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The 39th Annual KPFA Crafts & Music Fair - It's Paradise in the Back 40 with Bluegrass, Roots and Americana music! - December 13

KPFA Special Broadcast, for December 13, 2009 - 1:00pm

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The 39th Annual KPFA Crafts & Music Fair - It's Paradise in the Back 40 with Bluegrass, Roots and Americana music!

The Knuckle Knockers
They are:  Karen Celia Heil: fiddle, guitar, vocals. Martha Hawthorne: guitar, banjo, vocals. Bill Foss: mandolin, fiddle, banjo, vocals.
Homey hayseeds hailing from the Heights of Bernal, the Knuckle Knockers stoke the raging fires of the vintage American music tradition. Blazing fiddles, mandolin, guitar, and 5 string banjo set the bookstore in front porch toe tappin mode. The Knuckle Knockers pipe in on all the favorite themes that fill any narrative need: love & death, fire & brimstone.

The Blushin' Roulettes

unes with a modern twist deeply rooted in feminine perspective. The span and scope of the Roulettes' performances range from intimate, sometimes featuring 2-3 members, to raucously outrageous full-band shows. Songwriter/guitarist Angela Rose belts her sweet and sultry tunes of damsels in their bliss and distress in a warbling vibrato often compared to Iris Dement and Dolly Parton. The often quirky, funny stage presence and earnestly loving interplay among band members reflects the small-town closeness of the kindred rotating cast of characters, which includes Kate Stone on vocal harmonies and plucked and bowed cello, Cas Sochacki on dobro and sassy baritone duets with Rose, Buddy Stubbs on soulfully gritty lead guitar, not-so-little drummer boy Jubal Stedman, ivory-tickler Luke Stone, and electric bassman Mike Luparello.

Loretta Lynch
This Americana and country folk band from Oakland formed in 2002 when singer Val Esway decided she wanted to do something different from her loud Ramona the Pest rock band. At first, different may have meant quieter. "Fueled by irreverence, a love for gourmet food and copious quantities of beer and hard cider, we kept peppering our softer songs with rowdier tunes," says Heather Davison, who joined Esway's three-part living-room harmony. As the songs grew stronger, and the noise level grew louder, Loretta Lynch graduated to bigger gigs - including stadium-size shows at England's 2003 Glastonbury Music Festival and opening for country superstar Alabama at the Shoreline Amphitheatre and Sleeptrain Pavilion in Concord. Off the corporate circuit and back to their intimate living-room-like venue roots, the ladies (and gentlemen, too) of Loretta Lynch are focused on writing songs that explore alternative and semi-fictitious story lines. "It's not easy to follow the open road these days with the lives we've built around us," says Davison, who describes the Loretta Lynch story and sound as "a little tear in your beer, knife in the back, a little tongue in cheek, saucy ... and sublime."


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