Songs like From Galway to Graceland by Richard Thompson
Based on a tempo of (+/- 10%) and a similar genre
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Richard Thompson
From Galway to Graceland
132 bpm • A Maj • 03:29 • -10db
25% Popularity • 49% Danceability • 32% Energy • 36% Liveness
6% Instrumentalness • 37% Positiveness
25% Popularity • 49% Danceability • 32% Energy • 36% Liveness
6% Instrumentalness • 37% Positiveness
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Mary Gauthier
The War After the War
132 bpm • G Maj • 03:44 • -8.14db
24% Popularity • 62% Danceability • 37% Energy • 9% Liveness
0% Instrumentalness • 31% Positiveness
24% Popularity • 62% Danceability • 37% Energy • 9% Liveness
0% Instrumentalness • 31% Positiveness
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Steve Knightley
Downbound Train / Country Life
132 bpm • E min • 08:09 • -9db
10% Popularity • 46% Danceability • 38% Energy • 77% Liveness
0% Instrumentalness • 23% Positiveness
10% Popularity • 46% Danceability • 38% Energy • 77% Liveness
0% Instrumentalness • 23% Positiveness
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Steve Forbert
The American In Me
131 bpm • E Maj • 03:57 • -10.51db
13% Popularity • 64% Danceability • 33% Energy • 11% Liveness
0% Instrumentalness • 43% Positiveness
13% Popularity • 64% Danceability • 33% Energy • 11% Liveness
0% Instrumentalness • 43% Positiveness
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John Gorka
I Saw A Stranger With Your Hair
131 bpm • A Maj • 04:03 • -17db
23% Popularity • 65% Danceability • 19% Energy • 9% Liveness
0% Instrumentalness • 37% Positiveness
23% Popularity • 65% Danceability • 19% Energy • 9% Liveness
0% Instrumentalness • 37% Positiveness
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James Taylor
Millworker
133 bpm • D Maj • 03:59 • -8.65db
8% Popularity • 34% Danceability • 34% Energy • 18% Liveness
0% Instrumentalness • 39% Positiveness
8% Popularity • 34% Danceability • 34% Energy • 18% Liveness
0% Instrumentalness • 39% Positiveness
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Richard Thompson
Wall of Death
132 bpm • G Maj • 03:23 • -9.99db
20% Popularity • 55% Danceability • 40% Energy • 12% Liveness
0% Instrumentalness • 53% Positiveness
20% Popularity • 55% Danceability • 40% Energy • 12% Liveness
0% Instrumentalness • 53% Positiveness
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Teddy Thompson
Delilah
131 bpm • A Maj • 03:27 • -10.23db
12% Popularity • 48% Danceability • 45% Energy • 28% Liveness
0% Instrumentalness • 48% Positiveness
12% Popularity • 48% Danceability • 45% Energy • 28% Liveness
0% Instrumentalness • 48% Positiveness
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Warren Zevon
Hasten Down the Wind
133 bpm • F Maj • 02:59 • -10.21db
28% Popularity • 50% Danceability • 41% Energy • 8% Liveness
0% Instrumentalness • 17% Positiveness
28% Popularity • 50% Danceability • 41% Energy • 8% Liveness
0% Instrumentalness • 17% Positiveness
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Crooked Still
Shady Grove
131 bpm • B Maj • 03:47 • -7.29db
31% Popularity • 55% Danceability • 57% Energy • 44% Liveness
7% Instrumentalness • 80% Positiveness
31% Popularity • 55% Danceability • 57% Energy • 44% Liveness
7% Instrumentalness • 80% Positiveness
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Eric Andersen
Thirsty Boots
133 bpm • B Maj • 05:13 • -14.81db
24% Popularity • 57% Danceability • 40% Energy • 12% Liveness
9% Instrumentalness • 74% Positiveness
24% Popularity • 57% Danceability • 40% Energy • 12% Liveness
9% Instrumentalness • 74% Positiveness
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The Albion Band
Time to Ring Some Changes - 2003 Remaste...
131 bpm • D# Maj • 02:51 • -6db
10% Popularity • 67% Danceability • 80% Energy • 12% Liveness
0% Instrumentalness • 70% Positiveness
10% Popularity • 67% Danceability • 80% Energy • 12% Liveness
0% Instrumentalness • 70% Positiveness
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Richard Thompson
King Of Bohemia
133 bpm • D# Maj • 03:44 • -19db
14% Popularity • 46% Danceability • 6% Energy • 10% Liveness
0% Instrumentalness • 28% Positiveness
14% Popularity • 46% Danceability • 6% Energy • 10% Liveness
0% Instrumentalness • 28% Positiveness
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Mary Gauthier
Drag Queens In Limousines
131 bpm • F Maj • 05:39 • -10db
28% Popularity • 54% Danceability • 29% Energy • 12% Liveness
1% Instrumentalness • 19% Positiveness
28% Popularity • 54% Danceability • 29% Energy • 12% Liveness
1% Instrumentalness • 19% Positiveness
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Townes Van Zandt
Poncho & Lefty
133 bpm • C# Maj • 03:40 • -14db
54% Popularity • 64% Danceability • 28% Energy • 23% Liveness
0% Instrumentalness • 68% Positiveness
54% Popularity • 64% Danceability • 28% Energy • 23% Liveness
0% Instrumentalness • 68% Positiveness
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Archie Fisher
Dark Eyed Molly
133 bpm • F Maj • 03:00 • -22.39db
20% Popularity • 40% Danceability • 4% Energy • 10% Liveness
1% Instrumentalness • 53% Positiveness
20% Popularity • 40% Danceability • 4% Energy • 10% Liveness
1% Instrumentalness • 53% Positiveness
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Warren Zevon
Studebaker
134 bpm • G Maj • 02:26 • -13.06db
22% Popularity • 52% Danceability • 29% Energy • 11% Liveness
3% Instrumentalness • 50% Positiveness
22% Popularity • 52% Danceability • 29% Energy • 11% Liveness
3% Instrumentalness • 50% Positiveness
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Mary Chapin Carpenter
Transcendental Reunion
130 bpm • F Maj • 05:30 • -16.2db
11% Popularity • 40% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 35% Positiveness
11% Popularity • 40% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 35% Positiveness
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Reg Meuross
England Green & England Grey
130 bpm • C Maj • 04:13 • -13.7db
17% Popularity • 52% Danceability • 43% Energy • 11% Liveness
0% Instrumentalness • 64% Positiveness
17% Popularity • 52% Danceability • 43% Energy • 11% Liveness
0% Instrumentalness • 64% Positiveness
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Mary Gauthier
Bullet Holes in the Sky
130 bpm • A# Maj • 04:46 • -10db
24% Popularity • 42% Danceability • 24% Energy • 12% Liveness
0% Instrumentalness • 18% Positiveness
24% Popularity • 42% Danceability • 24% Energy • 12% Liveness
0% Instrumentalness • 18% Positiveness
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Oysterband
Like a Swimmer in the Ocean
130 bpm • A Maj • 02:22 • -12.38db
18% Popularity • 61% Danceability • 30% Energy • 11% Liveness
1% Instrumentalness • 41% Positiveness
18% Popularity • 61% Danceability • 30% Energy • 11% Liveness
1% Instrumentalness • 41% Positiveness
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Archie Fisher
Windward Away
131 bpm • A# Maj • 03:36 • -16db
14% Popularity • 51% Danceability • 19% Energy • 14% Liveness
1% Instrumentalness • 44% Positiveness
14% Popularity • 51% Danceability • 19% Energy • 14% Liveness
1% Instrumentalness • 44% Positiveness
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Warren Zevon
Don't Let Us Get Sick
130 bpm • C Maj • 03:06 • -14.07db
33% Popularity • 62% Danceability • 16% Energy • 9% Liveness
0% Instrumentalness • 27% Positiveness
33% Popularity • 62% Danceability • 16% Energy • 9% Liveness
0% Instrumentalness • 27% Positiveness
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Colvin & Earle
You Were On My Mind
130 bpm • E Maj • 02:56 • -7.81db
30% Popularity • 48% Danceability • 64% Energy • 29% Liveness
1% Instrumentalness • 42% Positiveness
30% Popularity • 48% Danceability • 64% Energy • 29% Liveness
1% Instrumentalness • 42% Positiveness
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Richard Thompson
Wrong Heartbeat
134 bpm • C Maj • 03:25 • -7.26db
6% Popularity • 68% Danceability • 84% Energy • 69% Liveness
0% Instrumentalness • 96% Positiveness
6% Popularity • 68% Danceability • 84% Energy • 69% Liveness
0% Instrumentalness • 96% Positiveness
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Mary Gauthier
I Drink
130 bpm • C Maj • 03:47 • -15.34db
22% Popularity • 65% Danceability • 13% Energy • 11% Liveness
0% Instrumentalness • 14% Positiveness
22% Popularity • 65% Danceability • 13% Energy • 11% Liveness
0% Instrumentalness • 14% Positiveness
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Iain Morrison
Broken off Car Door
130 bpm • D min • 04:44 • -11.59db
10% Popularity • 48% Danceability • 48% Energy • 10% Liveness
0% Instrumentalness • 53% Positiveness
10% Popularity • 48% Danceability • 48% Energy • 10% Liveness
0% Instrumentalness • 53% Positiveness
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Martyn Joseph
Cardiff Bay
134 bpm • C min • 04:53 • -12.36db
22% Popularity • 59% Danceability • 23% Energy • 12% Liveness
0% Instrumentalness • 36% Positiveness
22% Popularity • 59% Danceability • 23% Energy • 12% Liveness
0% Instrumentalness • 36% Positiveness
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John Hiatt
What Do We Do Now
130 bpm • D Maj • 02:58 • -10.81db
46% Popularity • 62% Danceability • 28% Energy • 14% Liveness
0% Instrumentalness • 22% Positiveness
46% Popularity • 62% Danceability • 28% Energy • 14% Liveness
0% Instrumentalness • 22% Positiveness
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Dick Gaughan
1952 Vincent Black Lightening
130 bpm • G Maj • 04:20 • -20.14db
7% Popularity • 46% Danceability • 9% Energy • 13% Liveness
0% Instrumentalness • 22% Positiveness
7% Popularity • 46% Danceability • 9% Energy • 13% Liveness
0% Instrumentalness • 22% Positiveness
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Tim Hardin
Unforgiven
130 bpm • D Maj • 03:22 • -15.47db
40% Popularity • 35% Danceability • 14% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
40% Popularity • 35% Danceability • 14% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
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David Olney
Jerusalem Tomorrow
130 bpm • B min • 05:09 • -16.2db
16% Popularity • 55% Danceability • 25% Energy • 69% Liveness
0% Instrumentalness • 40% Positiveness
16% Popularity • 55% Danceability • 25% Energy • 69% Liveness
0% Instrumentalness • 40% Positiveness
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Richard Shindell
Willin'
134 bpm • G Maj • 03:15 • -10.74db
22% Popularity • 62% Danceability • 49% Energy • 98% Liveness
0% Instrumentalness • 40% Positiveness
22% Popularity • 62% Danceability • 49% Energy • 98% Liveness
0% Instrumentalness • 40% Positiveness
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Cara Dillon & Sam Lakeman
The Streets Of Derry
130 bpm • F# Maj • 04:23 • -13.59db
10% Popularity • 37% Danceability • 13% Energy • 12% Liveness
0% Instrumentalness • 44% Positiveness
10% Popularity • 37% Danceability • 13% Energy • 12% Liveness
0% Instrumentalness • 44% Positiveness
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Nic Jones
Seven Yellow Gypsies
134 bpm • A# Maj • 02:53 • -7.2db
16% Popularity • 64% Danceability • 52% Energy • 19% Liveness
0% Instrumentalness • 77% Positiveness
16% Popularity • 64% Danceability • 52% Energy • 19% Liveness
0% Instrumentalness • 77% Positiveness
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Buddy Miller
Wild Horses
129 bpm • A Maj • 06:20 • -12.6db
17% Popularity • 47% Danceability • 27% Energy • 18% Liveness
0% Instrumentalness • 23% Positiveness
17% Popularity • 47% Danceability • 27% Energy • 18% Liveness
0% Instrumentalness • 23% Positiveness
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Ted Hawkins
Cold & Bitter Tears
135 bpm • A# Maj • 02:14 • -15db
30% Popularity • 56% Danceability • 26% Energy • 22% Liveness
0% Instrumentalness • 84% Positiveness
30% Popularity • 56% Danceability • 26% Energy • 22% Liveness
0% Instrumentalness • 84% Positiveness
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Dick Gaughan
What You Do With What You Got
135 bpm • E Maj • 03:18 • -16.06db
15% Popularity • 46% Danceability • 20% Energy • 13% Liveness
0% Instrumentalness • 50% Positiveness
15% Popularity • 46% Danceability • 20% Energy • 13% Liveness
0% Instrumentalness • 50% Positiveness
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Oysterband
A Clown's Heart
135 bpm • G Maj • 03:52 • -5.03db
18% Popularity • 56% Danceability • 75% Energy • 24% Liveness
0% Instrumentalness • 81% Positiveness
18% Popularity • 56% Danceability • 75% Energy • 24% Liveness
0% Instrumentalness • 81% Positiveness
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Sweet Honey In The Rock
Sylvie
129 bpm • C Maj • 02:03 • -19.97db
29% Popularity • 42% Danceability • 1% Energy • 17% Liveness
0% Instrumentalness • 30% Positiveness
29% Popularity • 42% Danceability • 1% Energy • 17% Liveness
0% Instrumentalness • 30% Positiveness
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Ralph McTell
Barges
135 bpm • F# Maj • 04:23 • -19.38db
17% Popularity • 37% Danceability • 16% Energy • 12% Liveness
6% Instrumentalness • 12% Positiveness
17% Popularity • 37% Danceability • 16% Energy • 12% Liveness
6% Instrumentalness • 12% Positiveness
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John Gorka
Land of the Bottom Line
136 bpm • G# min • 03:33 • -15.1db
21% Popularity • 74% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 59% Positiveness
21% Popularity • 74% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 59% Positiveness
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Eddi Reader
Vagabond
136 bpm • C Maj • 04:10 • -7.86db
14% Popularity • 43% Danceability • 47% Energy • 29% Liveness
0% Instrumentalness • 46% Positiveness
14% Popularity • 43% Danceability • 47% Energy • 29% Liveness
0% Instrumentalness • 46% Positiveness
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Stan Rogers
Song of the Candle
128 bpm • A Maj • 06:39 • -18.24db
20% Popularity • 44% Danceability • 13% Energy • 16% Liveness
0% Instrumentalness • 22% Positiveness
20% Popularity • 44% Danceability • 13% Energy • 16% Liveness
0% Instrumentalness • 22% Positiveness
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Linda Thompson
Day After Tomorrow
128 bpm • D# Maj • 05:03 • -16.1db
12% Popularity • 52% Danceability • 9% Energy • 70% Liveness
0% Instrumentalness • 40% Positiveness
12% Popularity • 52% Danceability • 9% Energy • 70% Liveness
0% Instrumentalness • 40% Positiveness
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Jesse Winchester
Mississippi You're On My Mind
136 bpm • D# Maj • 03:26 • -11.36db
23% Popularity • 57% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 22% Positiveness
23% Popularity • 57% Danceability • 26% Energy • 11% Liveness
0% Instrumentalness • 22% Positiveness
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Sharon Shannon
On the Banks of the Old Pontchertrain
136 bpm • E Maj • 04:26 • -9.52db
27% Popularity • 38% Danceability • 34% Energy • 10% Liveness
0% Instrumentalness • 22% Positiveness
27% Popularity • 38% Danceability • 34% Energy • 10% Liveness
0% Instrumentalness • 22% Positiveness
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John Gorka
I Saw a Stranger With Your Hair
136 bpm • A Maj • 03:47 • -18.86db
10% Popularity • 66% Danceability • 8% Energy • 10% Liveness
0% Instrumentalness • 24% Positiveness
10% Popularity • 66% Danceability • 8% Energy • 10% Liveness
0% Instrumentalness • 24% Positiveness
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Mary Coughlan
Double Cross
128 bpm • G Maj • 03:50 • -9.62db
28% Popularity • 40% Danceability • 35% Energy • 11% Liveness
0% Instrumentalness • 35% Positiveness
28% Popularity • 40% Danceability • 35% Energy • 11% Liveness
0% Instrumentalness • 35% Positiveness
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Ray Bonneville
Funny 'Bout Love
128 bpm • C Maj • 03:44 • -11.02db
30% Popularity • 68% Danceability • 51% Energy • 11% Liveness
2% Instrumentalness • 74% Positiveness
30% Popularity • 68% Danceability • 51% Energy • 11% Liveness
2% Instrumentalness • 74% Positiveness
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Bap Kennedy
The Shankill And The Falls
136 bpm • C Maj • 02:46 • -11.47db
8% Popularity • 57% Danceability • 33% Energy • 18% Liveness
0% Instrumentalness • 45% Positiveness
8% Popularity • 57% Danceability • 33% Energy • 18% Liveness
0% Instrumentalness • 45% Positiveness
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Richard Thompson
Sights And Sounds Of London Town
127 bpm • G Maj • 04:54 • -8.44db
9% Popularity • 46% Danceability • 50% Energy • 9% Liveness
0% Instrumentalness • 36% Positiveness
9% Popularity • 46% Danceability • 50% Energy • 9% Liveness
0% Instrumentalness • 36% Positiveness
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Teddy Thompson
Don't Know What I Was Thinking
127 bpm • D Maj • 03:40 • -10.12db
28% Popularity • 52% Danceability • 62% Energy • 10% Liveness
0% Instrumentalness • 74% Positiveness
28% Popularity • 52% Danceability • 62% Energy • 10% Liveness
0% Instrumentalness • 74% Positiveness
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Eric Andersen
Blue River
127 bpm • F Maj • 04:45 • -14.43db
19% Popularity • 41% Danceability • 26% Energy • 12% Liveness
53% Instrumentalness • 14% Positiveness
19% Popularity • 41% Danceability • 26% Energy • 12% Liveness
53% Instrumentalness • 14% Positiveness
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Shelby Lynne
Not Dark Yet
137 bpm • C Maj • 04:19 • -11.13db
34% Popularity • 51% Danceability • 47% Energy • 13% Liveness
0% Instrumentalness • 37% Positiveness
34% Popularity • 51% Danceability • 47% Energy • 13% Liveness
0% Instrumentalness • 37% Positiveness
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Warren Zevon
Don't Let Us Get Sick - Solo Acoustic
127 bpm • C Maj • 03:12 • -18.06db
8% Popularity • 50% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
8% Popularity • 50% Danceability • 19% Energy • 12% Liveness
0% Instrumentalness • 26% Positiveness
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Bap Kennedy
Shimnavale
137 bpm • D Maj • 05:06 • -8.66db
8% Popularity • 51% Danceability • 32% Energy • 20% Liveness
0% Instrumentalness • 23% Positiveness
8% Popularity • 51% Danceability • 32% Energy • 20% Liveness
0% Instrumentalness • 23% Positiveness
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Gene Clark
For A Spanish Guitar
127 bpm • C# min • 04:58 • -7.13db
23% Popularity • 39% Danceability • 47% Energy • 18% Liveness
0% Instrumentalness • 34% Positiveness
23% Popularity • 39% Danceability • 47% Energy • 18% Liveness
0% Instrumentalness • 34% Positiveness
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Richard Thompson
1952 Vincent Black Lightning
128 bpm • D# Maj • 05:12 • -9.25db
16% Popularity • 44% Danceability • 42% Energy • 11% Liveness
11% Instrumentalness • 31% Positiveness
16% Popularity • 44% Danceability • 42% Energy • 11% Liveness
11% Instrumentalness • 31% Positiveness
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John Gorka
Love Is Our Cross To Bear
137 bpm • C min • 04:16 • -18db
34% Popularity • 60% Danceability • 6% Energy • 10% Liveness
0% Instrumentalness • 21% Positiveness
34% Popularity • 60% Danceability • 6% Energy • 10% Liveness
0% Instrumentalness • 21% Positiveness
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Diana Jones
Better Times Will Come
127 bpm • C# Maj • 02:53 • -9.93db
18% Popularity • 59% Danceability • 30% Energy • 11% Liveness
0% Instrumentalness • 54% Positiveness
18% Popularity • 59% Danceability • 30% Energy • 11% Liveness
0% Instrumentalness • 54% Positiveness
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Jesse Winchester
Dangerous Fun
138 bpm • D Maj • 02:05 • -14.78db
29% Popularity • 52% Danceability • 28% Energy • 12% Liveness
0% Instrumentalness • 73% Positiveness
29% Popularity • 52% Danceability • 28% Energy • 12% Liveness
0% Instrumentalness • 73% Positiveness
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Ewan MacColl
The Shoals of Herring
126 bpm • A Maj • 03:54 • -15.59db
28% Popularity • 56% Danceability • 10% Energy • 21% Liveness
0% Instrumentalness • 52% Positiveness
28% Popularity • 56% Danceability • 10% Energy • 21% Liveness
0% Instrumentalness • 52% Positiveness
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Steeleye Span
Hard Times of Old England - 2009 Remaste...
138 bpm • G Maj • 05:15 • -8db
26% Popularity • 50% Danceability • 78% Energy • 24% Liveness
0% Instrumentalness • 74% Positiveness
26% Popularity • 50% Danceability • 78% Energy • 24% Liveness
0% Instrumentalness • 74% Positiveness
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Richard Thompson
When the Spell Is Broken
127 bpm • G Maj • 04:19 • -9.9db
11% Popularity • 59% Danceability • 30% Energy • 18% Liveness
13% Instrumentalness • 25% Positiveness
11% Popularity • 59% Danceability • 30% Energy • 18% Liveness
13% Instrumentalness • 25% Positiveness
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Richard Shindell
Reunion Hill
138 bpm • F# Maj • 05:09 • -11.89db
11% Popularity • 46% Danceability • 18% Energy • 15% Liveness
0% Instrumentalness • 21% Positiveness
11% Popularity • 46% Danceability • 18% Energy • 15% Liveness
0% Instrumentalness • 21% Positiveness
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John Gorka
Like My Watch
138 bpm • B Maj • 01:33 • -16.43db
25% Popularity • 79% Danceability • 20% Energy • 10% Liveness
0% Instrumentalness • 57% Positiveness
25% Popularity • 79% Danceability • 20% Energy • 10% Liveness
0% Instrumentalness • 57% Positiveness
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June Tabor
Bonny Bunch of Roses
126 bpm • C Maj • 05:00 • -8.43db
12% Popularity • 63% Danceability • 77% Energy • 15% Liveness
0% Instrumentalness • 47% Positiveness
12% Popularity • 63% Danceability • 77% Energy • 15% Liveness
0% Instrumentalness • 47% Positiveness
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Dave Van Ronk
Another Time And Place
138 bpm • E Maj • 04:38 • -18.9db
27% Popularity • 50% Danceability • 9% Energy • 11% Liveness
1% Instrumentalness • 21% Positiveness
27% Popularity • 50% Danceability • 9% Energy • 11% Liveness
1% Instrumentalness • 21% Positiveness
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Dougie MacLean
Seanair's Song
126 bpm • C Maj • 04:20 • -20.67db
18% Popularity • 44% Danceability • 22% Energy • 16% Liveness
0% Instrumentalness • 20% Positiveness
18% Popularity • 44% Danceability • 22% Energy • 16% Liveness
0% Instrumentalness • 20% Positiveness
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Richard Thompson
Easy There, Steady Now
126 bpm • G min • 04:46 • -13.96db
9% Popularity • 50% Danceability • 43% Energy • 12% Liveness
4% Instrumentalness • 22% Positiveness
9% Popularity • 50% Danceability • 43% Energy • 12% Liveness
4% Instrumentalness • 22% Positiveness
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Warren Zevon
The Hula Hula Boys - 2007 Remaster
138 bpm • G Maj • 03:02 • -11db
36% Popularity • 66% Danceability • 40% Energy • 11% Liveness
0% Instrumentalness • 72% Positiveness
36% Popularity • 66% Danceability • 40% Energy • 11% Liveness
0% Instrumentalness • 72% Positiveness
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Andy Irvine
West Coast of Clare
139 bpm • D min • 05:38 • -14.93db
13% Popularity • 40% Danceability • 30% Energy • 64% Liveness
52% Instrumentalness • 36% Positiveness
13% Popularity • 40% Danceability • 30% Energy • 64% Liveness
52% Instrumentalness • 36% Positiveness
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The Be Good Tanyas
Light Enough to Travel
126 bpm • G Maj • 04:58 • -9db
33% Popularity • 59% Danceability • 66% Energy • 14% Liveness
0% Instrumentalness • 62% Positiveness
33% Popularity • 59% Danceability • 66% Energy • 14% Liveness
0% Instrumentalness • 62% Positiveness
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Tom Paxton
When Morning Breaks
126 bpm • G# Maj • 02:55 • -12.59db
12% Popularity • 55% Danceability • 16% Energy • 13% Liveness
0% Instrumentalness • 19% Positiveness
12% Popularity • 55% Danceability • 16% Energy • 13% Liveness
0% Instrumentalness • 19% Positiveness
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Richard & Linda Thompson
Down Where The Drunkards Roll
125 bpm • A# Maj • 04:06 • -14.1db
27% Popularity • 44% Danceability • 14% Energy • 11% Liveness
1% Instrumentalness • 19% Positiveness
27% Popularity • 44% Danceability • 14% Energy • 11% Liveness
1% Instrumentalness • 19% Positiveness
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Richard Thompson
Man in Need
126 bpm • A Maj • 03:26 • -7.69db
4% Popularity • 58% Danceability • 69% Energy • 69% Liveness
0% Instrumentalness • 70% Positiveness
4% Popularity • 58% Danceability • 69% Energy • 69% Liveness
0% Instrumentalness • 70% Positiveness
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Warren Zevon
Hasten Down the Wind
139 bpm • E Maj • 02:32 • -11.5db
32% Popularity • 42% Danceability • 30% Energy • 14% Liveness
40% Instrumentalness • 30% Positiveness
32% Popularity • 42% Danceability • 30% Energy • 14% Liveness
40% Instrumentalness • 30% Positiveness
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Mary Gauthier
I Drink
125 bpm • C Maj • 04:30 • -11db
35% Popularity • 66% Danceability • 25% Energy • 11% Liveness
0% Instrumentalness • 32% Positiveness
35% Popularity • 66% Danceability • 25% Energy • 11% Liveness
0% Instrumentalness • 32% Positiveness
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Lyle Lovett
The Road To Ensenada
125 bpm • D Maj • 04:15 • -11db
31% Popularity • 57% Danceability • 36% Energy • 39% Liveness
0% Instrumentalness • 26% Positiveness
31% Popularity • 57% Danceability • 36% Energy • 39% Liveness
0% Instrumentalness • 26% Positiveness
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Adam Holmes
Mother Oak
140 bpm • C Maj • 02:57 • -15.95db
8% Popularity • 44% Danceability • 11% Energy • 13% Liveness
0% Instrumentalness • 14% Positiveness
8% Popularity • 44% Danceability • 11% Energy • 13% Liveness
0% Instrumentalness • 14% Positiveness
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Ultan Conlon
A Weak Heart Like Mine (Duet)
140 bpm • G# Maj • 03:44 • -11.2db
13% Popularity • 42% Danceability • 29% Energy • 10% Liveness
2% Instrumentalness • 34% Positiveness
13% Popularity • 42% Danceability • 29% Energy • 10% Liveness
2% Instrumentalness • 34% Positiveness
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Richard Thompson
Why Must I Plead
138 bpm • F Maj • 04:58 • -18db
19% Popularity • 56% Danceability • 20% Energy • 11% Liveness
0% Instrumentalness • 33% Positiveness
19% Popularity • 56% Danceability • 20% Energy • 11% Liveness
0% Instrumentalness • 33% Positiveness
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Warren Zevon
The Rosarita Beach Cafe
140 bpm • C Maj • 04:09 • -11.53db
12% Popularity • 54% Danceability • 34% Energy • 10% Liveness
2% Instrumentalness • 46% Positiveness
12% Popularity • 54% Danceability • 34% Energy • 10% Liveness
2% Instrumentalness • 46% Positiveness
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Gordon Lightfoot
The Way I Feel
125 bpm • B min • 03:45 • -14.43db
30% Popularity • 63% Danceability • 32% Energy • 13% Liveness
3% Instrumentalness • 59% Positiveness
30% Popularity • 63% Danceability • 32% Energy • 13% Liveness
3% Instrumentalness • 59% Positiveness
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Ewan McLennan
Such a Thing as Society
140 bpm • E Maj • 03:28 • -13db
22% Popularity • 37% Danceability • 26% Energy • 10% Liveness
0% Instrumentalness • 41% Positiveness
22% Popularity • 37% Danceability • 26% Energy • 10% Liveness
0% Instrumentalness • 41% Positiveness
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John Hiatt
The River Knows Your Name
125 bpm • F Maj • 04:25 • -12.81db
31% Popularity • 58% Danceability • 27% Energy • 7% Liveness
0% Instrumentalness • 34% Positiveness
31% Popularity • 58% Danceability • 27% Energy • 7% Liveness
0% Instrumentalness • 34% Positiveness
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Garnet Rogers
Night Drive
125 bpm • C Maj • 09:51 • -14.94db
16% Popularity • 66% Danceability • 38% Energy • 11% Liveness
28% Instrumentalness • 40% Positiveness
16% Popularity • 66% Danceability • 38% Energy • 11% Liveness
28% Instrumentalness • 40% Positiveness
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Richard Thompson
Beeswing
138 bpm • F Maj • 05:33 • -14.48db
38% Popularity • 43% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 59% Positiveness
38% Popularity • 43% Danceability • 23% Energy • 10% Liveness
0% Instrumentalness • 59% Positiveness
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Dick Gaughan
The Father's Song
124 bpm • C# Maj • 03:42 • -18.58db
14% Popularity • 51% Danceability • 8% Energy • 30% Liveness
0% Instrumentalness • 40% Positiveness
14% Popularity • 51% Danceability • 8% Energy • 30% Liveness
0% Instrumentalness • 40% Positiveness
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Richard Shindell
I Saw My Youth Today
140 bpm • A Maj • 03:18 • -12.12db
13% Popularity • 46% Danceability • 25% Energy • 12% Liveness
0% Instrumentalness • 36% Positiveness
13% Popularity • 46% Danceability • 25% Energy • 12% Liveness
0% Instrumentalness • 36% Positiveness
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Jesse Winchester
Do It
124 bpm • D# Maj • 01:27 • -13db
25% Popularity • 64% Danceability • 20% Energy • 12% Liveness
0% Instrumentalness • 85% Positiveness
25% Popularity • 64% Danceability • 20% Energy • 12% Liveness
0% Instrumentalness • 85% Positiveness
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Tom Paxton
Whose Garden Was This
123 bpm • F# min • 02:29 • -16db
22% Popularity • 36% Danceability • 14% Energy • 11% Liveness
0% Instrumentalness • 33% Positiveness
22% Popularity • 36% Danceability • 14% Energy • 11% Liveness
0% Instrumentalness • 33% Positiveness
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Townes Van Zandt
Racing in the Streets
123 bpm • D Maj • 03:02 • -17.95db
27% Popularity • 68% Danceability • 17% Energy • 12% Liveness
0% Instrumentalness • 38% Positiveness
27% Popularity • 68% Danceability • 17% Energy • 12% Liveness
0% Instrumentalness • 38% Positiveness
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Richard Thompson
Mystery Wind
139 bpm • D Maj • 04:35 • -20db
18% Popularity • 68% Danceability • 21% Energy • 9% Liveness
29% Instrumentalness • 30% Positiveness
18% Popularity • 68% Danceability • 21% Energy • 9% Liveness
29% Instrumentalness • 30% Positiveness
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Joan Baez
She Never Could Resist A Winding Road
123 bpm • G Maj • 03:17 • -13db
17% Popularity • 42% Danceability • 44% Energy • 68% Liveness
0% Instrumentalness • 48% Positiveness
17% Popularity • 42% Danceability • 44% Energy • 68% Liveness
0% Instrumentalness • 48% Positiveness
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Pete Townshend
Till The Rivers All Run Dry
123 bpm • E Maj • 03:52 • -22db
34% Popularity • 73% Danceability • 22% Energy • 6% Liveness
16% Instrumentalness • 60% Positiveness
34% Popularity • 73% Danceability • 22% Energy • 6% Liveness
16% Instrumentalness • 60% Positiveness
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Marshall Crenshaw
My Back Pages
123 bpm • D Maj • 03:50 • -7.75db
21% Popularity • 58% Danceability • 72% Energy • 12% Liveness
1% Instrumentalness • 65% Positiveness
21% Popularity • 58% Danceability • 72% Energy • 12% Liveness
1% Instrumentalness • 65% Positiveness
