Heart of the Beast with Pere Ubu

 

 

The show was about as well matched with an opening act as you could imagine—the rare appearance in these parts of Johnny Dowd, an authentic outsider voice in his own right, doing his own idiosyncratic  thing.

Raised in Texas and Oklahoma, living for decades in Ithaca, NY, he’s

created a bunch of weird spoken word, warped country, and neo-blues recordings that have lately been accompanied by the incongruous sounds of a drum

machine. Like Jim White (with whom he once formed a band a decade ago, Hellwood), he blends absurdist spoken word poetry and unexpected music for something that like Ubu, is in the tradition of Beat poets, jazz hipsters, and street corner savants.

Rather than being menacing as Thomas was capable of being, Dowd, 69, was goodnatured and laughed along with the absurdity, allowing his guitarist Mike Edmondson to begin with an a cappella Joe Walsh, “Life’s Been Good” (when clearly his life as a rock figure has been something else) before the sudden jolt of “I Crawled Up the Rat’s Ass.”

As in the handmade poetry books he sold on site, he could come up with sharp lines that stood out. He pretended to be a funk god as “The White Dolomite,” and deconstructed “Freddy’s Dead” for his own purposes. He and Edmondson almost seemed more interested in telling the dumb jokes between songs.

They even made fun of the hopelessly dated disco-era drum machine that backed most of the songs, suggesting we “give the drummer some.” But they won over the crowd enough to have them sing along to “I love the bright lights of Washington, DC; I wanna be a star like Conway Twitty.”

He ended the semi-sincere a cappella of Charlie Chaplin’s “Smile,” before rocking out with a version of it, encouraging a gesture that  contrasted mightily with the headliner’s scowl.

 – Oringinal article by Roger Catlin, photos by Richie Downs

 

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Then it’s the PEre Ubu show and merch sales. Only thing lost on this trip: Johnny’s moustache. It was one snoop too many.

A quick shout out to  Franks Diner, latest of the fine diner finds on the road with Johnny Dowd.

Live @ The Dock with My Darling Clementine


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JOHNNY DOWD

Johnny Dowd (born March 29, 1948 in Fort Worth, Texas) is an American alternative country musician. 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.

He currently resides in Ithaca, NY.

Although his early albums were most celebrated in the alternative country community, he has never quite fit into any particular genre.

The Dock: Tickets here

 

KLFM plays Johnny Dowd

 

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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

Execute American Folklore Tour – Edgemoor Hotel

 

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– 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

 

Bido Lito interviews Johnny Dowd – Live Show at Dumbulls

TICKETS

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Executed American Outlaw

JOHNNY DOWD has been making records and touring since 1997. His latest album, Execute American Folklore was released last month. He plays Liverpool for the first time on 20th October at Dumbulls Gallery.

“I thought every record I made, with the exception of Wrong Side of Memphis, would be my ticket into the mainstream and big record sales. The fact that I have been wrong each time doesn’t discourage me.”

There are two types of “outsider artist”, those that make a decent living and get featured on film soundtracks, get a book written about them, maybe even survive on the outskirts of a major label (Daniel Johnston, Captain Beefheart, Tom Waits) and those that self-drive their rental car across Europe to play tiny gigs to a devoted following. Johnny Dowd is the latter. 15 or so releases into a career that started late (Dowd released his first CD in his late 40s) Dowd has flirted with flirting with mainstream success, been featured on the Americana documentary “Searching for the Wrong Eyed Jesus”, been selected by Matt Groening to play the New York edition of the All Tomorrow’s Parties festival and covered a range of styles from country and folk through to twisted electro-funk.

Joe Florek called him at his home in Ithaca, New York state where he writes, records and runs his home removals business. Just so you can imagine his replies, consider each reply in this interview as a slow, measured, southern drawl (he was born in Texas, grew up in Memphis and moved north in his teens) reminiscent of Harry Dean Stanton sat on a porch with William Burroughs.

Bido Lito!: With some artists, you don’t really know what they do. You assume they exist in some kind of artistic bubble, writing songs and waiting for their muse to turn up. With other bands, such as Steve Albini’s Shellac, for example, they are very open about their day jobs and the time and money it costs to be an artist these days. How do you balance those things?

Johnny Dowd: Musicians who do it the way I’m doing it, basically a full time job and then the music second is because they aren’t financially successful enough. I guess if I was more successful I wouldn’t have that story, I would just be on the road playing music and making money. Because you need money to live, you know? When you were younger, you could go out on the truck all day and then gig at night and it was never really a problem, you had a lot of energy. In terms of balance, it’s never been a problem. I don’t have to go away anywhere to write. I can put the phone down now and just switch off and write a song if I want to. I can write in the office if I’m not out on the truck, or at home. I guess I have a pretty fast on/off switch as far as that goes.

In terms of success, there was a time a few years ago I was getting pretty pissed off, thinking maybe I should be more successful. That’s how it works with my regular business, you know? If you do a good job, and then people tell you and they’ll call again and give you some more business. It’s not like that with the music business, totally different. There’s hundreds of bands out there that I’m better than who are way more famous, but also there are bands that are better than me that never got out of their living room. If you’re looking for justice, it’s not in the music business, you know.

 But I love making music, and it’s like fishing or sex or anything you like doing; it’s enjoyable in and of itself. So whether you’re playing to 4 people or 4,000 once you have the amps turned on and everything, and start up, it’s fine. It’s good. Just the money at the end of the night is different. It’s a bit less.

BL!: How many albums have you released, is this about 15?

JD: Well, Maybe ten or so regular albums, but also some live stuff and some collaborations on top of that. This year I have my new album, Execute American Folklore coming out and a double album of demos and live stuff with my first band from years ago, Neon Baptist and then I have this one, long 25 minute song that is influence by Miles Davis’ Bitches Brew or something. That might be ready for the tour. (Thinks) Maybe not. What date is it? No, that won’t be ready.

BL!: Does it have a name?

JD: It might be called the Back End of Spring or the Black End of Spring. I dunno. It’s instrumental, so I can call it anything. I could call it Your Mama, you know? It doesn’t have to be called anything related to the lyrics because it’s instrumental. I’ve had that title for a long time, I might save it for something else.

BL!: Do you write stuff differently now to how you wrote your first albums? Now you’re getting deeper into your career?

JD: I have changed a bit, I used to just do the traditional thing of sitting there with an acoustic guitar and working on a chord progression. Now I like to work with a drum machine, in a way because it’s more limited. I just get a beat going and then kind of freestyle over it. Not like freestyle rapping. But like blah, blah, blah, talking some lyrics over it until something comes. Or maybe I’ll have some lyrics lying around that will fit it. One thing about some people who maybe run dry when they get really old, some guys have been doing this since they were teenagers and by the time they get to 50 or 60, they’ve been writing for 40 years. But I only started when I was in my 40s, so although I’m 67 years old now, I’m only like……..20 in musical years so I still got plenty of ideas and songs, I reckon. My body is 67, but my musical mind is pretty young, it’s like the opposite of dog years. I haven’t exhausted the musical well.

BL!: Some of my favourite songs of yours are the story songs, where you’re getting one side of a conversation or a view of a character. You have a song, Betty, where you’re calling up an old girlfriend, asking for a leather jacket back that you gave here when you were kids. It’s like a less romantic version of Martha by Tom Waits.

JD: Well Martha is a great song. I used to like the whole thing back in the 60s, there would be comics like Shelley Berman or Bob Newhart and you’d only hear their side of the conversation for the whole routine, so you had to do a bit of work and imagine the other side. They were really funny, and I liked that kind of thing. I like some humour in my music, I like Nick cave and I get Nick Cave and Tom Waits a lot as comparisons but I like that there’s some humour in Tom Waits. No matter how dark the subject matter. And I listen to a lot of Hip-Hop , and there’s a lot of humour in that stuff too.

BL!: There’s another song called Big Wave, from one of your early albums that I used to be listen to a lot, it was on the cover of an Uncut CD about 15 years ago. It’s the story of a guy driving round West Virginia, miles from the ocean, but he still has a surfboard on his car and dreams of the big waves crashing down in Waikiki. That has a lot of dark humour in it. The image of this guy pulling up to the feed store in his truck with a surfboard on it.

JD: That’s it in a nutshell. That’s what I’m trying to do. No matter how weird or dark it is, there’s some humour in there too.

BL!: I saw on your Indiegogo campaign, you said “You people opened your hearts andopened your wallets” to raise $17,000 for the album and tour. You did that OK, but you sold a really beautiful old Hawaiian guitar. Was that a wrench or was it just something you wanted to lose so you could do the tour?

JD: Oh, I never learned to play that thing. So that wasn’t a problem in terms of being sad to sell it. I had it about 25 years and I always said I’d learn to play it and I never did. So I thought I’d let it go and help out a little on financing this tour. I always thought I’d learn to play jazz properly or learn to play like Son House or whatever, and then I thought I’m just going to concentrate on playing C, F, G in time.

BL!: You play a wide selection of styles, do you ever have to disappoint someone if they come up and ask for “first there was funeral” (from “….Wrong Eyed Jesus”) or some Americana stuff and then this new record has a lot of electro stuff on it, like an experimental version of Beck or something. Is that a pressure?

JD: Well, as far as this tour goes, I’ve got a drum machine and two other guitarists. So I’m going to play 4 or 5 songs of this album, some stuff off the other albums and then some stuff just me with a guitar, some of the folkier stuff, like “first there was a funeral”. So if you are a fan of any one particular era or style of Johnny Dowd, you should be happy. (long pause) Or I might not. I never have any fucking idea what I’m going to do, really (laughs). If anyone calls out a song, I’ll make a stab at it, But if it’s bad, it’s like “That’s your fault forshouting it out, I didn’t say I could do it”.



BL!: Obligatory Liverpool question, you grew up in the sixties, were the Beatles on your radar when you were young?

JD: Not really, to be honest, when they came out, later on I went back to them and I can appreciate the albums. But at the time, the first stuff, I didn’t think they were doing anything that the Everly Brothers weren’t doing better. I usually listen to more black music, RnB, James Brown, Otis Redding, Son House and these days the only new music I listen to is Hip-Hop, like Kendrick Lamar just came out with a bunch of great stuff. Some people might say well, I can’t hear anything like that in your music. But what I listen to and what I sound like are different. It’s all in there, somewhere.

BL!: How about writers? Harry Crews was in Wrong Eyed Jesus with you, and Big Wave reminded me of one of the deluded obsessives from Flannery O’Connor, both classic southern gothic writers. Are they anything of an influence?

JD: Oh yeah. I’ve read both authors extensively, that is at least as big as any musical influence on me, even as a kid, long before I was writing music, even, I was reading voraciously.

BL!: The venue you’re playing in Liverpool is famous for a Bob Dylan photoshoot, back in the 60s, I thought that might interest you.

JD: Well, I rate Dylan as a songwriter, definitely, so I’ll have to get my picture taken in the same place, and then play the show. Looking forward to seeing Liverpool. Sounds like a plan.

Johnny Dowd plays Dumbulls Gallery on 20th October with Park Doing and Dead Hedge Trio. Tickets in Probe and Dig! Vinyl or online here.

 – Original Article

 

Execute American Folklore Tour – De Peppel

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De Peppel

Alternatieve countryzanger Johnny Dowd fascineert fans en critici al sinds zijn eerste album Wrong Side of Memphis in 1997 uitkwam. Met ongeveer één nieuw album per jaar blijft hij zijn eigen draai geven aan de Amerikaanse rootsmuziek. Hij maakt donkere, maar humoristische en catchy songs die doen denken aan Tom Waits, Nick Cave en Captain Beefheart.

In september komt het nieuwe album Execute American Folklore van Johnny Dowd uit. Hij speelt wederom alle instrumenten zelf, met een beetje hulp van zijn drum machines. De Texaanse zegt er zelf over: “I think this is the best stick-in-your-CD-player-and-drive-around record I have made. It has some killer grooves, if I do say so myself. I hope you dig it.” Live altijd spraakmakend!

Supportact Park Doing speelt elektronische experimentele folk. De basis ligt in de Amerikaanse folklore, roots- en protestmuziek, maar Park Doing deinst niet terug voor het gebruik van bizarre geluiden en samples zoals morse code en wetenschappelijke geluiden. Samen met de loops die hij live doet met vocals en gitaren zorgt dit voor een unieke, innovatieve, moderne soort Amerikaanse folk muziek.

Alternative country singer Johnny Dowd fascinates fans and critics since his first album Wrong Side of Memphis came out in 1997. With about one new album per year, he continues to give his own spin on the American roots music. He is dark, but humorous and catchy songs reminiscent of Tom Waits, Nick Cave and Captain Beefheart.

In September the new album Execute American Folklore Johnny Dowd out. He again plays all the instruments himself, with a little help from his drum machines. The Texan says himself: “I think this is the best stick-in-your-CD-player-and-drive-around post I have made. It has some killer grooves, if I do say so myself. I hope you dig it. “Live always talked about!

Supportact Park Doing plays electronic experimental folk. The base lies in American folklore, roots- and protest music, but Park Doing is not afraid to use weird sounds and samples as morse code and scientific noises. Along with the loops that he does live with vocals and guitars that provides a unique, innovative, modern type of American folk music.

 – Translation by Google

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The Texan musician Johnny Dowd represents years almost single-handedly earth dark side of the country. As one of Willie Nelson gothic variant sings and he discusses his life and suffering in texts that are sometimes straightforward, sometimes absurd, but usually both. Like his literary counterpart Charles Bukowski he debuted late: not until his fiftieth he released his first solo album. On his album No Regrets (2012) Dowd treated several women in his life – constant innovator who he is – he put his strength in numbers with electronic beats. And now latest album That’s Your Wife on the Back of My Horse (2015), he crosses yet another middle finger to all prefabricated wannabe-a-lookalike bands where the music industry is so rich, since the invention of the wax cylinder …

PARK DOING
Supporting act during (much of) the tour is creative folk centipede Park Doing.   Originating from the brutal caverns of the punk rock he never afraid to return, and leave as easily fixed and familiar paths as he walks. Adventure still exists, and Park Doing proves that – at a gallop!
(In English: Park uses looped live vocals and guitar, beats, atmospheric sounds, morse code, and other samples to create a very cool experimental folk music He started out as a punk rocker, playing at the famous CBGB and Bowery Ballroom in New. York. His current musical project is the space folk opera, “Woody Guthrie Meets the Sun”)

Photos: Cat Dalton

 – Original Article 

WrittenInMusic reviews Execute American Folklore

 

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 – Original Article

Johnny Dowd is sometimes in the same dingy alley musical signaled where Waits, Cave and then Captain Beefheart himself quit on quirky music built stories in which characters often figure in the society.

Dowd has meanwhile exceeded and the mark of 65, not afraid to experiment.This is evident from the impressive long list of players that he delivered since it dates from ’95 and originally released on cassette Wrong Side Of Memphis, he already approaching fifty. Dowd grew up in Texas, Memphis and Oklahoma and put the moving company Zolar Moving Company in Ithaca, New York, which job he combines with his music.

On his new LP takes its elderly beatbox a prominent place, together with the distorted parties on keyboards and guitar, Dowd responds personally, the result is erratic but danceable stuff on witness unease and Disease. The bizarre 3:29:48 (birthdate Dowd) recounts his or fictional life story. The patter on funky grafted Last Laugh he talks about his parents. Sexual Revolution is not a happy story.Moreover, he places himself with his cold patter and explicit, often absurd beyond the usual harmonic structures of alt country and Americana. In Mr. Muggles dives for the first time trusted partner Anna Coogan to play with high thin. Rhumba In The Park is just a light snack.

Titles like Whiskey Ate My Brain and Brains-a-Flame make the ominous expectations entirely true while the monotonous rhythm this effect strengthened with resounding slides and understated vocal contribution of Coogan. The repetitive scansion in the extracted through the wringer Execute American Folklore sound like a ruthless reckoning. And A World Without Me duet with Coogan sounds at times as onscure garage rock from the sixties.

We now know for some time that Johnny Dowd withdrawal is far outside the regular circuit, it almost creates its own niche. Moreover, the musical outlaw knows how to surprise each time with each new assignment.That’s no different with the come with the help of fundraising achieved Execute American Folklore, a quirky musical statement which expanded Dowd will propose at the European tour in October.

http://www.sedate-bookings.com/site/tourdates/

 – translation by Google

AmericanaUK reviews Execute American Folklore

Johnny Dowd “Execute American Folklore” (Mother Jinx Records, 2016)

  • By Paul Kerr

By now you either get or don’t get Johnny Dowd. Ten albums in this Ithaca NY resident continues to move further into the outfield with each release. Execute American Folklore features Dowd’s darkly humorous and idiosyncratic lyrics, his pronounced drawl becoming ever more robotic, over a hyperkinetic drum machine with guitar, keyboards and bass fed through pedals and gizmos, fuzzed and funky and above all freaky. Originally lumped in with the Gothic Americana crowd Dowd now seems to have more in common with Snakefinger, sometime associate of The Residents, psychedelic funk and on several songs here, that brand of Tropicalia as practised by Os Mutantes while the grim humour approaches  Lenny Bruce satire.Opening with the threatening funk of Unease and Deviance a devilish disco beat pulsates as Dowd prowls through a Burroughs’ like American nightmare. 3.29.48 takes us further down the twisted rabbit hole, back to Dowd’s birth date with his tortured guitar a mutant Texas blues lick as he builds a mythology around his life, a theme he returns to on the closing song. The thrombotic pulse is revisited on the deadpan story of a 9-5 guy who discovers his wife in flagrante delicto with his best friend’s wife in Sexual Revolution while Last laugh, a song dedicated to a call girl mother is packed with religious imagery as Dowd threatens retribution on the bosses and the rich drawling, “This dog’s gonna have its day.”  Freddie adds some sly funk and skittery guitar, drawing Curtis Mayfield into Dowd’s alternative universe, there’s some fine George Clinton like stew on Funkalicious with its helium voices and maggot brained guitar and Whiskey Ate My Brain hits the neurotransmitters with as much force as the cocaine which ate my nose (as Dowd sings here) on a swift denouncement of various stimuli

There are descents into musical mayhem; Mr. Muggles mashes industrial strength pile driving rhythm with TV theme tune funk and a demented vocal from Anna Coogan. She operatically cries, “I’m getting high, high, high” with Dowd then growling “with Mr. Muggles,” reclaiming the pot term from harrypotterlalaland while the title song is another frantic dash with Coogan again adding her voice to the din.  Amid the din and cacophony Dowd offers up some exotically perfumed songs which, while never approaching pop status, nevertheless have an almost narcotic pull. Rhumba In The Park is, as it says, a rhumba and a delicious one at that. Dowd abandons the vocal embellishments and sounds almost vulnerable as tells the story of a country boy bewitched by a city woman which is probably not as straightforward as it seems. Brains-a-flame is another exotically exciting torch song with a Cuban feel, the guitars here organically entwined, tropical vines winding around the sultry vocals of Anna Coogan who stamps her authority here with an almost orgasmic delight. Finally there’s the closing fuzz driven anthem of A World Without Me were Dowd proclaims that without him life would be fantastic, the sun would still shine, memories of him would quickly fade. Recalling the excellent Why (from Dowd’s last album That’s Your Wife On The Back Of My Horse) Anna Coogan again pitches in responding to Dowd’s pessimism as she sings, “Johnny, Johnny, you’ve got it wrong.” Soaked in swirling guitars with extraterrestrial synth sounds throughout Dowd here creates a piece which is on a par with the best of Beck.

 – Original article

If you are near Ithaca NY and REALLY want to Get Execute American Folklore, come to the CD release party at The Rongo on Oct. 1 .

 – The Editor

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D4Share Review of That’s Your Wife

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