A terrific blend of
accessibility and depth that uses dance as a primary style.
Love be the Loudest
Artist: Ginny Owens
(www.ginnyowens.com)
Label: ChickPower
Music, LLC
Length: 13 songs/46
minutes
Love be the
Loudest by Ginny Owens is such a pleasant surprise. When she
gained notoriety through “If You Want Me To” off her debut
Without Condition (1999), I never imagined that her ninth
studio release would take this turn.
What makes this so
delightful is her foray into electronic dance music. I never would
have guessed that this format would work for someone that I
associated with deeply reflective songwriting. Then again, Owens has
experimented with a variety of sounds in her career. Yet, I find this
remarkable for its blend of accessibility and thoughtfulness.
I like the
sentiments, many of which are about relationship, love and God’s
perspective (“The Way God Sees”).
Even though the
style is different it is among Owens’ best work. The songwriting,
arrangements and production are excellent. The guest appearances,
which consists of Ellie Holcomb, Mike Weaver, Andrew Bergthold,
Meredith Andrews, Andrew Greer and All Sons & Daughters, make it
a collaborative effort. It even includes subtle updates of two of her
best songs: “If You Want Me To,” and “Wonderful Wonder.” The
latter, with its references to sight, are somewhat poignant given
that Owens is blind. Regardless, these along with her other songs
show just how much she can see.
I agree with Owens
that “The Fire” is the most significant song. It carries the most
weight. The inspiration came in the aftermath of a recent struggle
involving a benign tumor and vocal challenges. The attitude conveyed
is broadly applicable: “Thank you for the fire/thank you for the
night/thank you for the trial that I don’t know how to fight.” I
appreciate the vulnerability. It’s encouraging to know that we are
not alone when we face the seemingly insurmountable.
“Made for Loving
You” is a departure. The only instrumentation is an electric guitar
played sparingly with winsome R&B. Andrew Bergthold adds to the
soulfulness.
“God is Love”
with All Sons & Daughters, heard as a brief intro at the
beginning of this release and then completely as the closing song, is
a beautiful hymn. The unison vocals are in the forefront, the music
minimal, which rightly emphasizes the words.
Owens should be
satisfied. Experimenting doesn’t always produce such terrific
results. It should win her new fans and yet be appreciated by those
who have followed her over the years.
This renews my
interest in Owens’ work and will have me watching for what comes
next.
