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

Live @Local 506

Johnny Dowd

Melissa Swingle Duo

Ben de la Cour

Wednesday, June 14, 2017

Doors: 7:30 pm / Show: 8:30 pm

Tickets

Facebook Event

Johnny Dowd, one of a kind leftfield trashcan Americana artist, has a show at Local 506 in Chapel Hill, NC on June 14th.

HCTF review of Execute American Folklore.

 – Original Article

Live at The Bunker Elwood City PA

 

Cover_Execute

Johnny Dowd is an American alternative country musician from Ithaca, New York. Typical of his style are experimental, noisy breaks in his songs and strong gothic (in the sense of dark and gloomy) elements in the lyrics as well as in the music. There is also a strong undercurrent of black humor and the absurd in his work.

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
BYOB

Donations will be collected – $20 per person is suggested, but feel free to give more 🙂 100% of your donation goes to the band…Your support of live music is appreciated!

*Please help to spread the word about this event by inviting your music-loving friends!!

Hope to see you on March 11!
The Klines

COMMENTS:

Yay, it’s Johnny Dowd Day!
This is THE DAY… the day that Johnny Dowd comes to Ellwood City, specifically to our DEAR friends the Kline‘s house… their basement, aka The Bunker.
It’s a little chilly today but the roads are clear and dry with no precip in the forecast… and the environment in The Bunker is climate controlled… in the best ways possible, WARM and LOVING. This will fill your soul, with the best food, companionship and MUSIC/POETRY you could hope for.
Please come join us, you may never have another chance to experience anything like this!
JOHNNY Dowd!!

Larry Franklin

— 02/03/2017 20:15
We haven’t seen Johnny Dowd in several years, mainly because we haven’t been to Ithaca, NY, where we have always seen him perform. Nor have we his last couple of albums, which we *will* remedy next weekend. We do have most of his previous remarkable recordings… but there is just nothing like seeing and feeling him live and in person, it is a *very* unique experience. A vibe like I have experienced nowhere else. He’s very popular in Europe but not so much in The States, which I personally see as tragic. We first saw him fronting Neon Baptist at the first Great Blue Heron Festival. Anyone who knows us knows that our favorite band, next to The Grateful Dead, is Donna The Buffalo… Donna played several times each day at the first Great Blue Heron Fest, and we did immediately fall in Love with them, but I can’t honestly say that I remember very much of their sets from that festival… what they played, etc… but I do remember every second of that mind-blowing Neon Baptist set. We have seen Mr Dowd at every chance since then, even forgoing the Saturday night Donna The Buffalo sets at their home base festival, the Fingerlakes Grassroots Fest, just outside of Ithaca, where he is usually scheduled opposite them on another stage. And each and every time has been well worth it, I remember every set of his we have ever seen, even the most highly intoxicated ones. 🙂 We have made several trips all the way to Ithaca just to see him perform. Now I suppose he is an acquired taste, he is “different,” he is dark, and he is Pure Art. IMHO. Not “pretty” art, high art… dark high art to the extreme. Johnny Dowd has been compared to Nick Cave… probably because he is so dark. Johnny Dowd has been compared to Captain Beefheart… probably because of the unique ways he uses words and sound. Johnny Dowd has been compared to Tom Waits… I myself do that often when talking about him… because of his artistic sensibilities, temperament and taste. But he is just unique, and incomparable. As far as I know he hasn’t performed in the Pittsburgh area before, which makes next week’s show at Kline’s basement, The Bunker, a premiere of sorts. Do yourself a favor. Take a chance. We are *extremely* excited that he’s coming here to Ellwood City and we hope that all the wonderful open-minded music fans who frequent this fine venue, and YOU, join us and thoroughly enjoy this… character. You have never seen/experienced anything like it. Check out some of these You Tube videos, open your mind, and fasten your seat belt….

Gary Johnson

— 02/03/2017 20:15
I live in Cincinnati. If it wasn’t for a work commitment on March 11, I would drive the 300 miles to Ellwood City for this show. That’s how much I appreciate Johnny Dowd’s music. You fans of adventurous music in Ellwood City or places closer to it than Cincinnati owe to yourselves to attend. Johnny takes various musical elements and twists them into his own unique musical vision. On top of that, he is a very engaging performer with a fine sense of humor. See him if you can!

Larry Franklin

— 03/03/2017 17:32
Hey kids… can’t beat a recommendation like this… thanks, Gary!: “Gary Johnson: I live in Cincinnati. If it wasn’t for a work commitment on March 11, I would drive the 300 miles to Ellwood City for this show. That’s how much I appreciate Johnny Dowd’s music. You folks of adventurous music in Ellwood City or places closer to it than Cincinnati owe to yourselves to attend. Johnny takes various musical elements and twists them into his own unique musical vision. On top of that, he is a very engaging performer with a fine sense of humor. See him if you can!”

Judy Cs

— 03/03/2017 17:32
Gary Johnson, he’s playing a house concert in Buffalo the evening before. PM me for details if you’re not working.
Judy Cs
— 02/03/2017 18:29
quirk·y ˈkwərkē/ adjective characterized by peculiar or unexpected traits. “their sense of humor was decidedly quirky” synonyms: eccentric, idiosyncratic, unconventional, unorthodox, unusual, strange, bizarre, peculiar, odd, outlandish, zany… Johnny Dowd, poet first, and musician, is an acquired taste. Do yourself a favor and acquire that taste. Check out this video from his European tour:

Larry Franklin

— 26/02/2017 22:57
I’ve mentioned before that Mr Dowd is much more popular in Europe than he is here, particularly in Sweden, Germany & The Netherlands… here’s a nice little article about him:
http://www.bbc.co.uk/music/artists/5852ea02-04f4-49a9-ab8a-40555ac4c1d5

Susan Chikalla

— 23/02/2017 17:52
I’ll be in Wisconsin visiting family that weekend. Have a great time!!! Thanks for the invitation.
Milton Donald
— 23/02/2017 14:53
I hope folks int he Bunker will be prepared for something “different”. 🙂
Larry Franklin
— 23/02/2017 14:53
– this is going to be interesting. Most of Kline’s patrons aren’t very familiar with most of the bands they’ve had there but they’ve been very receptive. And positive. Of course most of the bands have been more acoustic, and many Dead-related. They have no idea what they’re in for! He will be by far the edgiest music they’ve had (it’s a pretty progressive town music-wise… I’m telling folks to think Tom Waits only edgier & darker) and by far the darkest. But, hey, WE know how good he is, let’s just hope minds stay open. I hope to get some of his music posted before the show so folks will have an idea what to expect (suggestions welcomed!), but I’m extremely busy and more than a little sick right now, so I’m not thinking clearly at all… we’ll get on that asap! 🙂
Milton Donald
— 23/02/2017 14:52
Been wanting to get to a Bunker show since you started. Maybe I’ll be able too make this one. Melissa has been wanting to visit Pittsburgh. I could warm up the stage with my song called… “Johnny Dowd”. Would be great to see y’all.
webclip_hctfbunker

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

Johnny vs Krampus

gruss_vom_krampusSure, you can support great music .008 cents at a time on Spotify, but you can also score a deal just a couple digits to the left of the decimal place directly from the Man at the Johnny Dowd website.

Check out this message from Kristmas Kat:

Here’s a brand new Johnny song for you.

Johnny wrote and recorded this for The Mouthhole who commissioned the song via his Indiegogo campaign earlier this year. The Mouthhole is a Nashville-based house venue run by Michael Sadler, Zac Caffrey, and Travis Caffrey. It hosts regular parties that feature live music, art, theater, and all things bizarre. It’s home to weirdo rock band The Chewers and electronic monkey man Chop Chop Chang.
Michael, Zac, and Travis created their own fund-raising campaign to raise money for their Johnny song in which they also wrote songs for donors. They wrote 36 songs altogether which are awesome! Be sure to check them out here. There’s even one written for Johnny.

We’ve added some new merch to the store page

— Neon Baptist CDs: Two disks of live recordings of Johnny’s first band in handmade package including photo of Johnny from that era.

Zolar t-shirts: Shirts worn by employees of Johnny’s moving company. Become an honorary Zolar employee!

7-inch vinyl: Johnny song on one side and Mark Lotterman song on the other.

We’ve also slashed the prices of older CDs. Maybe some of your friends and family would like Johnny music for Christmas? Or maybe Johnny’s song “Christmas is Just Another Day” would suit you? (It’s on the Cemetery Shoes CD.) All CDs will be autographed.

—Kat

Here are folks majorly digging some objects-yes,actually objects-from Johnny. Some are IndieGoGo perks, some long time collections (we’d love to see yours!):

 

A Note from from The Mouthhole:

A man named Johnny Dowd had a good idea, so we stole it. To raise money for his next album, living legend
Johnny Dowd offered a reward on a crowdfunding website:
for $1000 he would write a song about you.
The residents of The Mouthhole
Nashville’s weirdest house venue, wanted a Johnny Dowd song about us, but we are poor.
We decided – we should raise crowdfunding
to donate to Johnny Dowd’s crowdfunding and get a song made about The Mouthhole.

And what would our offered reward be? We’ll make songs too. If you donate even $1 we will make a song about you.
So we did. You are now holding a collection of rewards. They were recorded quickly and efficiently in order to keep the flow (and there ended up being 36 of them).

Each member of The Mouthhole Band rotated instruments for each song. Lyrics, with occasional exception, were written
by committee. We raised approximately $760 dollars. Johnny Dowd made us a song anyway, because he liked our idea that we stole from him.
He named the song “The Mouthhole”.
We named this album “Name Songs”.

credits

released November 21, 2016

The Mouthhole Band is
Michael Sadler
Zac Caffrey
Morgan Ames
Travis Caffrey