Live @ The Haunt opening for Southern Culture on the Skids

Just as he did at SCOTS first Ithaca appearance 20 years ago at the old Haunt, Johnny Dowd will open the show. Earlier this year, the local icon released yet another stellar album, “Twinkle, Twinkle,” which puts his distinctive spin on some traditional folk, blues and campfire songs such as “Darling Clementine” and “Tom Dooley.” Learn more at johnnydowd.com.

 – Ithaca Journal

These Are The 10 Most Redneck Cities In Oklahoma

We used science and data to determine which cities in OK are redneck heaven.

What redneck criteria did we use?

In order to rank the most redneck cities in Oklahoma, we had to determine what criteria makes a redneck.

We threw a lot of criteria at this one in order to get the best, most complete results possible. Using Yelp and Google Maps, this is the criteria we used:

The dictionary definition categories

  • Small towns
  • Least amount of high school graduates
  • Lives in the south or midwest

And the stereotypical categories

  • Number of dive bars per city
  • Number of mobile home parks per capita
  • Number of tobacco stores per city
  • Number of guns and ammo stores per city
  • Walmarts, Waffle Houses, Bass Pro Shops, and Dollar Generals nearby

Note: For the sake of getting reliable numbers, we counted places within a city’s border, as well as within a short driving distance.

1. Pauls Valley

Population: 6,156
Tobacco stores per capita: 1st in OK
Fishing/bait shops per capita: 2nd in Oklahoma
Gun stores per capita: 2nd

Dern tootin’, Pauls Valley! You have the official bragging rights as being named the most redneck city in the entire state of Oklahoma. You may now brag to your friends and share this endlessly on your Facebook walls.

Lets see why. There are just a lot of rednecky things to do here. In Pauls Valley, you’ve got the most tobacco stores per capita, and the 2nd highest number of places to get bait, tackle, guns and ammo in the state.

The Washita River meanders right outside of town, and rednecks here have their very own lake, Pauls Valley Lake, which is stocked with crappie, catfish and black bass.

Pauls Valley is south of OKC on I-35. In looking at the numbers, no wonder so many rednecks live here.

You can imagine how many Pauls Valley residents shoot armadillos from their porches.

 – Original article

Feeling Bad Tour @ Alstadt

Johnny Dowd & Melle de Boer

Als twee mensen lang genoeg graven komen ze elkaar uiteindelijk tegen. Johnny Dowd en Melle de Boer (die we kennen van Smutfish) wroeten al jaren door de gangen van de menselijke ziel. Als Orpheusen dalen ze af in de onderwereld en nemen met gevaar voor eigen leven de mooiste dingen mee naar boven. Nu komen hun tunnels samen!

Johnny en Melle gaan touren door Nederland. Ze spelen hun liedjes. Oude liedjes, nieuwe liedjes. Geen suf singer-songwriter avondje maar elektrisch, chaotisch, hard en lelijk, zacht en mooi. Alleen, en dan weer samen. Ze combineren hun volstrekt eigen werelden om een onvergetelijk, maar vooral uniek optreden te verzorgen.

When two people dig long enough, they eventually meet each other. Johnny Dowd and Melle de Boer (whom we know from Smutfish) have been rooting through the corridors of the human soul for years. As Orpheusen they descend into the underworld and with danger to their own lives bring out the most beautiful things. Now their tunnels are coming together!

Johnny and Melle are going to tour the Netherlands. They play their songs. Old songs, new songs. Not a dull singer-songwriter night but electric, chaotic, hard and ugly, soft and beautiful. Alone, and then together again.They combine their completely own worlds to provide an unforgettable, but especially unique, performance.

Johnny Dowd

Johnny Dowd komt in december 2017 uit met een album met zijn interpretaties van Amerikaanse Folk klassiekers. Liedjes als Going Down the Road, St. James Infirmary, Tom Dooley, Oh my Darling Clementine. Het zijn ‘traditionals’, de basis van de Amerikaanse muziek. Johnny en Melle zullen ze bijna onherkenbaar brengen. Niet oubollig, maar zoals ze nu moeten klinken, actueel, vol ziel, elektriciteit en noodzakelijkheid. Ze spiegelen een directe reactie op de huidige Amerikaanse samenleving, met alle spanningen en onzekerheden die daarbij denkbaar zijn. Johnny neemt zijn gitarist Mike Edmondson mee. Hij zorgt voor een gedegen slaggitaar waar Johnny al zijn gekte en chaos in kwijt kan. Mike zingt ook mee.

Johnny Dowd will release in December 2017 with an album with his interpretations of American Folk classics.Songs like Going Down the Road, St. James Infirmary, Tom Dooley, Oh my Darling Clementine. They are ‘traditionals’, the basis of American music. Johnny and Melle will bring them almost unrecognizable. Not quaint, but as they should sound now, current, full of soul, electricity and necessity. They mirror a direct reaction to current American society, with all the tensions and uncertainties that are conceivable in this respect. Johnny takes his guitarist Mike Edmondson with him. He provides a solid percussion guitar where Johnny can put all his craziness and chaos into it. Mike also sings along.

Melle de Boer

Melle de Boer brengt begin 2018 een album uit. Een solo album heel dicht bij zichzelf. Dit album wordt opgenomen op zijn zolder, eenzelfde als waarnaar de vader van Melle vertrok na zijn scheiding. Op die zolder wonen spoken. Spoken die liedjes fluisteren. Melle wordt bijgestaan door Suzanne Ypma. Zij heeft samen met Melle zijn nieuwe album opgenomen. Suzanne is van de elektropop. De synthesizer heeft een belangrijke rol in het nieuwe album.

Melle de Boer will release an album in early 2018. A solo album very close to itself. This album is recorded in his attic, the same as the one that Melle’s father left after his divorce. Ghosts live in that attic. Ghosts that whisper songs. Melle is assisted by Suzanne Ypma. She has recorded his new album together with Melle. Suzanne is from the electropop. The synthesizer has an important role in the new album.

Live @ Casita del Polaris with Park Doing

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The Muggles Bros at Casita with Park Doing

photo_annafbkrefeld

 

 

The Southern Tour

As a bit of a bloggish prelude to upcoming shows with Pere Ubu, here’s shots from John’s mini tour of the south in June. He played some crazy cool venues, and there were a few adventures…

 

First stop was Local 506 in Chapel Hill, a great show shared with local favorites Melissa Swingle and Ben de la Cour ( and that hot hamburger stand guy).

 

John and Mike had a whole day and night to recoup at the swanky Hotel BobNJackie. And no, they don’t take reservations.

123 Pleasant St. was a revisit (and reunion) for John.(Check out this CD of a previous show there). Once again he shared the stage, this time with The Furr and Captain Catfeesh.

It’s along drive to Nashville, so you gotta stop and eat in W Va. And if you gotta eat in W Va, you’d best go to Mama Kay’s.

In addition to food, there is employment, so John made a quick career change to tire salesman.

 

 

Hours later, having sold only one tire (to himself), profit margins proved slim,so it’s on to the Big Bucks at Mouthhole (F)ester.

 

You remember the Mouthhole, right, who had a fundraiser for Johnny’s fundraiser and wrote all those sick Name Songs for contributors? Johnny wrote a song for them, too,which you can find eventually if you scroll around his website

The Mouthhole (F)ester being dark and deep and awesomely funky, images were not so clear. As it should be in the best of underground venues.

(Johnny’s own take on the tour:

Just got back from a mini southern tour: Local 506 in Chapel Hill, North Carolina; 123 Pleasant Street in Morgantown, West Virginia; and Mouthhole Festival in Nashville, Tennessee.All three gigs were a ton of fun. Mike Edmondson and I dubbed ourselves the Muggles Brothers for this tour. Jennifer Edmondson came with us and was a great help with the merch table. In Chapel Hill, I was able to visit with my sister and her husband who gave me an awesome madras jacket from the sixties! Thanks to the clubs for booking us and the people who came out to see us. Give yourself a big hand.

 

One of the highlights of the tour was an out-of-the-world lunch at Mama Kay’s in Princeton, West Virginia. The food was great, and the owners really made us feel at home. If you are in the area, check it out. Tell them Johnny sent you.)

 

In spirit of the upcoming Twinkle Twinkle album, here’s a thousand stars there’s plenty of time to make for yourself next time you drive from New York to Nashville and back. (Congrats to Ben & Jade).

JDF out!

 

 

KLFM plays Johnny Dowd

 

webclip_klfm

Johnny Dowd je čovjek koji spada među one rijetke kantautore što unatoč eklektičnom i neuobičajenom stilu 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 Mockingbird spisateljice 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 Jima 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 i Cemetry Shoes), zaključno sa dva zasad posljednja koji se taman promoviraju u našem sjevernom susjedstvu (No Regrets i Do the Gargon) 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, dvosatni 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!

24/02/2017  autor: Vjeran Stojanac

 – Original Article

Johnny Dowd is a man who is one of those rare songwriter that despite the eclectic and unusual style still retain their native identity, a result of the conflict of traditional and modernist is one of the most original expressions in contemporary music.

Johnny Dowd was born on 29 March 1948 in Forth Worth, Texas. So begins practically every text aimed at short or lengthy analyze the life and creativity of the respective persona. Well, you’re used to the shifted structure of these ‘announcements’, and you know that the author of the inscription is by no means objective rewritten from wikipedia, or removed from the generally known chronological facts already available in the relevant literature, only noting that the frequent comparisons with Waits and Cave absurd as the Dowd verses. Then try to start from the geographical determinants.

Even the birds in the trees know that the state of Texas last decade has seen the best of American singer-songwriter; of Townes Van Zandt, Willie Nelson and Kris Kristofferson, over Guy Clark, Steve Earle, Lyle Lovett, Rodney Crowell, Jimmy Dale Gilmore, Robert Earl Keen, Billy Joe Shaver, to Scott H. Biram and Justin Townes Earle – to name only some elements of this rich array.

However, the name of Johnny Dowd is rarely mentioned in the geographic context. The reason for this part (well, you’ll soon realize – just part!) Is that it is concerned in childhood began the all-American process of changing locations and states – among other things, to the fifth year of life already lived in Tennessee and Oklahoma. For a while he lived in California, and Memphis returns in 1965, after his parents’ divorce, and this in order to end up settling in the town of Ithaca.

Fortunately, the old adage says that you can chase the creature from Texas, but never out of it completely knocked out, flush out the strange spirit that Texans are absorbed by birth. They said to the lawyers, Yur Sole – right gender of the Sun! However, Johnny Dowd at something essentially different from the names listed at the beginning of the text.

All of them, in fact, created a distinctive style based on folk music, of country, blues, or combinations of these influences in variable proportions. This is in particular can be said for Johnny Dowd, specifically for its early stage, when it acted within the band Jokers from the beginning of the eighties and early nineties Neon Baptist. But the Wrong Side of Memphis (1997), the first truly solo album, or work that is now signed exclusively named Johnny Dowd brings poprlilično different sound image. The compositions out of the expected framework often balancing on the edge of acceptability, at least in the traditional framework of the word. Dowd’s next board imbued with dark themes typical southern gothic, and the author of these lines reminiscent of William Faulkner in a straitjacket. Can this – imagine that the action of the novel To Kill a Mockingbird writer Harper Lee takes place in a parallel universe where the American South embodies the past few circles of hell, and where Scout coming madness burned Boo Radleyja in a baker’s oven … are you vizualizurali? Then slowly I suspect probably ambience ‘wrong side of Memphis. Lined with ballads of murder, sinners and a curse: Welcome Jesus, John Deere Yeller, Idle Conversation, Ft. Worth; Texas, Ballad of Frank and James Jessee, Papa Oh Papa …, tracks only seemed dressed in classic folk / country attire, because the very structure of the songs in symbiosis with unorthodox choice of instruments – synthesizer, among others – creates a completely unexpected and disjointed experience. Perhaps opus songwriter Jim White, who action begins around the same time (which is to Dowd 2006. collaborate on the project Hellwood) closest comparison?

This definitely stands, because in fact, Dowd will play an important role in the documentary Searching for the Wrong-Eyed Jesus, surreal tale of the American South, which in 2003 occurred as a result of the collaboration screenwriter Steve Haisman and director Andrew Douglas, but the motifs White’s album Mysterious Tale of how I shouted Wrong-Eyed Jesus. The scene in the barbershop is literally anthology, and Dowd rendition of Murder, raw dvoakordnog blues by Johnny performed under a gray sky in the cemetery car.

If the Wrong Side of Memphis announced Dowdovu solo career, presenting already known authors in the new, muted light, the album Pictures from Life’s Other Side goes a step further. Here Johnny already gathers backing band, who with certain exceptions monitors today (such as the current European tour, which, as expected, bypasses Morlacki regions), allowing it to further experimentation in sound. Honestly, are you able to visualize the Texas singer-songwriter whose compositions can celebrate jazz festivals, or they slip through the typical funky, and hip-hop DJ list, still remaining in the native folk domain?

Albums that can lower the entire new millennium (just to mention the Temporary Shelter, Pawnbroker’s Wife and Cemetry Shoes) ended with two for now last who just promote our northern neighborhood (No Regrets and Do the Gargon) may not bring a noticeable improvement over the expected Dowdov sound, but it’s not something we should complain, since his work as a whole has already shifted from songwriterskog mainstream. True, the individual achievements of the Johnny to some extent restores classic expression (a classic in terms of compatibility with people whose names, I repeat, stinging eyes at the beginning of this article), but these are rare moments of relaxation, as it will be on the next album already back in their own water connecting seemingly incompatible.

O Dowd does not need to write a litany, after his flair required (and only available) experience auditory sense. Therefore, honored listeners, deign to listen to a small, two-hour selection from the oeuvre of this excellent and unusual singer-songwriter, because only thus be able to make a personal objective court. A Dowdov work was well worth a thorough listening, especially if you belong to a group of Puritans who with contempt and disgust view the coexistence of traditional and experimental. Because, in this case Johnny’s songs could you act on healing and enlightenment!

 – Translation by Google