Cordelia's Dad is a band from Northampton, Massachusetts that combines folk and punk rock influences and was instrumental in the creation of the genre later to be dubbed "No Depression". The band formed in 1987 and was active until 1998, when the members relocated to different parts of the country. After releasing an album of older material in 2002 the band has reunited in 2007 for their twentieth anniversary.
Dana had a very good education which somewhat passed her by as nothing is as much fun as playing a guitar. Via an unconventional route of occasional employment and the odd band, she somehow found herself busking on the London Underground and this sorry excuse for a day job honed her performance skills down to a fine point. Early childhood trauma left Dana with a propensity to play the banjo, and the massive amounts of spare time that a career in busking affords allowed her to indulge and nurture her dirty habit.
Banjo Or Freakout is Alessio from London, United Kingdom. He covers a wide range of tracks that can be found on his blog.
The Foghorn Stringband (composed of local Americana all-stars Caleb Klauder, Stephen “Sammy” Lind, Peter Leone, Nadine Landry and Patrick Lind) features tight intstrumental work and a line-up — fiddle, banjo, mandolin, bass and guitar — reminiscent of early bluegrass, but their powerful approach is whole-heartedly Old Time, centered largely by the fiddle. Devoted to the interpretation and performance of American stringband music, their style encompasses early country music, the fiddle repertoire of the Southern Appalachians and the Midwest, and the stringband sounds of the Piedmont region.
The Wiyos -
Vaudevillian Ragtime Blues, Hillbilly Swing and Old Time Country
The old-time spirit of The WIYOS mirrors that of the
medicine shows of the 1920's and 30's, when black
and white musical traditions mixed liberally and
genre distinctions didn't exist between blues and
country, ragtime and gospel, or swing and hillbilly
music. Accordingly, The WIYOS write songs that are
equally influenced by music from the Blue Ridge
Mountains and New York City, mixing the more
urbane sounds of Django Reinhardt, the Gershwin
Béla Fleck and Victor Wooten formed Béla Fleck and the Flecktones in 1988, along with keyboardist and harmonica player Howard Levy and Wooten's percussionist brother Roy "Future Man" Wooten, who played synthesizer-based percussion. Levy left the group in 1992, making the band a trio until Saxophonist Jeff Coffin joined the group onstage part-time in 1997, eventually becoming a permanent member.
Binary Band is formed of the sparring vocal harmonies, dobro (slide guitar) and harmonium (missionary organ) of Ali Thoburn and Billy Tudor, and complimented by the occasional electric piano and pieces of catgut, dusty wood and rusty metal. The resulting sound is an earthy, wide-screen brew of American roots, English psychedelia, film soundtracks, North African blues and Far Eastern influences that brings to mind Neil Young, The Low Anthem, Peter Gabriel, The Band, Tinariwen and Traffic.
Former Soledad Brother, Johnny Walker, has a new outfit calling themselves Cut in the Hill Gang. Johnny Walker: Lead Vocals, Guitar, Harmonica, Fuzz Probe & Played Some Bass Too
Brad Meinerding: Lead Guitar, and Vocals
Lance Kaufman: Drums, Vocals, Percussion
Slim Cessna's Auto Club is a country music band formed in 1993 in denver, Colorado. The constant in the band has been Slim Cessna, formerly a member of The Denver Gentlemen (along with David Eugene Edwards and Jeffery-Paul of 16 Horsepower). Their music includes elements of country blues, southern gospel, and other forms loosely grouped as Americana or alternative country. The Auto Club is sometimes labeled "country gothic" due to the juxtaposition of apocalyptic religious imagery with stories of alcohol, violence, and relationships gone awry.
Though Matthew Milia is technically a native to the vast and vaguely defined expanse known as Metro Detroit, he has somehow mythologized a residence of his own creation—a singular and dusky world called Orion Town. Amid a map where towns blur into each other by the dozen, Milia's geography survives as a connection of psychic landmarks, containers of boundless amounts of obsessive memory. And the memory is not even all his own—it begins with the Detroit of his mother's childhood, as exhibited in "Rosemont.