Wednesday, June 14, 2017
Doors: 7:30 pm / Show: 8:30 pm
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!
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
Sure, 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!
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.
A Note from from 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”.
released November 21, 2016
– Original Article
On tour from the USA, the amazing Johnny Dowd band (including Anna Coogan and Mike Edmondson) with support from Park Doing – the Edgemoor Hotel, Haytor Road, Bovey Tracey TQ13 9LE – Doors 7.15.pm – starts 8.00pm – Tickets £15.00. More information and tickets on website
Johnny’s latest album “Execute American Folklore” has just been released to critical acclaim. “There’s intense and there’s Johnny Dowd. He’s Nick Cave with a hangover. Hank’s lonesome whistle spat through Waits’s grinder, with Beefheart on the side.” – Peter Watts, Time Out. You will not get a better chance to experience authentic, courageous, contemporary American music here on our doorstep. We guarantee an unforgettable evening of gothic, junkyard Americana.
Johnny’s first national exposure in the UK came in 2003 in the beautiful, illuminating and highly recommended BBC Arena documentary ‘Searching for the Wrong-Eyed Jesus’, a musical and sociological road trip through the ‘poor white’ southern states. It’s free to view on iPlayer
A really big thank you to you all for enabling us to bring exciting world-class talent to our doorstep.
– Photos thanks to Matthew North as posted on Facebook
Johnny Dowd is packing heat this Saturday night at the Rongo, releasing not one, but TWO albums at the same time! Johnny’s newest album, Execute American Folklore, has already seen it’s European release, but now he’s sharing it with all of his American friends, starting right here at the Rongo! In addition to the new album, Johnny will also be releasing Neon Baptist Live, featuring live cuts from his first band, Neon Baptist. You know it’s bound to get weird when Johnny comes around.
Special guest Park Doing will open the show at 9:30 p.m. $7 cover at the door.
JIM CATALANO, Correspondent
For the past 20 years, Johnny Dowd has been honing a unique style of music that draws from blues, country, folk, rock and gospel influences to create a backdrop for his distinctive lyrics delivered in his one-of-kind vocal style – a drawling mix of singing, talking and testifying.
Saturday, Dowd will unveil his latest album, the 14-song “Execute American Folklore,” at CD release show at the Rongovian Embassy in Trumansburg. The Sex Robots, which includes Anna Coogan and Michael Edmondson on guitars and vocals, will accompany Dowd at the show.
Dowd recorded all of the instruments for the next album by himself at his studio in the office of Zolar Trucking, the moving company he has co-owned with Dave Hinkle since the mid-1970s
“There are a lot of drum machines, but it still sounds live, because I tracked all the instruments live,” Dowd explained. “I wouldn’t say there’s a lyrical theme to the album, but it’s lot more coherent musically from song to song. Most of them kick off with these hip-hop drum beats, so that holds it all together.”
Local engineer Matthew Saccuccimorano once again played a key role on the album, adding a variety of sounds in the mixing and mastering process.
“Matt has been instrumental in the last three records as far as crafting a coherent sound for each record,” Dowd said. “It’s been a real collaborative process. I did what I do, and he did what he does. I might make a change or two on his mix, but it’s very minimal.” Coogan also contributed vocals to a few songs, including the lead lines on “Brains-a-Flame.”
The album title can be taken in two ways, depending on how you define “execute” – something Dowd was perfectly aware of.
“The title came out of this bad review I got in this Dutch magazine,” he explained. “In the weird translation, it came out as at one point as ‘it’s almost like he’s trying to execute American folklore.’ When I saw that, I though it was a great phrase for an album. So I had the title before I wrote any songs, but I thought it was exactly what I was trying to do on the record.”
To support the new album, Dowd and his partner Kat Dalton launched an indiegogo campaign that raised more than $17,000. Supporters were able to procure a variety of perks such as album artwork, Dowd’s much-used drum machine, and Zolar Trucking t-shirts.
“We had no idea going into it what would happen, so I was really gratified,” Dowd said. “It definitely will keep me going as a musician for another year at least.”
Dowd, 68, was something of a late starter in his music career; indeed, he was in his late 40s when his breakthrough solo album “Wrong Side of Memphis” came out in 1997. The initial burst of critical acclaim, especially in Europe, has allowed him to keep going for the ensuing two decades, which has seen the release of more than a dozen albums and a few tours of Europe and the United States.
“That’s what helped to keep me fresh,” he said. “I’ve done all my developing in public. If you start at 15, you develop and get a thing going, and that’s your thing for the next 20 years. I was better known at the very beginning – at day one – than I am now. That (acclaim) was just something that happened, but it gave me a thing I’ve been able to maintain. It didn’t end up growing bigger and bigger, but it still gave me a basic thing that a lot of people don’t ever get.”
Saturday’s show, which is Dowd’s last before taking the Sex Robots on a three-week tour of Europe, also will serve as a release for the new two-CD “Neon Baptist Live,” a compilation of songs his former band recorded at are shows between 1990 and 1992. Find out more at http://www.johnnydowd.com.
Opening Saturday’s show is Park Doing, who also will be accompanying Dowd on much of his upcoming European tour. The longtime frontman of the Atomic Forces and Woody Guthrie Meets The Sun has developed a new solo act that includes lots of live looping on guitar and vocals as well as the occasional sampled sound. Visit his new website at http://www.parkdoing.org.
If You Go
→Who: Johnny Dowd and the Sex Robots, with Park Doing opening
→What: CD release show for “Explode American Folklore”
→When: 9:30 p.m. Saturday
→Where: Rongovian Embassy, 1 W. Main St., Trumansburg
→Tickets: Available at the door
Johnny Dowd found the title for his new album, Execute American Folklore, by accident. He ran Google Translate on what turned out to be a negative review in Dutch and found himself accused of “executing American folklore.” He was delighted.
“Finally someone has given me the phrase for what I’ve been doing for 25 years,” he said as he rolled a cigarette between sips of coffee on the steps of the former Felicia’s Atomic Lounge. “Well, OK, I’ve been doing it a little longer than that.”
Dowd famously came late to the life of a professional musician. He describes having an epiphany at age 35. The Army veteran was still living as if he was still 19 while watching his friends get married and buy houses. “I knew I didn’t want to do that,” he said, “but I was washing dishes for a living, and I knew I didn’t want to do that. And I thought, ‘Music; I’ve always loved music since I was 9 years old.’ I didn’t see anything about it that I couldn’t do. I knew musicians; they weren’t that smart. So I started the same way other people start when they’re 15, but way late. I’m only 30 in musical years.”
Although he claims to have no natural musical ability, in his mid-30s Dowd learned to play guitar and then he began writing songs. By many people’s estimate: awesome songs. His band Neon Baptist was one of the three bands to appear at the State Theatre in 1991 in a fundraiser that would inaugurate the Grassroots Festival. This past year Dowd released a double live CD of archival Neon Baptist shows.
His first solo album, The Wrong Side of Memphis, was released in 1998. “I got in at the top of the alt-country thing,” Dowd said. “Europe was paying crazy money; the big rock clubs were subsidized by the government back then. But now it’s just like the States.” Dowd doesn’t think his career would get off the ground if he were trying to start it now.
“[In the ‘90s] low-fi was big,” he said, “and my first record was unintentionally low-fi. I had it on cassette and played it for my friends. They said it was great, so I just put it in the mail, sent it out to the music magazines, and got all kinds of hits.” The copy he mailed to Billboard resulted in a positive review.
“I was super-lucky,” said Dowd. “There was like a two-month window. We went to South by Southwest and signed two record deals. It’s just been a slow decline from there. It’s what I’ve got on some other artists around here: it’s easier to go down.”
In terms of remuneration, you can’t argue with the man, but in terms of the music, fans of Dowd will undoubtedly disagree with his assessment. He has put out an average of about an album per year, and they have been restlessly exploratory. In addition to new collections of original music, he has turned out compilations, tributes, and live albums. And they are no longer low-fi.
Where once he sat down with an acoustic guitar, he now programs a drum machine and then adds all the rest. “Then I find some lyrics that I’ve already written or write some new ones,” he said. “It has become more of a hip-hop thing: words over beats. I find a beat that I like and a bass line, and then just build it out. I may try 10 or 15 permutations of a line before I get it right.”
Dowd has departed from his album per year average this year. In addition to Execute American Folklore, which was funded with an IndiGoGo campaign, and the Neon Baptist live release, he has recorded “a 30-minute instrumental, Bitches Brew type of thing. A friend in California is mixing it now. It should be ready by Christmas.”
Released first in Europe and available at johnnydowd.com, Execute American Folklore came out on Mother Jinx Records on Sept. 9 in the U.S. There will be a record-release party at the Rongovian Embassy on Saturday, Oct. 1. at 9 p.m. Jennie Stearns and Park Doing will open the show. •
Johnny Dowd has posted a stream of Presbyterian Wedding Bells, a track from the handmade 2CD set of rare Neon Baptist recordings, one of the perks of his campaign at Indiegogo (ends within a couple of hours from now). Punk meets rock meets Americana and all Hell breaks loose:
Here’s another live recording of my first band, Neon Baptist — a punk version of “Presbyterian Wedding Bells,“ with Jennifer Edmondson tearing it up on vocals. Recorded at The Nines, Ithaca, NY, in September 1990.
Johnny Dowd has posted a stream of Paralyzed, a track from the handmade 2CD set of rare Neon Baptist recordings, one of the perks of his campaign at Indiegogo to cover the expenses for recording of his new album Execute American Folklore.. He has reached his goal of $15,000:
We reached our goal at Indiegogo last evening! Thanks to everyone who contributed to my campaign for my new album, “Execute American Folkore.“ You had already opened your hearts to me, and when I asked you to open your wallets, you really came through. I can’t thank you enough.The campaign will stay open until the previously set deadline—this coming Saturday, July 2 (11:59 PM, PDT). Perks are still available until then. So if there was something you meant to get, you can do so through Saturday. Funds over the goal will also go to costs connected to the new album.
Paralyzed was recorded on April 27, 1991, at The Nines in Ithaca, NY. Besides Johnny Dowd, you’ll hear Dave Hinkle, Jennifer Edmondson, Mike Edmondson, Cally Arthur, and Max Ormond.
The headmaster of trashcan Americana will be on tour in Europe this Fall. Park Doing is the support act for the first two weeks (October 12 through 23) and Mark Lotterman for the final week (October 24 through 30).
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