Live @ Maxies 1/16 6-9 pm

Johnny Dowd Band returns to Maxies

Johnny and Mike return to Maxies with their alternative country rock. With an upcoming release and a European tour in March, get in here to see Johnny warm up the band and our ears. Always free and always kid friendly
SPECIAL GUESTS–Park Doing AND Michael Stark

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Before Johnny Dowd heads out to Europe to promote his new album Family Picnic – due for release in March – his Stateside fans will have a handful of opportunities to see him perform with musical partner in crime Michael Edmondson on guitar.
                                                                                                                      –  HCTF

(Stay tuned for news on the official release party this March 1st).

 

Live @ Ithaca Musicians Office Party @ Maxies

Local musicians fundraiser and office party at Maxie’s-All Welcome!

 

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Of course, we have no photos of the future show, but here’s some shots from last year at The Haunt. Johnny-centric as usual (per the blog name!) but a great show with many local talents. Check the poster-you can catch them again this Sunday!

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Johnny and Rocket -WRFI radio Fri 11/16 7-9pm

                       The Rocket Morton Show
                                     WRFI Community Radio

Raw power from the old school, some familiar, most not, all killer no filler. Wild R&B shouters, lysergic weirdos, avant-garage, hillbillies, rockabillies, funky freaks, soul crooners, outsiders, acid blues, odds & ends served up by your host with the most Rocket Morton.

 

>>>>>>>>>>>>>>  Johnny on the radio, always unpredictable<<<<<<<<<<<<<<<<

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

AD.nl on the Going Down the Road Feeling Bad Tour

Zielsverwanten met een donkere boodschap

Ze zingen allebei over de rafelranden van de samenleving: Melle de Boer en Johnny Dowd. Twee americana-artiesten van twee generaties en verschilende geboortegrond trekken samen op. Vanavond in het Paard in Den Haag.

Machiel Coehorst 

Johnny Dowd komt uit Ithaca, een slaperig universiteitsstadje in de staat New York. Hij had daar een transportbedrijfje en musiceerde wat in zijn vrije tijd. Totdat hij ontdekt werd door een platenbaas en op zijn 50ste zijn debuut maakte als singer-songwriter en vertolker van rauwe popcountry. Melle de Boer komt uit Delft/Den Haag, maakte furore met zijn bands Smutfish en John Dear Mowing Club en heeft net als Dowd een voorliefde voor de country noir. Ter ere van hun nieuwe albums maken de beide muzikanten een gezamenlijke tour en vanavond doen zij het Paard aan.

Ondanks het leeftijdsverschil (Melle de Boer is 45 jaar, Johnny Dowd bijna 70) worden de twee muzikanten gezien als zielsverwanten. De Boer kan zich vinden in die typering. ,,Ja, er zijn zeker raakvlakken tussen Johnny en mij. De muziek komt bij ons allebei uit dezelfde bron: De twijfel over alles, en de onderhuidse dingen die niet vaak worden uitgesproken.”

Het moge duidelijk zijn: voor een vrolijk avondje uit ben je bij de twee aan het verkeerde adres. Melle de Boer en Johnny Dowd hebben meer affiniteit met de donkere kanten van het leven. ,,We zoeken allebei de rafelranden op van de maatschappij. Onze teksten gaan over onderwerpen als eenzaamheid, het verschil tussen rijk en arm en de manier waarop mensen met elkaar omgaan.” Maar er is niet louter donkerte te vinden in hun muziek. ,,We proberen de donkere kant te verlichten,” zegt De Boer poëtisch. ,,Het publiek zingt ook volop mee met de Amerikaanse liedjes en er wordt ook veel gelachen.”

Openbaring

We proberen de donkere kant te verlichten

Melle de Boer

Het duo heeft net een tour door Engeland achter de rug. Voor De Boer was het een openbaring: ,,Ze kijken daar heel anders tegen muziek aan dan hier. In Nederland moet het vooral leuk en gezellig zijn. In Engeland luisteren ze echt naar de liedjes. Van ouds af aan bestaat er natuurlijk ook de traditie om samen naar muziek te luisteren, en er niet doorheen te kletsen.” Wel was hij enigszins nerveus bij aanvang van zijn eerste tour door Engeland: ,,Ik twijfelde over mijn Engels en wist niet of ik de teksten wel goed zou uitspreken. En dan sta je in zo’n volle zaal …” Maar de respons was bijzonder goed. ,,Ik heb zelden zoveel enthousiaste reacties ontvangen en er zijn meer cd’s verkocht dan ooit.”

Een voordeel was dat De Boer zijn Engelstalige teksten niet hoefde uit te leggen, zoals hij in Nederland gewoon is te doen. Zo projecteerde hij tijdens een optreden ooit zelfgemaakte tekeningen (De Boer is ook kunstenaar) op de achtergrond (‘Bij iedere zin een nieuwe tekening’). Een uitleg van zijn teksten was in Engeland niet nodig, toch? ,,Nou ja, ik was daar op een ongemakkelijke manier wel al mee begonnen, totdat ik besefte dat dat niet nodig was, ha ha.”

Even terug naar zijn samenwerking met Johnny Dowd. Wat spreekt De Boer het meest aan in de man die bekendstaat om zijn nogal eigenzinnige, soms ronduit ondoorgrondelijke muziek? ,,Zijn liedjes zijn soms best lastig ja. Het mooie aan hem vind ik dat hij nooit probeert te behagen.” De muziek van Johnny Dowd is niet alleen lastig te doorgronden, maar ook behoorlijk zwartgallig. ,,Toch is hij een opgewekte man hoor, ondanks al die heftige liedjes. Het was heel gezellig in de tourbus!”

 – Original article

Soulmates with a dark message
They both sing about the fringes of society: Melle de Boer and Johnny Dowd. Two americana artists of two generations and different birth grounds join together. Tonight in the Horse in The Hague.

Machiel Coehorst 08-02-18, 16:04

Johnny Dowd is from Ithaca, a sleepy university town in the state of New York. He had a transport company there and made music in his free time. Until he was discovered by a record manager and made his debut at the age of 50 as a singer-songwriter and interpreter of raw pop country. Melle de Boer is from Delft / The Hague, made a furore with his bands Smutfish and John Dear Mowing Club and, like Dowd, has a predilection for the country noir. In honor of their new albums the two musicians make a joint tour and tonight they do the Horse.

Despite the age difference (Melle de Boer is 45 years, Johnny Dowd almost 70) the two musicians are seen as soul mates. De Boer can agree with this typing. “Yes, there are certainly similarities between Johnny and me. The music comes to us both from the same source: The doubt about everything, and the subcutaneous things that are not often spoken. ”

It should be clear: for a cheerful night out you are at the wrong address. Melle de Boer and Johnny Dowd have more affinity with the dark sides of life. ,, We both seek out the frail edges of society. Our texts deal with topics such as loneliness, the difference between rich and poor and the way in which people interact with each other. “” But there is no mere darkness in their music. ,, We try to lighten the dark side, ” De Boer says poetically. ,, The audience is also singing along with the American songs and there is also a lot of laughter. ”

Revelation
We try to illuminate the dark side, Melle de Boer
The duo has just finished a tour through England. For De Boer it was a revelation: “They look at music very differently than here. In the Netherlands it must be fun and cozy. In England they really listen to the songs. From time immemorial there is of course also the tradition to listen to music together, and not to chat through it. ” He was a bit nervous at the start of his first tour through England: ‘I doubted my English and did not know whether I would pronounce the lyrics correctly. And then you’re in such a crowded room … “” But the response was very good. ,, I have rarely received so many enthusiastic reactions and more CDs have been sold than ever. ”

One advantage was that De Boer did not have to explain his English-language texts, as he is used to doing in the Netherlands. For instance, during a performance he once projected self-made drawings (De Boer is also an artist) in the background (‘With every sentence a new drawing’). An explanation of his texts was not necessary in England, right? ,, Well, I had already started in an uncomfortable way, until I realized that it was not necessary, ha ha. ”

Back to his collaboration with Johnny Dowd. What appeals to De Boer most in the man who is known for his rather quirky, sometimes utterly inscrutable music? ,, His songs are sometimes quite difficult yes. The beauty of him is that he never tries to please. “” The music of Johnny Dowd is not only difficult to fathom, but also very ungraceful. “Still, he is a cheerful man, despite all those heavy songs. It was very nice in the tour bus! ”

 – Translation by Google