Press and Promotions
On this page you will find quotes, reviews, press snippets, biographical information, photos and flyers. We hope it's everything you need, but if you need something different, please don't hesitate to let us know.
Promotional Photos
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Short Description
Dana and Susan Robinson are two guitar-playing, banjo-frailing, fiddle-sawing, and harmony-singing interpreters of the American experience. Their unique blend of contemporary songwriting and traditional Appalachian music bring to their performances a deep understanding of Americas musical heritage.
The genius of a Dana and Susan Robinson performance lies in their ability to capture the imagination of their audience, evoking a transformative experience that touches on the deepest humanity. They can make the audience howl with laughter or hush with poignant reflection as they take them on a journey across America and convey the mystery and wonder of the places they visit.
The genius of a Dana and Susan Robinson performance lies in their ability to capture the imagination of their audience, evoking a transformative experience that touches on the deepest humanity. They can make the audience howl with laughter or hush with poignant reflection as they take them on a journey across America and convey the mystery and wonder of the places they visit.
Short Quote
"Many songwriters have been heralded as modern day Woody Guthries or keepers of the American rural spirit, but that mantle might be better entrusted to musicians like Dana Robinson who embody both the heart and the soul of folk music."
- Dirty Linen
- Dirty Linen
Promotional Flyers
 
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Full Biography
The genius of a Dana and Susan Robinson performance lies in their ability to capture the imagination of their audience, evoking a transformative experience that touches on the deepest humanity. They can make the audience howl with laughter or hush with poignant reflection as they take them on a journey across America and convey the mystery and wonder of the places they visit.
Underpinning the songs is the undeniable rhythm of their trademark guitar/banjo sound. Whether it is quiet or driving, there is a steady and unrelenting groove to the music that supports the lyric and delivers the story in an effortless and magical way.
A native of the Pacific Northwest, Dana relocated to New England where he discovered both a thriving songwriters scene and the deep well of traditional mountain music. In the early 1980’s, Dana settled in northern Vermont and built a house “off the grid” (no electricity and phone) on 30 acres near the Canadian border. There he founded a popular bakery, café and folk music venue. Dana launched into full-time touring after the release of his 1994 debut CD, Elemental Lullabye, and after receiving a request to perform at Carnegie Hall in New York City for Putumayo’s Shelter benefit project.
Sue grew up in a musical family in New England. She studied piano, oboe, and Scottish fiddle before meeting Dana in 2002. Sue was working in the environmental field in California when she met Dana at a house concert. Upon moving to North Carolina a short time thereafter, Sue launched into studying with many of the great oldtime musicians in the Asheville area, and naturally adapted to the on-the-road lifestyle.
Underpinning the songs is the undeniable rhythm of their trademark guitar/banjo sound. Whether it is quiet or driving, there is a steady and unrelenting groove to the music that supports the lyric and delivers the story in an effortless and magical way.
A native of the Pacific Northwest, Dana relocated to New England where he discovered both a thriving songwriters scene and the deep well of traditional mountain music. In the early 1980’s, Dana settled in northern Vermont and built a house “off the grid” (no electricity and phone) on 30 acres near the Canadian border. There he founded a popular bakery, café and folk music venue. Dana launched into full-time touring after the release of his 1994 debut CD, Elemental Lullabye, and after receiving a request to perform at Carnegie Hall in New York City for Putumayo’s Shelter benefit project.
Sue grew up in a musical family in New England. She studied piano, oboe, and Scottish fiddle before meeting Dana in 2002. Sue was working in the environmental field in California when she met Dana at a house concert. Upon moving to North Carolina a short time thereafter, Sue launched into studying with many of the great oldtime musicians in the Asheville area, and naturally adapted to the on-the-road lifestyle.
Press Snippets
"...blazing fiddle and banjo tunes, harmony singing, and poignant songs and stories of the American Landscape."
From Asheville, North Carolina, Dana and Susan Robinson bring to the stage an exciting blend of original songs of the American landscape and oldtime Appalachian mountain music. With Dana on guitar and fiddle, Susan's clawhammer banjo playing and harmony singing they bring a joyful energy to their concerts. Their music is the sound and feel of bedrock America.
Dana and Susan Robinson are two guitar-playing, banjo-frailing, fiddle-sawing, and harmony-singing interpreters of the American experience. Their unique blend of contemporary songwriting and traditional Appalachian music bring to their performances a deep understanding of America’s musical heritage.
In a Dana and Susan Robinson concert you'll hear two rich, intimate voices, intricate and powerful guitar and banjo playing with a handful of fiddle and mandolin thrown in. Dana writes songs and tells stories about America, the land and its people. They bring to their performances an understanding of America's musical heritage and convey its significance to our culture.
Quotes
"Many songwriters such as Bruce Springsteen, or John Mellencamp have been heralded as modern day Woody Guthries or keepers of the American rural spirit, but that mantle might be better entrusted to musicians like Dana Robinson who embody both the heart and the soul of folk music." — Dirty Linen
"I am struck by how he writes songs that sound deeply rooted in tradition. His phrasing and poetry are wonderful..." — Dick Pleasants, WUMB, Boston, MA
"..A poet's perspective delivered in quietly spectacular musicianship... the music sounds laid back even while his guitar licks are knocking your socks off" — Music Matters Review
"I thought it was a great performance, and I have heard the same from everyone I've spoken with who was there. I was knocked out by your fiddle playing, especially your singing with it...it was a highlight of your set" — Jack Bohl, Portland, Oregon Folklore Society
"Dana Robinson's set was easily the best individual segment of the evening. The acoustic solo performer is at the mercy of his or her instrumental aptitude; Robinson's talent as a guitarist clearly stood alone in this show. He is also blessed with an incredible voice which serves him well across a wide variety of arrangements." — The Burlington Free Press
"Dana's performance in Corvallis proved he's among the most well-rounded and overall talented acoustic musicians on the circuit. His lyrics, melodies, humor and stories were always great!" — Mike Myer, KRVM, Eugene, OR
About Midnight Salvage
"Terrific album!! This album has been a real find for me and whatever Robinson's done he's done it right. Catchy melodies with great lyrics, minimalist production and straight ahead honest delivery. This to me is what a contemporary folk album should be like." — Peter Kernast, WTSR, Trenton, NJ
"Powerful, rolling, fingerstyle guitar playing is the first aspect to grab you as you delve into Midnight Salvage. Lyrically, Robinson's songs are wonderful. Pure love for what life has to offer, without being over stated or painfully too-utopian about it. Perfect fodder for both old-time and contemporary folk enthusiasts." — Crossroads
"I like this recording an unreasonable amount. I haven't heard enough great CDs to form a Top 10 for 1997, but this would be one of them." — John Calkin, Acoustic Musician
"Intelligent tunes, great guitar playing!" — Dave Higgs, WPLN, Nashville, TN
"Dana's writing and singing are captivating." — Marilyn Rea Beyer, WUMB, Boston, MA
"On my Top 10 list for 1997." — Jeff Emery, KZSC, Santa Cruz, CA
"Great, great music!" — Samantha Wright, WBSU, Boise, ID
"(Dana is) one of the few contemporary singer-songwriters whose songs display a strong respect for the centuries-old folk tradition." — Phil Shapiro, WVBR, Ithaca, NY
"Dana is a quintessential folk musician!" — Connie Bowbliss, WKNH, Keene, NH
"I am struck by how he writes songs that sound deeply rooted in tradition. His phrasing and poetry are wonderful..." — Dick Pleasants, WUMB, Boston, MA
"..A poet's perspective delivered in quietly spectacular musicianship... the music sounds laid back even while his guitar licks are knocking your socks off" — Music Matters Review
"I thought it was a great performance, and I have heard the same from everyone I've spoken with who was there. I was knocked out by your fiddle playing, especially your singing with it...it was a highlight of your set" — Jack Bohl, Portland, Oregon Folklore Society
"Dana Robinson's set was easily the best individual segment of the evening. The acoustic solo performer is at the mercy of his or her instrumental aptitude; Robinson's talent as a guitarist clearly stood alone in this show. He is also blessed with an incredible voice which serves him well across a wide variety of arrangements." — The Burlington Free Press
"Dana's performance in Corvallis proved he's among the most well-rounded and overall talented acoustic musicians on the circuit. His lyrics, melodies, humor and stories were always great!" — Mike Myer, KRVM, Eugene, OR
About Midnight Salvage
"Terrific album!! This album has been a real find for me and whatever Robinson's done he's done it right. Catchy melodies with great lyrics, minimalist production and straight ahead honest delivery. This to me is what a contemporary folk album should be like." — Peter Kernast, WTSR, Trenton, NJ
"Powerful, rolling, fingerstyle guitar playing is the first aspect to grab you as you delve into Midnight Salvage. Lyrically, Robinson's songs are wonderful. Pure love for what life has to offer, without being over stated or painfully too-utopian about it. Perfect fodder for both old-time and contemporary folk enthusiasts." — Crossroads
"I like this recording an unreasonable amount. I haven't heard enough great CDs to form a Top 10 for 1997, but this would be one of them." — John Calkin, Acoustic Musician
"Intelligent tunes, great guitar playing!" — Dave Higgs, WPLN, Nashville, TN
"Dana's writing and singing are captivating." — Marilyn Rea Beyer, WUMB, Boston, MA
"On my Top 10 list for 1997." — Jeff Emery, KZSC, Santa Cruz, CA
"Great, great music!" — Samantha Wright, WBSU, Boise, ID
"(Dana is) one of the few contemporary singer-songwriters whose songs display a strong respect for the centuries-old folk tradition." — Phil Shapiro, WVBR, Ithaca, NY
"Dana is a quintessential folk musician!" — Connie Bowbliss, WKNH, Keene, NH
Reviews
Off-Center Views - Review of Big Mystery
The newest CD from Dana and Susan Robinson is a homespun affair that’s what you’d get if you updated some Child Ballads, filtered them through the Appalachian foothills of North Carolina, and seasoned with amble doses of Jay and Molly Ungar, and occasional dashes of hooky pop. There are catchy old-time melodies, a cover of Lui Collins’s “Gone But Not Forgotten” that sounds even older, a bluegrass rendering of Leadbelly’s “Poor Howard,” and several gentle and sublime originals. Susan’s version of Bill Steele’s “Griselda’s Waltz,” a retelling of the Cinderella tale, is a surefire crowd-pleaser rendered in a style reminiscent of Sally Rogers. One of the many joys of this album is the imagery it evokes of places, be it the Zephyr Valley of Minnesota, the hills of North Carolina, or Scotland’s Isle of Mull. “Zephyr Wind” is as gentle as a soft breeze, the perfect frame for what begins as a love song to a hike and evolves into reflections on the lessons embedded in silence. You can envision a leisurely float down the Mississippi on “Delta Queen,” perhaps with John Hartford at the steamboat helm. And, though Vermont inspired the clever wordplay of the pop-like title track, anyone residing in a northern clime can relate to Dana’s take on the suddenness with which life unlocks after a long winter.Toss in some solid backup work from Asheville's Free Planet Radio, and you've got an unpretentious gem. - Rob Weir
The newest CD from Dana and Susan Robinson is a homespun affair that’s what you’d get if you updated some Child Ballads, filtered them through the Appalachian foothills of North Carolina, and seasoned with amble doses of Jay and Molly Ungar, and occasional dashes of hooky pop. There are catchy old-time melodies, a cover of Lui Collins’s “Gone But Not Forgotten” that sounds even older, a bluegrass rendering of Leadbelly’s “Poor Howard,” and several gentle and sublime originals. Susan’s version of Bill Steele’s “Griselda’s Waltz,” a retelling of the Cinderella tale, is a surefire crowd-pleaser rendered in a style reminiscent of Sally Rogers. One of the many joys of this album is the imagery it evokes of places, be it the Zephyr Valley of Minnesota, the hills of North Carolina, or Scotland’s Isle of Mull. “Zephyr Wind” is as gentle as a soft breeze, the perfect frame for what begins as a love song to a hike and evolves into reflections on the lessons embedded in silence. You can envision a leisurely float down the Mississippi on “Delta Queen,” perhaps with John Hartford at the steamboat helm. And, though Vermont inspired the clever wordplay of the pop-like title track, anyone residing in a northern clime can relate to Dana’s take on the suddenness with which life unlocks after a long winter.Toss in some solid backup work from Asheville's Free Planet Radio, and you've got an unpretentious gem. - Rob Weir
Dirty Linen
The Trade is Dana Robinson's third album, and it captures both the spirit of rural America as well as the joys of the open road in one finely crafted recording. With a voice that at times sounds remarkably like Cat Stevens, Robinson is also a skilled multi-instrumentalist and songwriter. The recording opens with the infectious, banjo driven "Pat Do This", which sets the mood of the album. "Troy" tells of a young man's lofty ambitions, supported by Dar Williams' backing vocals. Tales of the road abound, all of them, like "Chautauqua Day", and "Anderson Grade", speaking of the "journey" being a joyful and spirit-enlivening thing. "Ballad Tree" is yet another tale of a songwriter's journeyman-like existence, which Robinson so dearly loves. The traditional "Lazy John" ia a piece of pure country twang, supported by former Bill Monroe fiddler Robert Bowlin, Johnny Hiland's electric guitar, and Lui Collins' high, lonesome harmony vocals. The unashamedly positive "Rainbow Sign" finds Robinson at his Cat Stevens-sounding best, while "Somebody Loves You" is a rare tale of exchanging habitual blues for a satistfying life. Robinson treats us to some tasty bottleneck slide on the Nebraska landscape-inspired instrumental "Crossing The Platte" before returning to his ever-present wanderlust in the form of bumming on the American railroads in "Counting Freights". The album closes with a traditional bluegrass rave-up on "Little Sadie", a close cousin to "Shady Grove". Many songwriters, such as Bruce Springsteen and John Mellencamp, have been heralded as modern-day Woody Guthries or keepers of the American rural spirit, but that mantle might be better entrusted to musicians like Dana Robinson who embody both the heart and the soul of folk music.
The Trade is Dana Robinson's third album, and it captures both the spirit of rural America as well as the joys of the open road in one finely crafted recording. With a voice that at times sounds remarkably like Cat Stevens, Robinson is also a skilled multi-instrumentalist and songwriter. The recording opens with the infectious, banjo driven "Pat Do This", which sets the mood of the album. "Troy" tells of a young man's lofty ambitions, supported by Dar Williams' backing vocals. Tales of the road abound, all of them, like "Chautauqua Day", and "Anderson Grade", speaking of the "journey" being a joyful and spirit-enlivening thing. "Ballad Tree" is yet another tale of a songwriter's journeyman-like existence, which Robinson so dearly loves. The traditional "Lazy John" ia a piece of pure country twang, supported by former Bill Monroe fiddler Robert Bowlin, Johnny Hiland's electric guitar, and Lui Collins' high, lonesome harmony vocals. The unashamedly positive "Rainbow Sign" finds Robinson at his Cat Stevens-sounding best, while "Somebody Loves You" is a rare tale of exchanging habitual blues for a satistfying life. Robinson treats us to some tasty bottleneck slide on the Nebraska landscape-inspired instrumental "Crossing The Platte" before returning to his ever-present wanderlust in the form of bumming on the American railroads in "Counting Freights". The album closes with a traditional bluegrass rave-up on "Little Sadie", a close cousin to "Shady Grove". Many songwriters, such as Bruce Springsteen and John Mellencamp, have been heralded as modern-day Woody Guthries or keepers of the American rural spirit, but that mantle might be better entrusted to musicians like Dana Robinson who embody both the heart and the soul of folk music.
The Valley Advocate, Northampton, MA
With a voice that's simultaneously raspy and smooth, a passel of fine songs, guitar prowess to spare, and a well-crafted album that integrates talent such as Lui Collins and Salamander Crossing mainstay Rani Arbo, Midnight Salvage is a sheer delight. Typical of his thoughtfulness is his opening three-song mini set of close encounters of the female kind, the sweet 'Sadie', the time-to-part 'Goodbye MaryJane,' and the tragic traditional 'Shady Grove.' Songs like 'Redpoll' and 'Sweet Dream' sound as if they escaped a lost recording of Cat Stevens, of whom Robinson's voice is reminiscent. But his guitar playing is more Robert Johnson, with the title cut paying subtle homage to his masterful 'Crossroads.'
With a voice that's simultaneously raspy and smooth, a passel of fine songs, guitar prowess to spare, and a well-crafted album that integrates talent such as Lui Collins and Salamander Crossing mainstay Rani Arbo, Midnight Salvage is a sheer delight. Typical of his thoughtfulness is his opening three-song mini set of close encounters of the female kind, the sweet 'Sadie', the time-to-part 'Goodbye MaryJane,' and the tragic traditional 'Shady Grove.' Songs like 'Redpoll' and 'Sweet Dream' sound as if they escaped a lost recording of Cat Stevens, of whom Robinson's voice is reminiscent. But his guitar playing is more Robert Johnson, with the title cut paying subtle homage to his masterful 'Crossroads.'
Music Upstream, Hartford, CT
Dana Robinson's songs call us to this world in an uncanny way, by drawing us into stories of those redeemed, tormented, granted epiphanies, or given simple ease by their being in the world. With a gentle easiness that comes from her particular being, the title character of Midnight Salvage's first song says, "There ain't no use to hurry, pull up yourself a chair, now tell me dear, what's brought you by this way?" In Midnight Salvage's world this easiness is with the whole of existence from the apparent cruelty in the predator/prey relationship, to the beauty of a love almost too good to be true.
One of the central songs in this cohesive collection, "Stalk Your Calling," is a hauntingly wild thing inspired by Annie Dillard's essay "Living like Weasels." It opens with a vividly drawn image of an eagle swooping down to catch a momentarily off-guard weasel. The weasel is in the eagle's talons, but the weasel's teeth are in the eagle's neck. Then, these enigmatic words as the weasel falls:
The eagle's flying east and
the weasel's falling north, when we...
Stalk our calling, we can stalk our calling
We can stalk our calling
And the weasel's falling north.
Robinson favors "old-time" instrumentation, playing guitar, mandolin, and banjo himself. Rani Arbo of Salamander Crossing adds fiddling and vocals on several tracks, and Lui Collins adds vocals to some. Robinson's voice is an airy tenor that sounds a bit like Cat Stevens, but without the overblown quality that makes Stevens tiresome for sustained listening. Robinson only pushes as much air as he needs to. His string playing lets you know these instruments are made of wood, and his hands of flesh and bone.
It's no accident that the only song here not written by Robinson is the traditional Appalachian ballad "Shady Grove," an expression of a sort of "total immersion" in love/lust that leaves the mental contrivance separating love from lust in very deep shade indeed. Like "Shady Grove," Robinson's own music is elemental, immersed, and immanent--in and of this world with a vengeance, but filled with brilliant epiphanies that throw narrow shafts of light into the corners of worlds barely imagined. Midnight Salvageis exquisite music--physical and spiritual, contemporary and ancient, up to it's eyeballs in mud and transcendent. Musicians like Dana Robinson don't grow on trees (even though he might like the metaphor)--enthusiastically recommended.
Dana Robinson's songs call us to this world in an uncanny way, by drawing us into stories of those redeemed, tormented, granted epiphanies, or given simple ease by their being in the world. With a gentle easiness that comes from her particular being, the title character of Midnight Salvage's first song says, "There ain't no use to hurry, pull up yourself a chair, now tell me dear, what's brought you by this way?" In Midnight Salvage's world this easiness is with the whole of existence from the apparent cruelty in the predator/prey relationship, to the beauty of a love almost too good to be true.
One of the central songs in this cohesive collection, "Stalk Your Calling," is a hauntingly wild thing inspired by Annie Dillard's essay "Living like Weasels." It opens with a vividly drawn image of an eagle swooping down to catch a momentarily off-guard weasel. The weasel is in the eagle's talons, but the weasel's teeth are in the eagle's neck. Then, these enigmatic words as the weasel falls:
The eagle's flying east and
the weasel's falling north, when we...
Stalk our calling, we can stalk our calling
We can stalk our calling
And the weasel's falling north.
Robinson favors "old-time" instrumentation, playing guitar, mandolin, and banjo himself. Rani Arbo of Salamander Crossing adds fiddling and vocals on several tracks, and Lui Collins adds vocals to some. Robinson's voice is an airy tenor that sounds a bit like Cat Stevens, but without the overblown quality that makes Stevens tiresome for sustained listening. Robinson only pushes as much air as he needs to. His string playing lets you know these instruments are made of wood, and his hands of flesh and bone.
It's no accident that the only song here not written by Robinson is the traditional Appalachian ballad "Shady Grove," an expression of a sort of "total immersion" in love/lust that leaves the mental contrivance separating love from lust in very deep shade indeed. Like "Shady Grove," Robinson's own music is elemental, immersed, and immanent--in and of this world with a vengeance, but filled with brilliant epiphanies that throw narrow shafts of light into the corners of worlds barely imagined. Midnight Salvageis exquisite music--physical and spiritual, contemporary and ancient, up to it's eyeballs in mud and transcendent. Musicians like Dana Robinson don't grow on trees (even though he might like the metaphor)--enthusiastically recommended.
