Songs like The Driving Of The Year Nail by Leo Kottke
Based on a tempo of (+/- 10%) and a similar genre
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Peter Lang
Muggy Friday
129 bpm • G Maj • 01:32 • -15.62db
13% Popularity • 34% Danceability • 32% Energy • 9% Liveness
91% Instrumentalness • 85% Positiveness
13% Popularity • 34% Danceability • 32% Energy • 9% Liveness
91% Instrumentalness • 85% Positiveness
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John Fahey
Song #3
129 bpm • G Maj • 01:47 • -15.31db
24% Popularity • 37% Danceability • 31% Energy • 28% Liveness
92% Instrumentalness • 70% Positiveness
24% Popularity • 37% Danceability • 31% Energy • 28% Liveness
92% Instrumentalness • 70% Positiveness
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Clarence White
Black Mountain Blues (Rag)
129 bpm • D Maj • 01:37 • -11.69db
20% Popularity • 48% Danceability • 47% Energy • 31% Liveness
92% Instrumentalness • 96% Positiveness
20% Popularity • 48% Danceability • 47% Energy • 31% Liveness
92% Instrumentalness • 96% Positiveness
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Rob Stenson
Patroller (Bonus Track)
129 bpm • D# min • 02:07 • -11.23db
7% Popularity • 42% Danceability • 57% Energy • 12% Liveness
92% Instrumentalness • 89% Positiveness
7% Popularity • 42% Danceability • 57% Energy • 12% Liveness
92% Instrumentalness • 89% Positiveness
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Davy Graham
Grooveyard
128 bpm • F min • 03:03 • -8.58db
10% Popularity • 60% Danceability • 33% Energy • 9% Liveness
84% Instrumentalness • 70% Positiveness
10% Popularity • 60% Danceability • 33% Energy • 9% Liveness
84% Instrumentalness • 70% Positiveness
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NRBQ
Tragic Magic
129 bpm • C min • 01:52 • -11.53db
19% Popularity • 60% Danceability • 35% Energy • 18% Liveness
87% Instrumentalness • 59% Positiveness
19% Popularity • 60% Danceability • 35% Energy • 18% Liveness
87% Instrumentalness • 59% Positiveness
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Peter Lang
As I Lay Sleeping
129 bpm • C Maj • 01:59 • -13.62db
24% Popularity • 29% Danceability • 50% Energy • 12% Liveness
87% Instrumentalness • 57% Positiveness
24% Popularity • 29% Danceability • 50% Energy • 12% Liveness
87% Instrumentalness • 57% Positiveness
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Béla Fleck and the Flecktones
For Sascha
128 bpm • D# Maj • 02:34 • -23.37db
18% Popularity • 52% Danceability • 9% Energy • 35% Liveness
75% Instrumentalness • 31% Positiveness
18% Popularity • 52% Danceability • 9% Energy • 35% Liveness
75% Instrumentalness • 31% Positiveness
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Clarence White
Billy in the Low Ground
128 bpm • G Maj • 01:37 • -12.46db
30% Popularity • 56% Danceability • 47% Energy • 23% Liveness
92% Instrumentalness • 80% Positiveness
30% Popularity • 56% Danceability • 47% Energy • 23% Liveness
92% Instrumentalness • 80% Positiveness
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Daniel lork
Rachel
130 bpm • A min • 02:16 • -32.03db
11% Popularity • 54% Danceability • 4% Energy • 11% Liveness
92% Instrumentalness • 61% Positiveness
11% Popularity • 54% Danceability • 4% Energy • 11% Liveness
92% Instrumentalness • 61% Positiveness
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Tony Rice Unit
My Favourite Things
128 bpm • G Maj • 05:18 • -18.95db
14% Popularity • 41% Danceability • 39% Energy • 8% Liveness
89% Instrumentalness • 77% Positiveness
14% Popularity • 41% Danceability • 39% Energy • 8% Liveness
89% Instrumentalness • 77% Positiveness
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Julian Lage
Missouri
128 bpm • F Maj • 04:11 • -15db
28% Popularity • 40% Danceability • 26% Energy • 12% Liveness
93% Instrumentalness • 10% Positiveness
28% Popularity • 40% Danceability • 26% Energy • 12% Liveness
93% Instrumentalness • 10% Positiveness
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Peter Lang
Thoth Song
130 bpm • C min • 03:12 • -17.05db
13% Popularity • 40% Danceability • 29% Energy • 17% Liveness
88% Instrumentalness • 16% Positiveness
13% Popularity • 40% Danceability • 29% Energy • 17% Liveness
88% Instrumentalness • 16% Positiveness
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Béla Fleck and the Flecktones
Cheeseballs in Cowtown
128 bpm • F Maj • 04:53 • -17.58db
14% Popularity • 57% Danceability • 51% Energy • 11% Liveness
88% Instrumentalness • 70% Positiveness
14% Popularity • 57% Danceability • 51% Energy • 11% Liveness
88% Instrumentalness • 70% Positiveness
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William Tyler
The Great Unwind
128 bpm • E Maj • 08:25 • -13.8db
23% Popularity • 30% Danceability • 40% Energy • 6% Liveness
93% Instrumentalness • 13% Positiveness
23% Popularity • 30% Danceability • 40% Energy • 6% Liveness
93% Instrumentalness • 13% Positiveness
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Chris Thile
The Eleventh Reel
128 bpm • D Maj • 03:28 • -14.96db
23% Popularity • 35% Danceability • 56% Energy • 11% Liveness
92% Instrumentalness • 68% Positiveness
23% Popularity • 35% Danceability • 56% Energy • 11% Liveness
92% Instrumentalness • 68% Positiveness
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Tony Rice Unit
Just Some Bar In The French Quarters
130 bpm • E Maj • 03:02 • -19.43db
19% Popularity • 54% Danceability • 14% Energy • 10% Liveness
27% Instrumentalness • 27% Positiveness
19% Popularity • 54% Danceability • 14% Energy • 10% Liveness
27% Instrumentalness • 27% Positiveness
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Daniel Bachman
Orange County Serenade
127 bpm • G Maj • 03:32 • -8.18db
12% Popularity • 51% Danceability • 36% Energy • 9% Liveness
82% Instrumentalness • 19% Positiveness
12% Popularity • 51% Danceability • 36% Energy • 9% Liveness
82% Instrumentalness • 19% Positiveness
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Bob Dylan
Cantina Theme (Workin' for the Law)
127 bpm • A Maj • 02:53 • -21.74db
32% Popularity • 63% Danceability • 10% Energy • 20% Liveness
90% Instrumentalness • 29% Positiveness
32% Popularity • 63% Danceability • 10% Energy • 20% Liveness
90% Instrumentalness • 29% Positiveness
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Adrian Legg
The Irish Girl
131 bpm • C# Maj • 05:27 • -25.1db
4% Popularity • 30% Danceability • 13% Energy • 12% Liveness
96% Instrumentalness • 18% Positiveness
4% Popularity • 30% Danceability • 13% Energy • 12% Liveness
96% Instrumentalness • 18% Positiveness
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Buffalo Springfield
Kahuna Sunset - Mono
131 bpm • D# Maj • 02:52 • -8.78db
17% Popularity • 65% Danceability • 78% Energy • 12% Liveness
84% Instrumentalness • 70% Positiveness
17% Popularity • 65% Danceability • 78% Energy • 12% Liveness
84% Instrumentalness • 70% Positiveness
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Molly Tuttle
Super Moon
127 bpm • D Maj • 02:19 • -13.06db
28% Popularity • 48% Danceability • 56% Energy • 15% Liveness
84% Instrumentalness • 82% Positiveness
28% Popularity • 48% Danceability • 56% Energy • 15% Liveness
84% Instrumentalness • 82% Positiveness
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Tony Rice Unit
Backwaters
128 bpm • G Maj • 06:10 • -20db
19% Popularity • 39% Danceability • 35% Energy • 29% Liveness
76% Instrumentalness • 52% Positiveness
19% Popularity • 39% Danceability • 35% Energy • 29% Liveness
76% Instrumentalness • 52% Positiveness
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Robert Palmer
Off The Bone
131 bpm • G Maj • 02:18 • -21.5db
9% Popularity • 67% Danceability • 43% Energy • 24% Liveness
6% Instrumentalness • 95% Positiveness
9% Popularity • 67% Danceability • 43% Energy • 24% Liveness
6% Instrumentalness • 95% Positiveness
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Nathan Salsburg
Back Home in Bogenbrook
132 bpm • D Maj • 04:15 • -12.01db
8% Popularity • 35% Danceability • 33% Energy • 12% Liveness
92% Instrumentalness • 40% Positiveness
8% Popularity • 35% Danceability • 33% Energy • 12% Liveness
92% Instrumentalness • 40% Positiveness
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William Tyler
We Can't Go Home Again
126 bpm • C Maj • 06:15 • -9.5db
11% Popularity • 39% Danceability • 38% Energy • 14% Liveness
95% Instrumentalness • 34% Positiveness
11% Popularity • 39% Danceability • 38% Energy • 14% Liveness
95% Instrumentalness • 34% Positiveness
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Leon Redbone
Sweet Mama Hurry Home or I'll Be Gone
131 bpm • A# Maj • 02:35 • -17.25db
19% Popularity • 55% Danceability • 9% Energy • 11% Liveness
14% Instrumentalness • 54% Positiveness
19% Popularity • 55% Danceability • 9% Energy • 11% Liveness
14% Instrumentalness • 54% Positiveness
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Davey Graham
Medley: Old Hag You Have Killed Me / The...
132 bpm • D Maj • 02:52 • -8.75db
7% Popularity • 44% Danceability • 56% Energy • 18% Liveness
96% Instrumentalness • 92% Positiveness
7% Popularity • 44% Danceability • 56% Energy • 18% Liveness
96% Instrumentalness • 92% Positiveness
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Tony Rice Unit
Four On Six
131 bpm • D Maj • 03:42 • -18.44db
11% Popularity • 58% Danceability • 30% Energy • 10% Liveness
81% Instrumentalness • 70% Positiveness
11% Popularity • 58% Danceability • 30% Energy • 10% Liveness
81% Instrumentalness • 70% Positiveness
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Béla Fleck and the Flecktones
Half Moon Bay
126 bpm • B Maj • 05:09 • -20.33db
18% Popularity • 47% Danceability • 27% Energy • 12% Liveness
87% Instrumentalness • 28% Positiveness
18% Popularity • 47% Danceability • 27% Energy • 12% Liveness
87% Instrumentalness • 28% Positiveness
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Pierre Bensusan
Le joli Bransle
132 bpm • B min • 02:05 • -21.1db
9% Popularity • 63% Danceability • 10% Energy • 10% Liveness
80% Instrumentalness • 56% Positiveness
9% Popularity • 63% Danceability • 10% Energy • 10% Liveness
80% Instrumentalness • 56% Positiveness
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Medeski, Martin & Wood
Moti Mo
126 bpm • G Maj • 08:00 • -20.25db
12% Popularity • 50% Danceability • 14% Energy • 6% Liveness
92% Instrumentalness • 11% Positiveness
12% Popularity • 50% Danceability • 14% Energy • 6% Liveness
92% Instrumentalness • 11% Positiveness
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John Hartford
Symphony Hall Rag
126 bpm • G Maj • 02:48 • -16.38db
17% Popularity • 54% Danceability • 37% Energy • 17% Liveness
90% Instrumentalness • 69% Positiveness
17% Popularity • 54% Danceability • 37% Energy • 17% Liveness
90% Instrumentalness • 69% Positiveness
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Marisa Anderson
The New Country
133 bpm • G Maj • 01:46 • -10db
22% Popularity • 39% Danceability • 23% Energy • 29% Liveness
88% Instrumentalness • 20% Positiveness
22% Popularity • 39% Danceability • 23% Energy • 29% Liveness
88% Instrumentalness • 20% Positiveness
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Tony Rice Unit
So Much
127 bpm • D# min • 05:13 • -18.06db
10% Popularity • 48% Danceability • 33% Energy • 8% Liveness
85% Instrumentalness • 87% Positiveness
10% Popularity • 48% Danceability • 33% Energy • 8% Liveness
85% Instrumentalness • 87% Positiveness
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Max Ochs
Victor's Rag
132 bpm • C Maj • 01:54 • -9db
20% Popularity • 47% Danceability • 30% Energy • 9% Liveness
90% Instrumentalness • 61% Positiveness
20% Popularity • 47% Danceability • 30% Energy • 9% Liveness
90% Instrumentalness • 61% Positiveness
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Leo Kottke
Red And White
133 bpm • D# Maj • 01:45 • -15.66db
11% Popularity • 33% Danceability • 44% Energy • 13% Liveness
95% Instrumentalness • 86% Positiveness
11% Popularity • 33% Danceability • 44% Energy • 13% Liveness
95% Instrumentalness • 86% Positiveness
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Robbie Basho
Roses And Snow - Vocal
133 bpm • C Maj • 07:49 • -14db
10% Popularity • 36% Danceability • 45% Energy • 15% Liveness
90% Instrumentalness • 23% Positiveness
10% Popularity • 36% Danceability • 45% Energy • 15% Liveness
90% Instrumentalness • 23% Positiveness
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Jack Rose
Now That I'm A Man Full Grown II
125 bpm • C Maj • 09:54 • -7.77db
14% Popularity • 18% Danceability • 53% Energy • 10% Liveness
92% Instrumentalness • 12% Positiveness
14% Popularity • 18% Danceability • 53% Energy • 10% Liveness
92% Instrumentalness • 12% Positiveness
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Marisa Anderson
Mesquite Shade
126 bpm • F Maj • 01:36 • -17.83db
35% Popularity • 46% Danceability • 22% Energy • 11% Liveness
92% Instrumentalness • 53% Positiveness
35% Popularity • 46% Danceability • 22% Energy • 11% Liveness
92% Instrumentalness • 53% Positiveness
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John Hartford
Presbyterian Guitar
133 bpm • A# Maj • 02:03 • -13.4db
10% Popularity • 38% Danceability • 23% Energy • 9% Liveness
86% Instrumentalness • 25% Positiveness
10% Popularity • 38% Danceability • 23% Energy • 9% Liveness
86% Instrumentalness • 25% Positiveness
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Tony Rice Unit
Manzanita (1st Variation)
125 bpm • A min • 03:53 • -12.65db
17% Popularity • 42% Danceability • 50% Energy • 12% Liveness
90% Instrumentalness • 75% Positiveness
17% Popularity • 42% Danceability • 50% Energy • 12% Liveness
90% Instrumentalness • 75% Positiveness
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Nathan Salsburg
B.B.
125 bpm • E Maj • 03:00 • -10.4db
21% Popularity • 45% Danceability • 44% Energy • 12% Liveness
92% Instrumentalness • 68% Positiveness
21% Popularity • 45% Danceability • 44% Energy • 12% Liveness
92% Instrumentalness • 68% Positiveness
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Leo Kottke
Waltz
125 bpm • D# Maj • 02:25 • -10.69db
16% Popularity • 46% Danceability • 43% Energy • 20% Liveness
95% Instrumentalness • 42% Positiveness
16% Popularity • 46% Danceability • 43% Energy • 20% Liveness
95% Instrumentalness • 42% Positiveness
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Noam Pikelny
Lonesome Moonlight Waltz
134 bpm • C Maj • 04:36 • -15db
21% Popularity • 46% Danceability • 26% Energy • 16% Liveness
72% Instrumentalness • 58% Positiveness
21% Popularity • 46% Danceability • 26% Energy • 16% Liveness
72% Instrumentalness • 58% Positiveness
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James Gang
Yadig?
124 bpm • C Maj • 02:32 • -20.85db
34% Popularity • 57% Danceability • 13% Energy • 14% Liveness
89% Instrumentalness • 19% Positiveness
34% Popularity • 57% Danceability • 13% Energy • 14% Liveness
89% Instrumentalness • 19% Positiveness
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Ry Cooder
Highway 23
134 bpm • G Maj • 01:56 • -18.26db
21% Popularity • 81% Danceability • 44% Energy • 11% Liveness
80% Instrumentalness • 86% Positiveness
21% Popularity • 81% Danceability • 44% Energy • 11% Liveness
80% Instrumentalness • 86% Positiveness
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Henry Kaiser
Flight to New Harbor
124 bpm • B Maj • 03:09 • -9.35db
19% Popularity • 53% Danceability • 33% Energy • 9% Liveness
96% Instrumentalness • 59% Positiveness
19% Popularity • 53% Danceability • 33% Energy • 9% Liveness
96% Instrumentalness • 59% Positiveness
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Béla Fleck and the Flecktones
Up and Running
124 bpm • F min • 04:25 • -19db
23% Popularity • 54% Danceability • 42% Energy • 10% Liveness
88% Instrumentalness • 66% Positiveness
23% Popularity • 54% Danceability • 42% Energy • 10% Liveness
88% Instrumentalness • 66% Positiveness
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Peter Lang
Snow Toad
134 bpm • C Maj • 01:26 • -13.11db
32% Popularity • 35% Danceability • 43% Energy • 13% Liveness
85% Instrumentalness • 96% Positiveness
32% Popularity • 35% Danceability • 43% Energy • 13% Liveness
85% Instrumentalness • 96% Positiveness
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Rob Stenson
La Joie Du Soldat / Dandelion River Run
134 bpm • G# Maj • 04:14 • -11.55db
18% Popularity • 44% Danceability • 51% Energy • 17% Liveness
72% Instrumentalness • 82% Positiveness
18% Popularity • 44% Danceability • 51% Energy • 17% Liveness
72% Instrumentalness • 82% Positiveness
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Kinloch Nelson
Funky Susan
124 bpm • D Maj • 03:25 • -13.6db
17% Popularity • 37% Danceability • 32% Energy • 10% Liveness
88% Instrumentalness • 34% Positiveness
17% Popularity • 37% Danceability • 32% Energy • 10% Liveness
88% Instrumentalness • 34% Positiveness
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Daniel Bachman
Coming Home
124 bpm • C Maj • 03:58 • -10.58db
17% Popularity • 66% Danceability • 5% Energy • 10% Liveness
85% Instrumentalness • 6% Positiveness
17% Popularity • 66% Danceability • 5% Energy • 10% Liveness
85% Instrumentalness • 6% Positiveness
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Robbie Basho
Bengali Prayer
134 bpm • G# Maj • 01:18 • -14.38db
30% Popularity • 66% Danceability • 15% Energy • 23% Liveness
91% Instrumentalness • 55% Positiveness
30% Popularity • 66% Danceability • 15% Energy • 23% Liveness
91% Instrumentalness • 55% Positiveness
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Doc & Merle Watson
Interstate Rag
134 bpm • G Maj • 02:30 • -14.02db
11% Popularity • 42% Danceability • 69% Energy • 18% Liveness
93% Instrumentalness • 97% Positiveness
11% Popularity • 42% Danceability • 69% Energy • 18% Liveness
93% Instrumentalness • 97% Positiveness
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Peter Lang
St. Charles Shuffle
134 bpm • G Maj • 02:18 • -12.11db
14% Popularity • 26% Danceability • 44% Energy • 12% Liveness
89% Instrumentalness • 50% Positiveness
14% Popularity • 26% Danceability • 44% Energy • 12% Liveness
89% Instrumentalness • 50% Positiveness
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The Derek Trucks Band
Mahjoun
124 bpm • C Maj • 02:27 • -12.74db
16% Popularity • 57% Danceability • 42% Energy • 14% Liveness
77% Instrumentalness • 42% Positiveness
16% Popularity • 57% Danceability • 42% Energy • 14% Liveness
77% Instrumentalness • 42% Positiveness
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Tony Rice Unit
Shenandoah
124 bpm • D Maj • 04:40 • -18.42db
24% Popularity • 44% Danceability • 11% Energy • 12% Liveness
79% Instrumentalness • 22% Positiveness
24% Popularity • 44% Danceability • 11% Energy • 12% Liveness
79% Instrumentalness • 22% Positiveness
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Béla Fleck and the Flecktones
Sea Brazil
124 bpm • C Maj • 03:43 • -21db
22% Popularity • 44% Danceability • 37% Energy • 6% Liveness
82% Instrumentalness • 54% Positiveness
22% Popularity • 44% Danceability • 37% Energy • 6% Liveness
82% Instrumentalness • 54% Positiveness
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John Hartford
Presbyterian Guitar
134 bpm • A# Maj • 02:01 • -20.4db
31% Popularity • 54% Danceability • 17% Energy • 15% Liveness
88% Instrumentalness • 58% Positiveness
31% Popularity • 54% Danceability • 17% Energy • 15% Liveness
88% Instrumentalness • 58% Positiveness
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Jerry Garcia & Howard Wales
Da Birg Song
134 bpm • A min • 02:41 • -15db
26% Popularity • 44% Danceability • 26% Energy • 9% Liveness
94% Instrumentalness • 24% Positiveness
26% Popularity • 44% Danceability • 26% Energy • 9% Liveness
94% Instrumentalness • 24% Positiveness
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Ry Cooder
Great Dream from Heaven
135 bpm • D Maj • 01:55 • -22.81db
29% Popularity • 61% Danceability • 5% Energy • 11% Liveness
79% Instrumentalness • 60% Positiveness
29% Popularity • 61% Danceability • 5% Energy • 11% Liveness
79% Instrumentalness • 60% Positiveness
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Leo Kottke
Available Space
134 bpm • G# Maj • 01:36 • -15.44db
19% Popularity • 51% Danceability • 31% Energy • 14% Liveness
84% Instrumentalness • 84% Positiveness
19% Popularity • 51% Danceability • 31% Energy • 14% Liveness
84% Instrumentalness • 84% Positiveness
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Scott Witte
Sailor's Dream
123 bpm • A# Maj • 02:43 • -12.75db
12% Popularity • 38% Danceability • 46% Energy • 11% Liveness
92% Instrumentalness • 70% Positiveness
12% Popularity • 38% Danceability • 46% Energy • 11% Liveness
92% Instrumentalness • 70% Positiveness
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Joseph Spence
Jump in the line
123 bpm • G Maj • 05:41 • -19.35db
7% Popularity • 57% Danceability • 39% Energy • 16% Liveness
90% Instrumentalness • 77% Positiveness
7% Popularity • 57% Danceability • 39% Energy • 16% Liveness
90% Instrumentalness • 77% Positiveness
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Marisa Anderson
Galax
135 bpm • D Maj • 02:22 • -11.58db
13% Popularity • 33% Danceability • 32% Energy • 32% Liveness
1% Instrumentalness • 45% Positiveness
13% Popularity • 33% Danceability • 32% Energy • 32% Liveness
1% Instrumentalness • 45% Positiveness
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Nathan Salsburg
Planxty Davis
135 bpm • B Maj • 02:35 • -12.69db
21% Popularity • 47% Danceability • 28% Energy • 10% Liveness
94% Instrumentalness • 78% Positiveness
21% Popularity • 47% Danceability • 28% Energy • 10% Liveness
94% Instrumentalness • 78% Positiveness
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Rob Stenson
Cumberland Gap / Little Birdie
135 bpm • C# Maj • 02:38 • -10.38db
18% Popularity • 40% Danceability • 52% Energy • 7% Liveness
76% Instrumentalness • 60% Positiveness
18% Popularity • 40% Danceability • 52% Energy • 7% Liveness
76% Instrumentalness • 60% Positiveness
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Tony Trischka
2fourteen
136 bpm • C Maj • 01:40 • -17.5db
31% Popularity • 48% Danceability • 39% Energy • 10% Liveness
92% Instrumentalness • 83% Positiveness
31% Popularity • 48% Danceability • 39% Energy • 10% Liveness
92% Instrumentalness • 83% Positiveness
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Julian Lage
Red Prairie Dawn
122 bpm • A Maj • 02:51 • -15.47db
31% Popularity • 49% Danceability • 26% Energy • 15% Liveness
92% Instrumentalness • 61% Positiveness
31% Popularity • 49% Danceability • 26% Energy • 15% Liveness
92% Instrumentalness • 61% Positiveness
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Al Petteway
Funky C, Funky Do
122 bpm • C min • 03:49 • -19.1db
21% Popularity • 74% Danceability • 24% Energy • 9% Liveness
90% Instrumentalness • 59% Positiveness
21% Popularity • 74% Danceability • 24% Energy • 9% Liveness
90% Instrumentalness • 59% Positiveness
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Allman Brothers Band
Les Brers In A Minor
122 bpm • A min • 09:07 • -12.61db
35% Popularity • 31% Danceability • 57% Energy • 12% Liveness
80% Instrumentalness • 15% Positiveness
35% Popularity • 31% Danceability • 57% Energy • 12% Liveness
80% Instrumentalness • 15% Positiveness
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David Crosby
Tamalpais High (At About 3) - 2021 Remas...
122 bpm • B min • 03:31 • -17.81db
29% Popularity • 47% Danceability • 24% Energy • 11% Liveness
91% Instrumentalness • 35% Positiveness
29% Popularity • 47% Danceability • 24% Energy • 11% Liveness
91% Instrumentalness • 35% Positiveness
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Mimi And Richard Farina
Tuileries - Instrumental
122 bpm • B Maj • 01:49 • -15.91db
17% Popularity • 47% Danceability • 56% Energy • 14% Liveness
95% Instrumentalness • 89% Positiveness
17% Popularity • 47% Danceability • 56% Energy • 14% Liveness
95% Instrumentalness • 89% Positiveness
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Michael Chapman
Naked Ladies & Electric Ragtime - 2011 R...
136 bpm • D Maj • 02:42 • -12.96db
21% Popularity • 46% Danceability • 38% Energy • 11% Liveness
95% Instrumentalness • 88% Positiveness
21% Popularity • 46% Danceability • 38% Energy • 11% Liveness
95% Instrumentalness • 88% Positiveness
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Marisa Anderson
Sinks and Rises
136 bpm • D Maj • 01:39 • -7.8db
13% Popularity • 25% Danceability • 32% Energy • 15% Liveness
77% Instrumentalness • 12% Positiveness
13% Popularity • 25% Danceability • 32% Energy • 15% Liveness
77% Instrumentalness • 12% Positiveness
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John Martyn
Seven Black Roses
137 bpm • B min • 04:05 • -8.9db
10% Popularity • 33% Danceability • 52% Energy • 12% Liveness
81% Instrumentalness • 37% Positiveness
10% Popularity • 33% Danceability • 52% Energy • 12% Liveness
81% Instrumentalness • 37% Positiveness
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Tony Rice Unit
On Green Dolphin Street
121 bpm • G Maj • 03:36 • -16.97db
12% Popularity • 52% Danceability • 34% Energy • 13% Liveness
7% Instrumentalness • 60% Positiveness
12% Popularity • 52% Danceability • 34% Energy • 13% Liveness
7% Instrumentalness • 60% Positiveness
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Mark O'Connor
Pickin' In The Wind
121 bpm • C Maj • 03:17 • -11.86db
15% Popularity • 51% Danceability • 56% Energy • 32% Liveness
85% Instrumentalness • 90% Positiveness
15% Popularity • 51% Danceability • 56% Energy • 32% Liveness
85% Instrumentalness • 90% Positiveness
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John Hartford
Steam Powered Aereo Plane
121 bpm • D Maj • 03:43 • -13.83db
30% Popularity • 43% Danceability • 56% Energy • 29% Liveness
1% Instrumentalness • 74% Positiveness
30% Popularity • 43% Danceability • 56% Energy • 29% Liveness
1% Instrumentalness • 74% Positiveness
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Bob Dylan
Nashville Skyline Rag
121 bpm • C Maj • 03:11 • -22.38db
39% Popularity • 54% Danceability • 38% Energy • 16% Liveness
80% Instrumentalness • 73% Positiveness
39% Popularity • 54% Danceability • 38% Energy • 16% Liveness
80% Instrumentalness • 73% Positiveness
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Penguin Cafe Orchestra
Yodel 2 - Remastered 2008
121 bpm • E Maj • 04:37 • -16.43db
25% Popularity • 66% Danceability • 38% Energy • 32% Liveness
7% Instrumentalness • 66% Positiveness
25% Popularity • 66% Danceability • 38% Energy • 32% Liveness
7% Instrumentalness • 66% Positiveness
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Glenn Jones
Twenty-Three Years in Happy Valley, or L...
121 bpm • C# min • 02:03 • -14.89db
9% Popularity • 50% Danceability • 32% Energy • 10% Liveness
90% Instrumentalness • 74% Positiveness
9% Popularity • 50% Danceability • 32% Energy • 10% Liveness
90% Instrumentalness • 74% Positiveness
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Daniel Bachman
Farnham
137 bpm • D Maj • 02:01 • -16.17db
15% Popularity • 34% Danceability • 12% Energy • 11% Liveness
90% Instrumentalness • 10% Positiveness
15% Popularity • 34% Danceability • 12% Energy • 11% Liveness
90% Instrumentalness • 10% Positiveness
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Peter Lang
Turnpike Terror
121 bpm • C# Maj • 02:34 • -19db
25% Popularity • 27% Danceability • 32% Energy • 13% Liveness
70% Instrumentalness • 78% Positiveness
25% Popularity • 27% Danceability • 32% Energy • 13% Liveness
70% Instrumentalness • 78% Positiveness
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John Hartford
Leather Britches
121 bpm • G Maj • 02:03 • -17.09db
18% Popularity • 36% Danceability • 34% Energy • 17% Liveness
95% Instrumentalness • 93% Positiveness
18% Popularity • 36% Danceability • 34% Energy • 17% Liveness
95% Instrumentalness • 93% Positiveness
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Clarence White
Bury Me Beneath the Willow
120 bpm • D Maj • 01:56 • -11.1db
27% Popularity • 36% Danceability • 55% Energy • 23% Liveness
89% Instrumentalness • 97% Positiveness
27% Popularity • 36% Danceability • 55% Energy • 23% Liveness
89% Instrumentalness • 97% Positiveness
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Robbie Basho
Great Depression Blues
121 bpm • C min • 02:12 • -17.04db
32% Popularity • 34% Danceability • 23% Energy • 12% Liveness
87% Instrumentalness • 36% Positiveness
32% Popularity • 34% Danceability • 23% Energy • 12% Liveness
87% Instrumentalness • 36% Positiveness
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Michael Hedges
Bensusan
120 bpm • A# min • 02:31 • -25.96db
31% Popularity • 48% Danceability • 8% Energy • 11% Liveness
76% Instrumentalness • 35% Positiveness
31% Popularity • 48% Danceability • 8% Energy • 11% Liveness
76% Instrumentalness • 35% Positiveness
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Leo Kottke
Cripple Creek
120 bpm • B Maj • 01:51 • -14.05db
12% Popularity • 34% Danceability • 60% Energy • 13% Liveness
92% Instrumentalness • 86% Positiveness
12% Popularity • 34% Danceability • 60% Energy • 13% Liveness
92% Instrumentalness • 86% Positiveness
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Glenn Jones
Across the Tappan Zee
120 bpm • G Maj • 03:26 • -14.34db
9% Popularity • 55% Danceability • 24% Energy • 11% Liveness
90% Instrumentalness • 76% Positiveness
9% Popularity • 55% Danceability • 24% Energy • 11% Liveness
90% Instrumentalness • 76% Positiveness
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Barefoot Jerry
Fish 'N' Tits
120 bpm • C Maj • 02:00 • -15.77db
17% Popularity • 80% Danceability • 74% Energy • 12% Liveness
85% Instrumentalness • 53% Positiveness
17% Popularity • 80% Danceability • 74% Energy • 12% Liveness
85% Instrumentalness • 53% Positiveness
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Brooks Williams
Frenzy at the Feeder
120 bpm • G Maj • 03:53 • -13.1db
12% Popularity • 44% Danceability • 40% Energy • 11% Liveness
64% Instrumentalness • 39% Positiveness
12% Popularity • 44% Danceability • 40% Energy • 11% Liveness
64% Instrumentalness • 39% Positiveness
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Robbie Basho
Khatum - Instrumental
120 bpm • D# Maj • 02:06 • -14.52db
16% Popularity • 63% Danceability • 3% Energy • 10% Liveness
80% Instrumentalness • 9% Positiveness
16% Popularity • 63% Danceability • 3% Energy • 10% Liveness
80% Instrumentalness • 9% Positiveness
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Michael Hedges
Ragamuffin
120 bpm • C Maj • 03:13 • -19db
30% Popularity • 46% Danceability • 17% Energy • 10% Liveness
82% Instrumentalness • 28% Positiveness
30% Popularity • 46% Danceability • 17% Energy • 10% Liveness
82% Instrumentalness • 28% Positiveness
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Tony Trischka
Ruben's Wah Wah
120 bpm • D Maj • 01:44 • -21db
29% Popularity • 34% Danceability • 28% Energy • 8% Liveness
88% Instrumentalness • 52% Positiveness
29% Popularity • 34% Danceability • 28% Energy • 8% Liveness
88% Instrumentalness • 52% Positiveness
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Glenn Jones
Close to the Ground
120 bpm • D min • 04:30 • -13.24db
13% Popularity • 32% Danceability • 28% Energy • 17% Liveness
72% Instrumentalness • 8% Positiveness
13% Popularity • 32% Danceability • 28% Energy • 17% Liveness
72% Instrumentalness • 8% Positiveness
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Pierre Bensusan
Heman Dubh
139 bpm • C min • 02:45 • -21db
19% Popularity • 38% Danceability • 13% Energy • 9% Liveness
79% Instrumentalness • 42% Positiveness
19% Popularity • 38% Danceability • 13% Energy • 9% Liveness
79% Instrumentalness • 42% Positiveness