Live @ The Dolphin (Family Picnic review by Rocking Magpie)

In late 2016 we were delighted to welcome the King Of Junkyard Americana, Johnny Dowd, to Bovey Tracey. A truly memorable night ensued and there are some great photos in the portfolio area.

We are very happy to announce that Johnny will be back with us in Bovey Tracey in April 2019 for another brilliant night. Don’t miss it!

See Johnny’s artist page for more information, photos and links.

Don’t miss the fabulous Johnny Dowd on tour from the USA this Saturday at the Dolphin, Bovey Tracey. Tickets from: www.southdevonmusic.co.uk.

 

Johnny Dowd FAMILY PICNIC

Johnny Dowd
Family Picnic
Mother Jinx Records

A Man Out Of Step Takes a Massive Leap Into The Alt. Past.

Johnny Dowd? It’s not fair to say that you either ‘love him’ or ‘hate him’ as it’s more, ‘you get him’ or ‘you don’t’. Mrs. Magpie gave me ‘that look’ last Saturday night when I played this on the stereo; which puts her in the latter camp; me…… bring it on kidda!
Dowd is now 70 and been recording albums for just 30 of those years; but those albums have helped change what we now call Americana Music for the better; as he has probably been an influence with anyone who put’s an Alt. in front of Country or possibly even Blues.
I will try to use the word ‘weird’ once; and keep the comparisons to a bare minimum; but right from the get go; opening track, the weirdly Jazzy/Blues instrumental Hoodoo sounds like something Zappa or Beefheart dreamt of creating put sadly failed, leaving it for Johnny Dowd set the new benchmark for Avant Garde Rock Music.
Over the years I’ve received quite a few albums by artistes trying to make music this interesting and fascinating; but all save a couple of songs have failed miserably; yet even on this Dowd’s 18th album it’s chock-a-block full of songs that will spin your head; but bring you straight back for more, more, more.
There’s so much more to Vicksburg than just being a history lesson; it could be poetry set to an Acid Jazz beat; or is that Alt. Country with a beat box? Who knows? Who cares?
Dowd uses Bass-lines so dynamic on the sparkling title track Family Picnic and Back End of Spring they will more than likely to get pinched by with-it Hippity-Hoppity stars; yet on the latter Dowd might even be getting his own Hip-Hop on anyways!
While there are surprises around every corner; I was stunned to hear Dowd Go Dub on Let’s Have a Party; or at least the backing track has come straight out of Orange Street but Dowd’s vocals are straight up East Coast Country…… play it LOUD and play it often.
With so much going on in his songs, it’s easy to forget what a great songwriter Johnny Dowd has always been; his odes to Conway Twitty and Thomas Dorsey have to be heard to be believed; yet somehow I think both men would raise an eyebrow were they to ever hear these two ‘love songs’.
Obviously with an album so left-field and eclectic makes finding a Favourite after only a couple of plays nigh on impossible; but if forced I will have to spin a coin between Stuttering Wind, as if it had been around in the early 80’s I would have danced my ass off to this on a Friday night at Barmston Club; and the other is the nearest to a Country song as I’ve heard from Mr Dowd, Four Gray Walls…….. but don’t expect an invite to the Opry any time soon!
If I had a record store I don’t know where I would slot this album in today; as it’s not easy to pigeon hole in 2019 where the public need descriptions like leading a horse to water; but let’s go for Alt. Eclectic or Avant Garde Americana……. or just Damn good and intelligent Rock Music?

 – Original article

 

Live @ the Thunderbolt (Family Picnic review by enola.be)

 

 TICKETS

Johnny Dowd – Family Picnic

Guy Peters – photos: Kat Dalton – March 27, 2019

“I sing songs of lust and depravity / That’s the only kind of songs that come out of me / I apologize but I can’t stop / The devil’s gonna run me until the day that I drop”. Je kan Johnny Dowd van allerhande zondes verdenken, maar een gebrek aan zelfkennis is er geen van. En als Twinkle Twinkle (2018) zo ver doorgedreven was in z’n idiosyncratische waanzin dat het aanvoelde als een eindpunt, dan is Family Picnic een voorzichtige terugkeer naar iets conventioneler terrein, al is het dan met de bedenking dat ‘doorsnee’ altijd buiten bereik zal blijven. En dat is maar goed ook.

Bovenstaande verzen komen trouwens uit “Thomas Dorsey”, een song uit Chainsaw Of Life, dat Dowd in een vorig decennium uitbracht met Jim White. Een ode aan de grote gangmaker van de gospelmuziek, en tegelijkertijd een knipoog naar zijn eigen verdorvenheid, of toch die van zijn songs. Het is Dowd ten voeten uit: observator en participant in één, personage in zijn eigen songs, en het beeld dat hij deze keer ophangt is ook nu regelmatig eentje van gebroken illusies en totale afwezigheid van een beschaafd vernislaagje. De titeltrack start dan wel met een idyllisch beeld dat intussen deel is gaan uitmaken van de Amerikaanse psyche, de perfecte familie, maar al snel drukt Dowd je met de neus op de feiten: “How much emptiness can you swallow”?

Wat Dowd onderscheidt van andere onheilsprofeten is natuurlijk dat hij die boodschap niet brengt met een doemerig serieux of duffe ironie, maar met zelfspot, venijnig inzicht en een zwak voor absurditeiten. Dowd is een verwant van de kermisklanten, van de marginale outsiders die je ineens overrompelen met een barrage aan historische weetjes, met figuranten die weggelopen lijken uit de gemene verhalen van Jim Thompson. Hier slaan ze aan het walsen (“The Man Of Your Dreams”, “Four Gray Walls”), jonglerend met hun zonden en een zekere gelatenheid (“Im not the man of your dreams / That’s obvious to all”). Ze weten hoe erg het gesteld is.

Dowd neemt opnieuw het merendeel van het werk voor z’n rekening, maar krijgt ondersteuning van oude bekenden Mike Edmondson (decennia geleden al een vaste sparringpartner) op gitaar en xylorimba en de al even bekende Kim Sherwood-Caso op backing vocals. Er duiken nog altijd brommende en zeurende toetsen op, net als plastieken beats, waardoor het hier en daar lijkt alsof Dowd nog altijd mikt op een vanuit de roots afgevuurde hiphop (de titeltrack, “Shameless”, “Let’s Have A Party”), maar de effecten zijn een graad of twee minder vervreemdend dan op het drieluik That’s Your Wife On The Back Of My HorseExecute American Folklore en Twinkle Twinkle. Misschien was die hint al te vinden in het artwork, met de houtgravure van Mike Massingham.

In onze recensie van een vorige plaat beweerden we nog dat je een figuur als Dowd nodig hebt om een genre fris te kunnen houden, en dat geldt net zo goed voor Family Picnic. Ondanks de gekte en de waanzin, maken deze songs vooral duidelijk dat Dowd als geen ander weet wat songs doet tikken, wat de essentie van een goede song is, en hoe hij die ondanks al die ingrepen toch overeind houdt of nonchalant in de lucht houdt met die brede grijns. Korte instrumental “Hoodoo” klinkt alsof werk van Freddie King en Link Wray door een Fisher Price-mangel gehaald wordt, maar is wel rete-aanstekelijk. Hetzelfde geldt voor de breed uitgesmeerde blues van “Vicksburg”, dat een hoofdstuk uit de Amerikaanse Burgeroorlog belicht, de met kitscherige synths opgebouwde “Walking The Floor” en “Little Jimmy”, of de verrassend gave ballade “Dream On” met z’n mooie slaperigheid. Deze man beheerst z’n kunst.

De nieuwsgierige passanten die een aantal albums geleden afhaakten ga je met Family Picnic niet terugwinnen, daarvoor is Dowds muziek te grillig en te eigenzinnig, maar doordat de songs zo verdomd goed in elkaar zitten (na twee beluisteringen klinkt het gros als bewerkingen van langvergeten klassiekers uit een onbestemd verleden) en elkaar aan zo’n hoog tempo opvolgen (veertien stuks in 37 minuten) is dit misschien wel ’s mans meest toegankelijke plaat van het voorbije decennium. “I wanna be a star” verzucht hij helemaal aan het einde van “Conway Twitty”. Te nemen met een korrel zout, maar tegelijk zou je ’t hem gunnen, al is het maar omdat zijn oeuvre door die combinatie van meedogenloze eerlijkheid, spitsvondigheid en consistente krankzinnigheid zoveel te vertellen heeft over het doorgeslagen Zottenfeest dat menselijke interactie zo vaak is. De dwaas van het gezelschap heeft wel vaker het laatste woord.

Johnny Dowd speelt op 19 april in Het Ijle Land (Gent). Meer (buitenlandse) date op de website. Niet te missen.

   – Original article

“I sing songs of lust and depravity / That’s the only child or songs that come out of me / I apologize but I can’t stop / The devil’s gonna run me until the day I drop”. You can suspect Johnny Dowd of all kinds of sins, but a lack of self-knowledge is none of them. And if Twinkle Twinkle (2018) had gone so far in its idiosyncratic madness that it felt like an endpoint, then Family Picnic is a cautious return to something more conventional terrain, even though the ‘average’ is always out of reach will stay. And that’s a good thing too.

alt

The above verses are from “Thomas Dorsey”, a song from Chainsaw Of Life , released by Dowd in a previous decade with Jim White. An ode to the great pacemaker of gospel music, and at the same time a nod to his own depravity, or that of his songs. It is full of Dowd: observer and participant in one, character in his own songs, and the image he hangs this time is now also regularly one of broken illusions and total absence of a civilized layer of varnish. The title track does start with an idyllic image that has meanwhile become part of the American psyche , the perfect family, but soon Dowd presses you on the facts: “How much emptiness can you swallow”?

What distinguishes Dowd from other prophets is of course that he does not bring that message with a doomed, serious or stupid irony, but with self-mockery, vicious insight and a weakness for absurdities. Dowd is a relative of the fairground customers, of the marginal outsiders who suddenly surprise you with a barrage of historical tidbits, with extras who seem to run away from the nasty stories of Jim Thompson. Here they are waltzing (“The Man Of Your Dreams”, “Four Gray Walls”), juggling their sins and a certain resignation ( “Im not the man of your dreams / That’s obvious to all” ). They know how bad things are.

Dowd once again takes care of most of the work, but receives support from old acquaintances Mike Edmondson (a regular sparring partner decades ago) on guitar and xylorimba and the equally famous Kim Sherwood-Caso on backing vocals. Humming and whining keys are still popping up, just like plastic beats, making it seem like here and there Dowd is still aiming for a hip hop fired from the roots (the title track, “Shameless”, “Let’s Have A Party”), but the effects are a degree or two less alienating than in the triptych That’s Your Wife On The Back Of My HorseExecute American Folklore and Twinkle Twinkle. Maybe that hint could already be found in the artwork, with the wood engraving by Mike Massingham.

In our review of a previous album, we claimed that you need a figure like Dowd to keep a genre fresh, and that goes just as well for Family Picnic . Despite the craziness and madness, these songs make it clear that Dowd knows better than anyone what makes songs tick, what the essence of a good song is, and how despite all these interventions he keeps it afloat or nonchalantly in the air with that broad grin. Short instrumental“Hoodoo” sounds like work by Freddie King and Link Wray is being fetched by a Fisher Price mangle, but it is very contagious. The same applies to the widely spread blues of “Vicksburg”, which highlights a chapter from the American Civil War, the “Walking The Floor” and “Little Jimmy” built with kitschy synths, or the surprisingly cool ballad “Dream On” with its nice sleepiness. This man controls his art.

With Family Picnic you will not win back the curious passersby who dropped out a few albums ago , Dowds music is too capricious and quirky, but because the songs are so damn well put together (after two listenings, it sounds like edits of long forgotten classics an indefinable past) and following each other at such a fast pace (fourteen in 37 minutes) is perhaps the man’s most accessible record of the past decade. “I want to be a star”he sighs completely at the end of “Conway Twitty”. To be taken with a grain of salt, but at the same time you would like him, if only because his combination of ruthless honesty, witty and consistent insanity has so much to say about the crazy Feast that human interaction is so common. The fool of the company often has the last word.

Johnny Dowd plays on April 19 in Het Ijle Land (Ghent). More (foreign) date on the website . Can not be missed.

 – Translation by Google

 

Real Roots reviews Family Picnic

Johnny Dowd
Family Picnic

De in Fort Worth, Texas geboren Johnny Dowd is van 29 maart 1948. De Amerikaan debuteert in 1997 met Wrong Side Of Memphis. Family Picnic is het zeventiende (!) album van Dowd. Naast vijf live platen is er in 2006 Hellwood, de samenwerking met Jim White en Brian Wilson voor de langspeler Chainsaw Of Life. Voor Family Picnic schreef de Texaan veertien nummers.

Voor het schrijven van zijn nummers gebruikt Dowd vooral een ritmebox. Hij vindt een ritme en schrijft zijn meestentijds rijmende zinnen. Het zijn verhalen uit het familieleven. Onduidelijk is of het gezinsleven van Dowd deze anekdotes oplevert. In titelnummer ‘Family Picnic’ levert het de volgende observaties op.

Every year there’s a family picnic
And folks come from miles around
Mom buys fried chicken on the outskirts of town
Little sister makes a salad
Big sister waits fior a call
Brother John’s in the bathroomLord, he’s climbing the walls
How much emptyness can you swallow?
Would a sixpack get’s you through?
Would it take a quart of whiskey to drive away your blues?

Simpele zinnen, Vocaal wordt Dowd geholpen door zangeres Kim Sherwood-Caso, gitarist Michael Edmondson siert het nummer met functioneel spel. Dowd slaat akkoorden aan op zijn gitaar. Het klinkt eenvoudig, maar is veel meer dan simpel en gemakkelijk uit te voeren.

Johnny Dowd is een zanger zoals er weinig zijn. Muziek maken die simpel klinkt is een gave. Gaat de luisteraar meezingen met een van de veertien nummers, blijkt hoe lastig de tracks in elkaar zitten. Dowd kan als geen ander de melodielijnen van een ritmebox volgen en toch een volkomen eigen geluid laten horen. De frasering van de op leeftijd zijnde zanger is uniek. Daarbij worden de juiste muzikanten ingezet om de muziek naar een volgend, hoger niveau te tillen.

Voorganger Twinkle, Twinkle (2018) verloor de aandacht door een overdaad aan experimenteel gefröbel. Bij Family Picnic heeft Johnny Dowd de gulden middenweg weer gevonden. Tracks die alleen van zijn hand kunnen komen, muziek die uit de pas loopt en toch telkens binnen de bekende lijnen eindigt. Family Picnic is een mooie start van een hopelijk geweldig muzikaal 2019. (Mother Jinx Records)

– Original article

Born in Fort Worth, Texas, Johnny Dowd is from March 29, 1948. The American debut in 1997 with Wrong Side Of Memphis. Family Picnic is the seventeenth (!) Album by Dowd. In addition to five live records, there is Hellwood in 2006, the collaboration with Jim White and Brian Wilson for the long player Chainsaw Of Life. The Texan wrote fourteen songs for Family Picnic.

Dowd mainly uses a rhythm box to write his songs. He finds a rhythm and writes his most commonly rhymed sentences. They are stories from family life. It is unclear whether the family life of Dowd yields these anecdotes. In the title number ‘Family Picnic’ it provides the following observations.

Every year there’s a family picnic
And folks come from miles around
Mom buys fried chicken on the outskirts of town
Little sister makes a salad
Big sister waits fior a call
Brother John’s in the bathroom
Lord, he’s climbing the walls
How much emptyness can you swallow?
Would a sixpack get’s you through?
Would it take a quart of whiskey to drive away your blues?

Simple phrases, vocally Dowd is helped by singer Kim Sherwood-Caso, guitarist Michael Edmondson adorns the song with functional play. Dowd makes chords on his guitar. It sounds simple, but is much more than simple and easy to implement.

Johnny Dowd is a singer as there are few. Making music that sounds simple is a gift. Will the listener sing along with one of the fourteen songs, shows how difficult the tracks are. Dowd is able to follow the melody lines of a rhythm box like no other and yet make a completely unique sound. The phrasing of the old singer is unique. In addition, the right musicians are used to take the music to the next higher level.

Pastor Twinkle, Twinkle (2018) lost attention due to an excess of experimental gefröbel. At Family Picnic, Johnny Dowd found the golden mean again. Tracks that can only come from his hand, music that is out of step and still ends within the familiar lines. Family Picnic is a great start to a hopefully great musical 2019. (Mother Jinx Records)

Editors Note:

Copies of Family Picnic will be available at a release party gig and collaborative art show opening March 1st at the Grayhaven in Ithaca.There’s going to be all kinds of Dowd art on the walls and tables, some snacks and drinks, a photo booth and, most importantly, all proceeds go to the Cancer Resource Center of the Finger Lakes.

Feeling Bad Tour @ The Band Room

Johnny Dowd (US) & Melle de Boer (NL) + Fawn

Tonight we’re delighted to welcome back the great Johnny Dowd who returns to the venue he was born to play en route for Tilburg (NL) to complete an early hat-trick of Band Room shows. We think of Dowd, a US Army veteran who served in Berlin, as the missing link between Keith Richards, Captain Beefheart and The Handsome Family. Others imagine him no less theatrically. “If Nicolas Cage were playing Nick Cave, he’d sing like Johnny Dowd”, said John Aizlewood in The Guardian.

Fawn – rising stars of the York scene – will open the show. If two people mine the same territory long enough, they’ll eventually meet. Johnny Dowd and cult Dutch singer Melle de Boer have been digging deep into the human soul for a long time. Like Orpheus, they go down into the underworld and surface to make beautiful songs about their discoveries. Now their journeys are coming together in a collaborative performance like no other.

They are touring Europe as a double bill in January and February 2018, playing songs old and new. It won’t be a sleepy singer-songwriter night. It will be electric, chaotic, hard and ugly, soft and beautiful. They’ll combine their individual stories to provide a new, unforgettable, unique performance.

They’ll each do a set of their own songs, then perform a set of unconventionally interpreted traditional songs together. Behind the music will be visuals, drawings, photos. Johnny Dowd will be joined by Mike Edmondson (vocals, guitar), while Melle de Boer will be accompanied by Suzanne Ypma (vocals, drums, synthesizer).

Both Dowd and de Boer are releasing new albums. De Boer comes to terms with his parents’ separation, while Johnny does his inimitable take on old American songs. Both albums are traditional, but not corny. They crackle with electricity.

For background on Dowd, this is the most perceptive review we’ve ever seen of his work – the album in question Temporary Shelter (2000), the reviewer John Aizlewood in The Guardian:

Should you ever find yourself needing to move house within the environs of Ithaca, a quiet New York state town, you might be tempted to call upon the respected services of the Zolar Moving Co (“We stand behind our reputation. Ask your neighbor”), established in 1978. Perhaps you would receive the personal attention of Zolar’s craggy, 52-year-old Texan co-owner John Dowd. Perhaps, if you bonded over the sideboards and wardrobes, he might let you into his little secret.

Like many of his generation, Dowd was drafted into the army, albeit to serve in Berlin rather than Vietnam. On discharge, he embraced hedonism, married (and divorced a fortnight later), travelled and slipped into respectability before the gutter took him for ever. In 1997, Johnny Dowd began to make records.

Temporary Shelter, his third album, was mostly recorded in Ithaca. Self-produced and partly engineered by Dave Hinkle, Zolar’s other owner, it is based around the notion of memory or, as Dowd expands, “the story of my life as I remember it”. It is probably mostly lies and jokes – he’s certainly taken the insurance policy of formally noting that his characters are fictitious – but that’s hardly the point: as with all the best fiction, it feels true.

Dowd’s music is from everywhere yet nowhere. His previous albums, 1998’s Wrong Side of Memphis, and Pictures From Life’s Other Side a year later, were mistakenly perceived as alt.country, albeit with a Raymond Carver-esque twist. Although Dowd has found his metier with Temporary Shelter, the brooding ingredients were already in place. “Be content with your life,” he warned in Wrong Side of Memphis’s Thanksgiving Day, “it may not get any better.”

Dowd’s is the dark, mistrustful side of Americana. Those who inhabit his tumbleweed songs – the abused child as adult in Angel Eyes, the washed-up surfer of Big Wave, the oppressive parents and disturbed children of Sky Above Mud Below – “momma talks to Jesus, I wonder if she ever mentions me” – are not so much cracked caricatures that could be filmed by David Lynch as crushed ordinary folk who have long been beaten by life, whether they know it or not.

Golden Rule is par for the lyrical course. Dowd growls his way through the saga of a borderline bum trying to bed a married woman whose husband “puts his hand between your legs: it makes you sick”. He offers to “take you to a motel with a TV and a pool”, promises to share his bottle of whisky with her and reminds her that “nothing comes from nothing is my philosophy”. Dowd neglects to mention how this grubby tale ends, but not, you’d suspect, happily ever after. Who says chivalry belongs to a more courtly past?

His voice is an extraordinary thing; part croak, occasionally country twang, but always tremulous. Not unreasonably, Tom Waits is the laziest comparison, but Dowd is how Nicolas Cage might sing, if playing Nick Cave. And on the deeply unhappy Planet Happiness, Dowd echoes himself, pre-empting each line of each verse. “I have always followed the religion of mental hygiene,” he explains forebodingly, twice. “I won’t touch a woman who does not keep herself clean.”

If it weren’t such a typically accessible but unsettling song, and if the conviction that Dowd is not being autobiographical didn’t hold (it only just does), it would be creepy. You can almost feel the mainstream beginning to blush.

As with all secure leaders, Dowd picks and retains superior henchfolk without fear of being usurped. His rumblings are leavened by frequent duettist Kim Sherwood-Caso’s crystal clear, detached tones. She sugar-coats Dowd’s icebergs and is devastating on her solo vocal showcase, the wintry inverted carol that is Death Comes Knocking, quietly declaring that “when death comes calling you won’t hear a sound”.

Justin Asher’s pounding but sombre keyboards establish a funereal pace across the whole album, while Brian Wilson’s drums and his unusually low basslines provide all the backbone Dowd needs.

Musically, there is a ghostly blues sensibility tucked in beneath the Hank Williamsy desolation, as well as a distinctly un-American Weillian seam to both the lengthy opener, Stumble and Fall, and the melodically circular Hideaway. But Dowd’s hybrid is his own.

Where he can take this from here – after all, there is a successful removal firm to consider – is anybody’s guess, but right now that matters not a jot. What a record.

Johnny Dowd (US) & Melle de Boer (NL) + Fawn website

Ticket price: £ 12.50

Please note early booking is recommended as The Band Room’s capacity is only 100. You can buy tickets securely on-line or by cheque – and prices include postage and administrative costs. There is no additional booking fee. Please email us further information.

Johnny Dowd to complete hattrick of Band Room shows on February 2 bill with Melle de Boer

JOHNNY Dowd is to play The Band Room, Low Mill, Farndale, on the North York Moors for a third time, on this occasion with Dutch singer Melle de Boer on February 2 on their Down The Road Feeling Bad Tour.

“A US Army veteran – he served in Berlin, not Vietnam – Johnny has a removal business in Ithaca, New York, and didn’t cut his first record until he was 50,” says Band Room promoter Nigel Burnham. “We saw him in York twice, first at the Duchess…with 12 other people. The following year we saw him at the old Fibbers, where he still drew an audience of less than 30.

“We thought we could do better than that and he has indeed attracted bigger crowds here and gone down a storm at his previous two Band Room shows. Now he returns to the venue he was born to play, en route for Tilburg, to complete an early hat-trick of Band Room shows.”

Welcoming Dowd back to the North York Moors, Burnham says: “I think of Johnny as the missing link between Captain Beefheart’s genius, Tom Waits’ eccentricity and Keith Richards’ charisma. Brett Sparks, of The Handsome Family, is a big fan of Dowd’s guitar playing, and it isn’t just me and Brett. Others imagine him no less theatrically.”

Dowd is touring Europe in a double bill with cult Dutch singer Melle de Boer, digging deep into the human soul in songs old and new. “It won’t be a sleepy singer-songwriter night,” says Burnham. “It will be electric, chaotic, hard and ugly, soft and beautiful. They’ll combine their individual stories to provide a new, unforgettable, unique performance.

“They’ll each do a set of their own songs, then perform a set of unconventionally interpreted traditional songs together. Behind the music will be visuals, drawings, photos. Johnny will be joined by Mike Edmondson, on vocals and guitar, while Melle de Boer will be accompanied by Suzanne Ypma, on vocals, drums and synthesiser.”

Both Dowd and de Boer are releasing new albums. “Johnny does his inimitable take on old American songs while de Boer comes to terms with his parents’ separation. Both albums are traditional, but not corny. They crackle with electricity,” says Burnham.

Dowd’s Twinkle, Twinkle is out on Friday on Mother Jinx Records, featuring such tracks as Twinkle, Twinkle, Little Star, House Of The Rising Sun, Going Down The Road Feeling Bad, Executive American Folklore, Again and Red River Valley. Details for de Boer’s record are elusive, however.

Fawn, rising stars of the York scene, will open the 7.30pm gig; tickets are on sale at thebandroom.co.uk.

 – Original site

How I Wonder What You Are

New Album

                                    Samples from the album  here

Red River Valley , that’s the name of the new Johnny Dowd album ‘Twinkle, Twinkle’ that will be in stores on January 12th. According to the press release it is a playful album with recognizable tunes.

More info about the release can be found on ‘s mans website . Dowd is back on track with Melle De Boer at his side. That brings him eight times to the Netherlands, but Belgium this time (for the time being) left. So keep an eye on it.

  – Original article

The twinkle of Johnny Dowd is finished with his seventeenth (!) Solo album.

In his newsletter, the man announced that ‘Twinkle Twinkle’ became the title of the successor of ‘ Execute American Folklore ‘, which was published last year. The album appears on its own Mother Jinx label in December.

Dowd said the following about the development process: “I thought it was going to be my most important inside record, but at some point it would go on and on.”

Then there is an American tour as support act of Pere Ubu before he goes down to Europe. And that all promises to be “a little different”, but more details in that regard are not yet known.

 September 25, 2017                                                                    Patrick Van Gestel
 

Ithaca’s finest singer-songwriter Johnny Dowd has a new record coming up. Twinkle, Twinkle is a collection of public domain songs, It is being mixed and will be released in January.

He will be on tour in the UK and The Netherlands in January and February to promote the release. He will be sharing he bill with Dutch musician Melle de Boer. They named it the Going Down the Road Feeling Bad Tour.
– Original article

Been fun watching the album progress, not to mention Kat Dalton’s photos illustrating that progression. We re-present, in the original order:

Good stuff happening in Dowdsville.

“Twinkle, Twinkle” is finished. I thought it was going to be my most inside record, but at some point it leapt the fence and took on a life of its own. It will be released on my label in January.

All for now.

Johnny’s new album, ”Twinkle, Twinkle,” will be released on January 12, 2018.

From the press release by Del Day (Ark PR):

”Wonderfully playful, yet bursting with creative juices, ’Twinkle, Twinkle’ is an album only Dowd would be brave enough to make. These are tunes we all know—tunes we hum, sing-along to at parties, solid bricks in the pantheon of American song—yet you’d be forgiven for thinking that you are hearing all of them for the first time given Dowd’s startling interpretations. Against a backdrop of scathing synths and menacing beats, tracks like ‘Twinkle, Twinkle’ and ‘House Of The Rising Sun’ adorn entirely different guises. ‘Trouble In Mind,’ originally recorded as a jazz song in 1924, here broods like some kind of long-forgotten Tom Waits song remixed by Burial, whilst ‘St James Infirmary Blues’ plays out as a soundtrack to Dowd’s dark and inquisitive mind.”  

Above is one of the tracks for you to enjoy right now, “Red River Valley.“

The Euro tour starts on January 25. Tour schedule here.

Check out the latest Euro tour dates on the Tours page. Johnny will have his new album, ”Twinkle, Twinkle,” for sale at the shows. It will also be available at this site starting January 12, as well as digitally at all the usual outlets.

A CD release show is scheduled in Ithaca, New York, at The Dock, on February 17. Special guests are Anna Coogan, Kim Sherwood-Caso, and Tzar.