JOHNNY DOWD -
THAT'S YOUR WIFE ON THE BACK OF MY HORSE
2015 - Jinx Records
I can’t speak for Johnny Dowd as a man but certainly his music has become more of a force of nature over the years. Maybe it is because he came to public attention later in life than most, with few illusions and perhaps a little cynicism over what awaited from the music industry. That would serve as encouragement to further develop his always idiosyncratic style that has his guitar dominanting the instrumentation. Often on his earlier albums there were elements of ‘dark country’ whereas there is little of that on this deep dark wash of sounds and effects with Johnny’s vocal style perfectly suited to his sinister darkly gothic world of music. The female harmonies that are evident throughout this astonishing genre defying album provide a perfect counterpoint to Johnny’s pervasive darkness and despite the femininity, that contrast magnifies the darkness considerably
It is virtually impossible to understand where this music comes from and what set the scene with so many dark ideas on this strange eerie album that has an atmosphere not dissimilar to the music of the 1920s even though sonically there is virtually no common ground, but that almost stifling atmosphere ensures that anyone giving the recording a chance will become addicted, as I have, to these sounds that are so rewarding.
This is Johnny's twelfth studio album since 1998s excellent debut 'Wrong side of Memphis' and i'm sure the uninitiated could have a hugely entertaining time working their way through that little lot as well as a few excellent live albums. If you want an album that is representative of his music there are none! Each of those idiosyncratic offerings sits very much in it's own individual world and most are stylistically ambiguous although a little dark gothic country was detectable on his earlier albums. Never content to rest on his laurels is the beauty of this mans music, at least for those who love a musician who follows his experimentation muse rather than staying within normal stylistic bounds. In many ways his signature sound is twofold. One is his unusual vocal style and the other is his sometimes chiming, sometimes clanging and usually fiery electric guitar sound that often seems at odds with a songs dynamic but always works incredibly well, further increasing Johnny's uniqueness.
This recording in many ways stretches the roots boundaries even further than it's boundary stretching predecessor, 2013s 'Do the Gargon,' another album that was to some listeners 'quite challenging!' Album opener and title track That's Your Wife On The Back Of My Horse sets the stylistic scene for what follows with its strange otherworldly effects and blended vocals that give the song a dark, almost threateningly sinister edge. Cadillac Hearse is a mélange of dark throbbing sounds that have an aggressive feel with Anna Coogan's feminine harmonies adding a further element of sanity threatening discordancy that heightens the sinister almost industrial feel. Empty Purse is straight out of a southern gothic lunatic asylum, being a song that on the one hand doesn’t take itself too seriously with a sometimes dark Munsterish feel, but on the other the nightmarish cacophony is quite frightening. The tension is eased a little with Why? a song that almost has a standard countrified feel but nothing in Johnny Dowd’s musical world is quite that simple. This is the tale of being left by a lover, with the chiming guitar and lovely female vocals countering Johnny’s and yet there is still that strong air of pervasive darkness. Words Are Birds is a dark hillbilly murder ballad that drags that particular generic strand kicking and screaming into the 21st century with strange otherworldly effects and vocals. In many ways this song is as sinister as some of the earliest recorded murder ballads. Finally, Poor But Proud is a song that minimizes the special effects and actually feels like a normally structured tale, at least for a while, with the female harmonies blending beautifully with Johnnys.
I don't think winning over new fans or even an avoidance of losing old fans has ever been Johnny's prime motivation, although i'm sure he has no aversion to a greater popularity! Above everything is his desire to push the boundaries of his music and stretch his abilities as far as possible, telling us in the process that if we want to go along for the ride be prepared to be unprepared for what comes next! As I have intimated throughout this review Johnny Dowd is a one off and long may he remain so on this long fascinating musical journey. Another great album added to his uniquely quirky catalogue.
http://johnnydowd.com/
I can’t speak for Johnny Dowd as a man but certainly his music has become more of a force of nature over the years. Maybe it is because he came to public attention later in life than most, with few illusions and perhaps a little cynicism over what awaited from the music industry. That would serve as encouragement to further develop his always idiosyncratic style that has his guitar dominanting the instrumentation. Often on his earlier albums there were elements of ‘dark country’ whereas there is little of that on this deep dark wash of sounds and effects with Johnny’s vocal style perfectly suited to his sinister darkly gothic world of music. The female harmonies that are evident throughout this astonishing genre defying album provide a perfect counterpoint to Johnny’s pervasive darkness and despite the femininity, that contrast magnifies the darkness considerably
It is virtually impossible to understand where this music comes from and what set the scene with so many dark ideas on this strange eerie album that has an atmosphere not dissimilar to the music of the 1920s even though sonically there is virtually no common ground, but that almost stifling atmosphere ensures that anyone giving the recording a chance will become addicted, as I have, to these sounds that are so rewarding.
This is Johnny's twelfth studio album since 1998s excellent debut 'Wrong side of Memphis' and i'm sure the uninitiated could have a hugely entertaining time working their way through that little lot as well as a few excellent live albums. If you want an album that is representative of his music there are none! Each of those idiosyncratic offerings sits very much in it's own individual world and most are stylistically ambiguous although a little dark gothic country was detectable on his earlier albums. Never content to rest on his laurels is the beauty of this mans music, at least for those who love a musician who follows his experimentation muse rather than staying within normal stylistic bounds. In many ways his signature sound is twofold. One is his unusual vocal style and the other is his sometimes chiming, sometimes clanging and usually fiery electric guitar sound that often seems at odds with a songs dynamic but always works incredibly well, further increasing Johnny's uniqueness.
This recording in many ways stretches the roots boundaries even further than it's boundary stretching predecessor, 2013s 'Do the Gargon,' another album that was to some listeners 'quite challenging!' Album opener and title track That's Your Wife On The Back Of My Horse sets the stylistic scene for what follows with its strange otherworldly effects and blended vocals that give the song a dark, almost threateningly sinister edge. Cadillac Hearse is a mélange of dark throbbing sounds that have an aggressive feel with Anna Coogan's feminine harmonies adding a further element of sanity threatening discordancy that heightens the sinister almost industrial feel. Empty Purse is straight out of a southern gothic lunatic asylum, being a song that on the one hand doesn’t take itself too seriously with a sometimes dark Munsterish feel, but on the other the nightmarish cacophony is quite frightening. The tension is eased a little with Why? a song that almost has a standard countrified feel but nothing in Johnny Dowd’s musical world is quite that simple. This is the tale of being left by a lover, with the chiming guitar and lovely female vocals countering Johnny’s and yet there is still that strong air of pervasive darkness. Words Are Birds is a dark hillbilly murder ballad that drags that particular generic strand kicking and screaming into the 21st century with strange otherworldly effects and vocals. In many ways this song is as sinister as some of the earliest recorded murder ballads. Finally, Poor But Proud is a song that minimizes the special effects and actually feels like a normally structured tale, at least for a while, with the female harmonies blending beautifully with Johnnys.
I don't think winning over new fans or even an avoidance of losing old fans has ever been Johnny's prime motivation, although i'm sure he has no aversion to a greater popularity! Above everything is his desire to push the boundaries of his music and stretch his abilities as far as possible, telling us in the process that if we want to go along for the ride be prepared to be unprepared for what comes next! As I have intimated throughout this review Johnny Dowd is a one off and long may he remain so on this long fascinating musical journey. Another great album added to his uniquely quirky catalogue.
http://johnnydowd.com/