Jim White’s New T-Shirt

Jim White Plays Guitars & Talks Jesus At Dingwalls & St Mary’s Guildford

“He then told us about how he hooked up with Johnny Dowd for the album they did together as Hellwood and also just how quickly Johnny re-wrote Jim’s lyrics for A Man Loves His Wife a super dark and twisted tale that sounds like it was being played on a back porch in the middle of nowhere rather than in good old Dingwalls the venue he played the first time he played here.”

 – Posted by  | 29/11/17 |

 – Full Article

Drjohnrock reflects on Fandom

 

HOW DO WE INCREASE THE FAN BASE?

By Drjohnrock

Hey Johnny Dowd fans!

Yes, you! Particularly you American fans. There are some things I want to say about the amazingly creative musician, Johnny Dowd. I want to hear from you as well. But first, I get to sound off. As Johnny says in one of his songs: “so shut up and pay me some attention.”

I don’t have to tell you how great Johnny’s music is. He is one of those artists that truly comes along once in a blue moon. Very few musicians can incorporate a wide range of music and moods and give them his own unique stamp like he does. You know that. I know that. So why doesn’t he have a bigger following?

Fellow fans and I have often speculated about why more people haven’t gotten with the Dowd program. Is it his voice? Maybe. But Dolly Parton and (especially) Iris DeMent make Johnny sound like a New Yorker by comparison. So that theory doesn’t hold a lot of water. Is it the dark subject matter of a lot of his songs? Well, that certainly is overemphasized by a lot of music writers who don’t get the complete picture. Johnny’s music isn’t burning with optimism’s flames. But the writers often overlook the humor and yes, the humanity (hope that doesn’t make Johnny gag!) in his music. Even though he doesn’t share the world view of Casper The Friendly Ghost, Johnny’s music isn’t depressing. Like good blues musicians, Johnny cures depression by singing about the rough patches we all hit, making them a shared experience and letting the listener know he or she isn’t the only one going through hard situatons. Besides, Nick Cave’s music isn’t a barrel of laughs and he seem to be doing just fine. Could Johnny’s age be working against him gaining new fans? That’s possible in America’s youth-obsessed culture. But Johnny Cash didn’t seem to have any trouble attacting younger listeners during his late career revival. So that’s not the entire answer either.

Well, talk is cheap and speculation is even cheaper. Whatever the reason(s), the fact remains that Johnny Dowd doesn’t have the larger audience he deserves. Which leads to the ultimate question: what can we do about it?

Some of you might say the lack of a bigger following is Johnny’s problem to deal with, that no one put a gun to his head and forced him to pursue a second career in music. Fair point. But if you’re a fan of JD, then you are probably passionate about music, like I am–listening to recorded music and going to concerts aren’t minor diversions or occasional treats, they are an integral part of your life, especially the music of rare talents like Mr. Dowd. Don’t you think Johnny deserves more success? Wouldn’t you like to see him tour regularly in his own country, instead of just Europe? These are rhetorical questions for you folks. Not everyone has to love Johnny’s music. But there’s certainly enough appeal in his music to attract a larger audience.

I’m not suggesting anyone leave their jobs and become cult followers of Dowd. But if we all chip in some of our spare time, then maybe we can help Johnny.

Drawing by John Behm

Some of the traditional ways of spreading the word are still valid, even in the Age Of The Internet. Things like telling friends about Johnny, and buying them his CDs as gifts if you exchange presents with them can help. If you’re lucky enough to have a good community/noncommercial or college radio station near you, request his tunes on shows that play good alternative music. If you have the time and inclination, try to get your own show on a community radio station; they frequently look for new programmers. If you know a club owner or promoter, suggest they book Johnny. If you know (or are) a touring musician with a sizable following, see about getting Johnny on tour as an opening act, like Pere Ubu recently did.

I’m pretty much a Neanderthal when it comes to the internet, so I’ll start the discussion and ask others to share their suggestions. If you have a music blog or want to start one, that’s a great way to promote Johnny’s music. It doesn’t have to be exclusively devoted to JD like this fine blog I’m writing this for. Posting about Johnny on music discussion boards is another good idea–I’ve done this a lot myself. Even what seem like little things like posting images of Johnny on your avatar (my avatar on thefall.org is the cover of That’s Your Wife On The Back Of My Horse) or quoting Johnny’s lyrics on signature lines are helpful.

Other ways of using the internet for JD are beyond my personal ability but maybe not yours. The a capella group Straight No Chaser gained a lot of attention–and subsequently a career–from a single YouTube video that went viral. If you are skilled in that area, put together a clever, attention getting video (with Johnny’s consent) for posting on YouTube, Vimeo, at al. Using bots to promote Johnny, instead of stealing an election, is something to consider as well.

That’s my spiel. Please reply with your ideas for helping Johnny out. Let’s have a conversation. But let’s follow it up with action. Johnny is sixty-nine years old and like all of us, isn’t immortal. While I hope he is able and willing to tour into his eighties like Ramblin’ Jack Elliott, time isn’t on his side. Let’s figure out things we can do to increase Dowd awareness and do them. Johnny Dowd’s time is NOW!

Wrapping up the Twinkle Tour

“on the final leg of super fun euro tour–i want to thank all the peeps who came to the shows–it was blast playing for you–also thanks to melle and suze–u were/are incredible–and to joost who kept the whole machine running–and course mike who played like a demon—special thanks to kat dalton–without her there would be no johnny tours or music career–and to to dave hinkle who keeps zolar moving co. going—and to jenifer edmondson-[ace blogger and merch salesman]”

Johnny Dowd

Check out Melle’s blog for his behind the scenes take on the Feeling Bad tour and Johnny Dowd.. You’ll have to scroll to get to the tour,because Melle is a busy,creative guy, so I suggest you read from the top and see what he and Suzanne are up to these days. Here’s some excerpts to whet your appetite:

Temporary Bandage # 29

January 25, 2018

After the uncomfortable handshake, the Americans are in the car. John and Mike. With bags so big that there might be more Americans. It just fits.
I drive a bit. John sees a truck on the way. For piano transport. He knows that moving pianos in the Netherlands is difficult. Those narrow stairs in those high houses. Pianos need to go outside the houses around the houses. Mike knows that Dutch houses sometimes have hooks where they can lift pianos.
I finally know the way again. And bring them to their temporary home. It is a nice house.
In the evening we practice in the attic of their house.
We are going through songs.

Wayfairing Stranger
Wreck on the Highway
Clementine (I think I think the best sentence in a song is)
Worried man blues
Tom Dooley (That sang my father and he taught me guitar)
And another one I now forgotten.
Singing together twinned and everything that goes wrong is much nicer than what sounds good.
On to the Altstad in Eindhoven!

A bit of a cunt photo, but my phone fell out and was not possible again.

johnny1

Temporary Bandage # 34

January 30, 2018

On a sign it says that it is one of the oldest Christian settlements in Europe. It is a beautiful, London church where we play. Out of stock. On a Monday night. That’s because of johnny. Suus and me see them for the first time. Almost all my CDs have been sold afterwards. So many enthusiastic people, that I’m going to think something is wrong. It is a great experience.

IMG_5822

Afterwards the after party in the hotel room of Johnny and Mike.

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Croatia’s KLFM reflects on Johnny Dowd

Johnny Dowd – KLFM

Johnny Dowd spada među one rijetke kantautore što unatoč eklektičnom pristupu ipak zadržavaju svoj nativni identitet, a rezultat sukoba tradicionalnog i modernističkog jest jedan od najoriginalnijih izričaja u suvremenoj glazbi!

Johnny Dowd je rođen 29. ožujka 1948. u Forth Worthu, Texas. Tako započinje praktički svaki tekst kojemu je cilj ukratko ili poduže proanalizirati život i stvaralaštvo dotične persone. No, navikli ste na pomaknutu strukturu ovih ‘najava’, i znate da autoru napisa nipošto nije cilj prepisivati sa wikipedije, niti iznositi općepoznate kronološke činjenice ionako dostupne u relevantnoj literaturi, tek uz napomenu kako su česte poredbe s Waitsom i Caveom apsurdne koliko i Dowdovi stihovi. Pokušajmo onda krenuti od geografske odrednice.

Već i ptice na grani znaju da je savezna država Texas zadnjih desetljeća iznjedrila ponajbolje američke kantautore; od Townesa Van Zandta, Willie Nelsona i Krisa Kristoffersona, preko Guy Clarka, Steve Earlea, Lyle Lovetta, Rodney Crowella, Jimmy Dale Gilmorea, Roberta Earla Keena, Billy Joe Shavera, pa do Scotta H. Birama i Justina Townesa Earlea – da spomenemo tek neke elemente te bogate lepeze.

No, ime Johnnyja Dowda se vrlo rijetko spominje u tom zemljopisnom kontekstu. Razlog tomu dijelom (no, uskoro ćete shvatiti – tek dijelom!) jest činjenica da je dotični još u djetinjstvu započeo onaj sveamerički proces mijenjanja lokacija i saveznih država – između ostalog, do pete je godine života već živio u Tennesseeju i Oklahomi. Neko je vrijeme boravio i u Kaliforniji, a u Memphis se vraća 1965., nakon razvoda roditelja, a te da bi se na koncu skrasio u gradiću Ithaca, New York.

Srećom, stara poslovica kaže da možeš potjerati stvorenje iz Texasa, ali nikad iz njega u potpunosti izbiti, istjerati taj čudnovati duh kojeg teksašani upiju rođenjem. Rekli bi pravnici, Iur Sole – pravo rodnog Sunca! Ipak, Johnny Dowd se po nečemu bitno razlikuje od imena navedenih na početku teksta.

Svi su oni, naime, stvorili prepoznatljiv stil temeljen na folku, countryju, bluesu ili pak kombinacijama navedenih utjecaja u varijabilnim omjerima. To se u određenom može reći i za Johnnyja Dowda, konkretno za njegovu ranu fazu, kada je djelovao unutar sastava Jokers s početka osamdesetih, te Neon Baptist ranih devedesetih. No, Wrong Side of Memphis (1997.), prvi uistinu samostalni album, odnosno rad koji je sada potpisan isključivo imenom Johnny Dowd donosi poprlilično drugačiju zvučnu sliku. Kompozicije izlaze iz očekivanih okvira često balansirajući na rubu prihvatljivosti, barem kada je o tradicionalnim okvirima riječ. Dowdova je nastupna ploča prožeta mračnom tematikom tipičnog southern gothica, i potpisnika ovih redaka podsjeća na Williama Faulknera u luđačkoj košulji. Može i ovako – zamislite da se radnja romana To Kill a Mockingbirdspisateljice Harper Lee odvija u paralelnom svemiru gdje američki Jug utjelovljuje nekoliko zadnjih krugova pakla, i gdje Scout u naletu ludila spaljuje Boo Radleyja u krušnoj peći… jeste li vizualizurali? Onda vjerojatno polako naslućujete ambijent ‘pogrešne strane Memphisa’. Nižu se balade o ubojstvima, griješnicima i prokletstvu: Welcome Jesus, John Deere Yeller, Idle Conversation, Ft. Worth; Texas, Ballad of Frank and Jessee James, Papa Oh Papa…, skladbe tek prividno odjevene u klasično folk/country ruho, jer sama struktura pjesama u simbiozi sa neortodoksnim izborom instrumenata – sintetizator, između ostalih – kreira sasvim neočekivan i isčašen doživljaj. Možda je opus kantautora Jim Whitea, koji djelovanje započinje otprilike u isto vrijeme (i s kojim će Dowd 2006. ostvariti suradnju na projektu Hellwood) najbliža poredba?

Ovo definitivno stoji, jer štoviše, Dowd će odigrati bitnu rolu u dokumentarcu Searching for a Wrong-Eyed Jesus, nadrealnoj priči o američkom Jugu koja je 2003. nastala kao plod suradnje scenarista Steve Haismana i redatelja Andrewa Douglasa, a po motivima Whiteova albuma Mysterious Tale of how I shouted Wrong-Eyed Jesus. Scena u brijačnici je doslovice antologijska, kao i Dowdova izvedba pjesme Murder, sirovog dvoakordnog bluesa kojeg Johnny izvodi pod sivim nebom na groblju automobila.

Ukoliko je Wrong Side of Memphis najavio Dowdovu samostalnu karijeru, predstavivši već poznatog autora u novom, prigušenijem svjetlu, album Pictures from the Life’s other Side ide korak dalje. Ovdje Johnny već okuplja prateći sastav, koji ga uz određene iznimke prati i dan danas (primjerice na trenutačnoj europskoj turneji koja, očekivano, zaobilazi morlačke krajeve), što mu omogućuje daljnja eksperimentiranja u zvuku. Iskreno, jeste li sposobni predočiti teksaškog kantautora čije se kompozicije mogu obilježiti jazz festivale, ili se pak provući kroz tipičnu funky, pa i hip-hop DJ listu, svejedno ostajući u nativnoj folk domeni?

Albumi koji se nižu čitav novi milenij (spomenimo tek Temporary Shelter, Pawnbroker’s Wife,Cemetry Shoes, No Regrets, Do the Gargon i Thats your Wife at the Back of my Horse), zaključno sa dva zasad posljednja koji se taman promoviraju u našem sjevernom susjedstvu (Execute American Folklore i Twinkle Twinkle) možda i ne donose nekakav primjetan napredak u odnosu na očekivani Dowdov zvuk, no to i nije nešto čemu bi trebalo prigovoriti, pošto je njegov opus u cijelosti već pomaknut iz songwriterskog  mainstreama. Istina, na pojedinim se ostvarenjima Johnny u određenoj mjeri vraća klasičnom izričaju (klasičnom u smislu kompatibilnosti s ljudima čija imena, ponavljam, bodu oči na početku ovog napisa), no to su rijetki trenuci opuštanja, pošto će se on već narednim albumom vratiti u vlastite vode spajanja naizgled nespojivog.

O Dowdu ne treba pisati litanije, pošto je njegov štih potrebno (i jedino moguće) doživjeti slušnim čulom. Stoga se, štovani slušatelji, udostojite preslušati mali, trosatni izbor iz opusa ovog vrhunskog i neobičnog kantautora, jer ćete samo tako biti u stanju donijeti osobni objektivni sud. A Dowdov je opus itekako vrijedan temeljitog preslušavanja, posebno ukoliko spadate u skupinu puritanaca koji s prezirom i gnušanjem gledaju na suživot tradicionalnog i eksperimentalnog. Jer, u tom bi slučaju Johnnyjeve skladbe mogle na Vas djelovati iscjeliteljski i prosvjetiteljski!

 – Vjeran Stojanac       15/02/2018

Dark Side of Texas
Johnny Dowd is one of the few cantoutists who despite their eclectic approach still retain their native identity, and the result of the conflict between traditional and modern is one of the most original expressions in contemporary music!

Johnny Dowd  was born March 29, 1948 in Forth Worth, Texas. Thus, practically every text starts with a goal that briefly or aims to proanalize the life and creations of the person concerned. However, you are accustomed to the shifting structure of these ‘announcements’, and you know that the author of the writing is by no means the aim of rewriting from the wikipedia, or to make known common chronological facts already available in the relevant literature, noting that frequent comparisons with Waits and Cave are absurd as far as Dowd’s verses. Let’s try to start from the geographical point of view.

Even the birds at the branch know that the federal state of Texas has emerged in the last decades of the best American royalties; from Townes Van Zandt, Willie Nelson and Kris Kristofferson, through Guy Clark, Steve Earle, Lyle Lovetta, Rodney Crowell, Jimmy Dale Gilmore, Robert Earle Keen, Billy Joe Shaver, and Scotty H. Biram and Justin Towness Earle some elements of that rich array.

But Johnny Dowd’s name is very rarely mentioned in that geographic context. The reason for that part (but you will soon understand – in part!) Is the fact that it is still in the childhood that the all-American process of changing locations and federal states has started – among other things, until the fifth year of his life he lived in Tennessee and Oklahoma. For some time he stayed in California, and in Memphis he returned in 1965 after the divorce of his parents, and eventually ended up in the town of Ithaca, New York.

Fortunately, the old proverb says that you can chase a creature out of Texas, but never completely break out of it, expel that strange spirit that Teddy bears in birth. Lawyers would say,  Iur Sole  – the right of the native Sun! However, Johnny Dowd is essentially different from the names mentioned at the beginning of the text.

All of them have created a recognizable style based on folk, country, blues or combinations of these influences in variable ratios. This can be said for Johnny Dow, specifically for his early phase, when he acted within the Jokers composition from the early 1980s, and the Neon Baptist in the early nineties. No,  Wrong Side of Memphis (1997), the first truly self-contained album, or the work that has just been signed by the name Johnny Dowd brings a somewhat different soundtrack. The compositions come from the expected frameworks, often balancing on the edge of eligibility, at least when it comes to traditional frameworks. Dowdova is an inaugural board interspersed with a dark theme typical of the southern gothic, and the signatories of these lines remind William of Faulkner in a hijack shirt. It may well be this – imagine the action of the novel  To Kill a Mockingbirdwriter Harper Lee takes place in a parallel universe where American South embodies a few last rounds of hell, and where Scout in a maddening madness burns Boo Radley in a baking oven … are you visualizing? Then you probably slowly feel the ambiance of ‘the wrong side of Memphis’. Ballads of Murders, Sinners, and Curse:  Welcome Jesse, John Deere Yeller, Idle Conversation, Ft. Worth; Texas, Ballad of Frank and Jessee James, Pope Oh Papa …, the compositions are apparently dressed in classical folk / country costumes, because the structure of the songs in symbiosis with the unorthodox selection of instruments – the synthesizer, among others – creates a completely unexpected and exaggerated experience. It may be the work of Jim White, who works roughly at the same time (and with which Dowd 2006 will co-operate on the project Hellwood ) the closest match?
This is definitely because, moreover, Dowd will play a major role in the documentary ”  Searching for a Wrong-Eyed Jesus”, a  surreal story about the South of America, which came in 2003 as the fruit of collaboration between scriptwriter Steve Haisman and director Andrewa Douglas, and White’s album  Mysterious Tale of how I shouted Wrong-Eyed Jesus . The scene in the barber shop is literally anthology, as well as Dowd’s performance of the Murder song  , the crude two-tone blues Johnny performs under the gray sky at the car cemetery.

If  Wrong Side of Memphis  announced Dowd’s stand-alone career, presenting a well-known author in a new, duller light, the album  from the Life’s other Side  goes a step further. Here, Johnny is already gathering a companion, which, with certain exceptions, is still tracked today (for example, on a current European tour that, by the way, forbids the Morlachian regions), allowing him to continue experimenting with sound. Frankly, are you able to present a Texan singer whose compositions can mark jazz festivals or go through a typical funky and hip-hop DJ list, still remaining in the native folk domain?

Albums that are down the whole new millennium (just mention  Temporary Shelter, Pawnbroker’s Wife, Cemetry Shoes, No Regrets, Do the Gargon and Thats Your Wife at the Back of My Horse ), ending with the two last ones that are just promising in our northern neighborhood ( Execute American Folklore  and  Twinkle Twinkle) may not even make some noticeable progress with respect to the expected Dowd sound, but that is not something to obey, since his opus has been entirely moved from songwriter mainstream. True, on certain achievements, Johnny returns to a certain extent classical expression (classic in terms of compatibility with people whose names, I repeat, point their eyes at the beginning of this article), but these are rare moments of relaxation, as he will return to his own next album the connection water seems unmatched.

There is no need to write a lithian about Dowda, since his or her mind is needed (and only possible) to hear the hearing. Therefore, listened to listeners, listen to the small, three-choice choices from the opus of this top-class and unusual songwriter, for you will only be able to bring a personal objective court. And Dowd’s opus is a worthwhile thorough listening, especially if you fall into a group of Puritans who, with disdain and disdain, look at the coexistence of traditional and experimental. Because, in that case, Johnny’s songs could have a healing and enlightening effect on you!

 – Translation by Google

Gargon Returns

 

Actually no one counted anymore, but the artwork ‘Do the Gargon’ by Rik van Iersel, stolen from the Vishal on the Grote Markt in Haarlem on 25 February, is back on the surface.

On Wednesday, the person who stole the panel has brought it back again.

Wendy Tjalma was working in the office of the Vishal when one of the volunteers behind the desk came to her.

“Apparently there was a gentleman at the desk who came back with great regret and a thousand apologies.”

The man in question appeared to have taken the panel in a drunken mood in his own words during the opening of the exhibit Featuring # 01.

Tjalma is happy that the work is back. ,, It is not good to talk that someone does something like that, but the man came back with lead in his shoes and I think that to be praised. ”

Tjalma called the artist living in Eindhoven and curator Rik van Iersel to tell him that his work is above water. ,, Of course it is also happy that it is there again. It is admittedly a compliment if your work is stolen, but of course it is not cool. ”

The artwork of ten by ten centimeter is hung back where it was stolen on the opening day and can still be seen there until March 18.

Original article

 

Editors note: More likely, Gargon was drunk and stole the guy.