasting the tones of cello, banjo and distorted guitar. The line-up of the band falls somewhere between a bluegrass string band and a rock outfit, creating possibilities for unusual textures not normally heard in either genre.

If you like your tunes to swing a little, there’s a bit of that in the jazzy stylings of “Achilles Heel” and “John Wayne” and the vocal harmonies add yet another dimension on “Nashville”, and particularly the a cappella counterpoint in the coda of “Going to the Bottle”. The album’s closing song, a new take on “Viva Las Vegas”, usually tackled as a cover version with macho posturing and bluster, is driven along by a cello riff and the usual Stolen Band harmonies, distancing it from the Elvis or Springsteen versions.

At times this album’s tough and uncompromising, but there’s always a sense that the entire band’s having a blast just doing this stuff, and not sticking to any arbitrary rules. Combine that with great musicianship and the result’s always going to be interesting.  And I’m grateful that the press release warned me about the ‘explicit!’ lyrics to “Motherfucking Whore”; I’d never have guessed from the title.

“Come with Me” is released on Friday August 5th and the band’s touring throughout the summer.