And here’s me as Bob Cratchitt in 1998
Just got back from a super fun tour of Europe. The crowds were great. They really opened their hearts (and wallets) to me and the Sex Robots.
I want to thank Mike Edmondson and Anna Coogan. They rocked it every night and did all the hard work behind the scenes (driving, merch sales, getting me out of bed). Also want to thank Mark Lotterman and Park Doing. They did the support on the tour and lit a fire under me every night (and also helped with the practical stuff).
Thanks to Sedate Bookings for a great job booking the tour, to Artist on the Road for supplying the van and equipment, and to Del Day of Ark PR for promo. It’s a pleasure doing business with you guys. And last, but not least, thanks to Kat Dalton, my wife and manager. Without her hard work, there would be no tour or indeed no Johnny Dowd music career.
Below are some of my photos from my instant camera which Kat got for me for the tour.
— Johnny courtesy of his website
We weren’t there (tragedy!), so all photos courtesy of Mike,Anna,Park and various Facebook Friends. Kinda in order, maybe not, but you get the picture…
First and often, the band steals it’s own soul,selfie-style:
And always, you gotta get from here to there:
Then Johnny Dowd and the Sex Robots Rock the House:
For down time, we have:
And lots and lots of sitting around:
Eventually, though, Real Life intrudes, flying everybody home:
We have previously only seen Johnny Dowd at the Fingerlakes Grassroots Music Festival in New York, & we are looking forward to welcoming him to The Bunker for what will be a rare and exciting opportunity to see this audacious, rockabilly-punk, poet-songster in an intimate house concert format. He will be accompanied by his former Neon Baptist bandmate, Mike Edmondson, on keyboards.
“Sometimes music shouldn’t be easy, and instead should be mysterious, idiosyncratic and the work of a true maverick. So we should welcome the arrival of a new Johnny Dowd album. . . . Never a man to run from the truth, if there was any justice, this guy would be a legend.“ — Acoustic Magazine (UK)
“Gonzo hell-bound music from a true original.” —Andy Fyfe, Q Magazine
Details: 848 Walnut Drive., Ellwood City, PA
Doors open at 6:30 for a pot luck dinner (food contributions are welcome but not mandatory) followed by music at 8 pm
*Please help to spread the word about this event by inviting your music-loving friends!!
Hope to see you on March 11!
– Thanks to Rob Szczerba for photos of the Greystones show 2016
– Thanks to Russell Lewis for photos of The Bank show 2016
Mucho creds to the awesome photographers who generously share their photos with us. Readers may notice a slow loading of these pages, as our policy is to give the photos their due, and we generally upload at full res. Trust us, it’s worth the wait!
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
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
From Anna Coogans Kickstarter :
My name is Anna Coogan. I am a singer, guitarist, composer, teacher, producer, and teen mentor. I am releasing my first album in four years, The Lonely Cry of Space and Time, on April 28, 2017.
In the last four years, I have taught approximately 2,200 voice lessons, toured Europe three times, scored two silent films, produced three albums, spent hundreds of hours writing and playing with my bandmate Willie, and rediscovered my years of classical voice training. I’ve been a sideman for the first time ever, for Johnny Dowd and Mary Lorson. I’ve built some bridges. I’ve burned a few. This record encompasses all of these things.
Just can’t resist-here’s a Johnny version:
Download this: Whiskey Ate My Brain; Sexual Revolution; Last Laugh; Funkalicious
Imagine if Hank Williams had mutated into Captain Beefheart, acquiring a bunch of primitive electronic equipment along the way, and you’ll get some idea of where Johnny Dowd is at on Execute American Folklore. The songs, narrated in Dowd’s ornery, fatalist drawl, feature his usual cast of hapless characters adrift in a world of mordant ill-fortune, but this time they are driven by mutant funk grooves crafted with buzzing, quacking synthesisers. “Unease And Deviance” sets the tone, harsh drum-machine driving its account of “twisted terror, vicious pleasure”; before the protagonists of “Sexual Revolution” and “Rhumba In The Park” suffer their below-the-belt blows. But balancing this is the maniacal glee with which Dowd recounts the detriments of booze and drugs in “Whiskey Ate My Brain”, climaxing in the album’s most wonderfully tortured burst of guitar noise. Gloriously deviant.
Return of the Jimmies: Top 16 local CDs of 2016
– JIM CATALANO, SOUNDOFF
January 3rd, 2017
Before we say goodbye to 2016, it’s time for me to announce the winners of my annual Soundoff awards, nicknamed “The Jimmies.”
I’ve been covering the Ithaca music scene since 1992, and I started doing these awards in 1994 to recognize the many talented people who make music in the area.
There were more than 40 CDs and EPs released locally in the past year, and while I didn’t get to every one of them, I did manage to listen to just about all of the ones that came out by mid-December.
As has been the case since 1994 (except for 2009, when the Jimmies were on hiatus), these award choices are entirely subjective. The winners receive absolutely nothing except a handshake and a “way to go” next time I see them around town.
The envelopes, please …
3) Johnny Dowd, “Execute American Folklore”: A strong follow-up to last year’s “That’s Your Wife on the Back of My Horse,” this album showcased Dowd’s continuing ability to blend electronic and organic musical elements to create appropriate backdrops for his distinctive vocals.
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