About the Band
Timmy Findlen is a ukulele player and comic singer from a potato farm in Aroostook County. He holds a degree in The History of Maine Humor from Goddard College, and has spent the last decade and a half working on projects having to do with the history of American entertainment, with specific attention to the folklife, music, and culture of Maine. He is the former bandleader of Over A Cardboard Sea, a Portland-based novelty band that played all over New England during their 6 year stint in the area. He worked on the Maine music documentary The Eventful Life of Al Hawkes, which chronicled life and times of the Westbrook native and highlighted Maine’s role in the world of country music. He has taken the stage with some of Maine’s finest performers, including Oakie The Acorn and Slugger The Sea Dog. After an apprenticeship building and repairing ukuleles with renowned Maine luthier Joel Eckhaus, of Earnest Instruments, Timmy moved to Nashville, Tennessee, to play country music and continue his work as a restoration carpenter. All the while he has remained interested in Maine’s unique musical past, taking every opportunity to craft exciting and historically-informed shows intended for the people of Maine.
Lindsay McCaw is a musician and puppeteer who lives in Detroit, MI. She has been playing fiddle, banjo, guitar, Hawaiian guitar and trombone for two decades. She is a founding member of the Detroit Square Dance Society and The Corn Potato String Band, and has called square dances and taught american folk dance all over the world. She is a two-time winner of the Minneapolis Jug Band Contest and four-time first-place winner of the Sheffield Field Days Fiddle contest in Vermont’s Northeast Kingdom.
As a puppeteer, Lindsay has performed and created puppet shows with groups all over the US, Europe and Asia. She spent years as a staff member with well known puppet companies such as Bread and Puppet Theatre in Glover, VT and In the Heart of the Beast Puppet and Mask Theatre in Minneapolis, MN. She also has her own puppet company and currently works as the principal builder for Carrie Morris Arts Productions in Detroit.
Matt Bell’s musical training officially began in music theory, ear training, composition, jazz guitar, and classical bass at Eastern Oregon University, where he performed in the local youth orchestra and the Grande Ronde Symphony Orchestra. He also studied voice and classical violin, co-led a mandolin orchestra, traveled with the African Drumming Ensemble, ran the University’s recording studio, and eventually became an adjunct teacher.
When Hurricane Katrina hit Louisiana, Matt was working his seasonal job as a firefighter with the US Forest Service and was sent to New Orleans. After that experience he transferred to the University of New Orleans Jazz Studies program, where he earned his Undergraduate and Masters degrees. His studies were focused on jazz and jazz guitar, which he now teaches and performs full-time. Since 2006 he has been a staff guitar instructor at the Wallowa Fiddle Tunes camp, and has presented numerous swing guitar workshops on his own across the country. Matt is a founding member of the multi award winning Neo-Traditional Jazz group Aurora Nealand and the Royal Roses, and is prominent as a bandleader and sideman in numerous traditional jazz and swing groups in southern Louisiana.
Joy Patterson lives in New Orleans where she plays blues, jazz & country music from the very early days of recorded music. As a vocalist & percussionist, Joy blends traditional instruments with not-so-traditional sound makers, such as found objects, dog toys, confetti cannons, and various hand-built contraptions. Joy is a lead vocalist & washboard player in a variety of musical projects in New Orleans, where for the past decade she has been producing a community event called The All-Star Covered-Dish Country Jamboree. Each week the Jamboree hosts traveling country roots bands from all over the United States and abroad, and has served as a model for similar weekly events that have sprouted up in cities across the country.
Portraits by Aurelien de St. Andre via Afghan Photo Booth
Our mission is to perform the weirdest songs from the early days of tin pan alley on the format on which they were first recorded—wax cylinder
“From the first recordings made on tinfoil in 1877 to the last produced on celluloid in 1929, cylinders spanned a half-century of technological development in sound recording. As documents of American cultural history and musical style, cylinders serve as an audible witness to the sounds and songs through which typical audiences first encountered the recorded human voice. And for those living at the turn of the 20th century, the most likely source of recorded sound on cylinders would have been Thomas Alva Edison’s crowning achievement, the phonograph.” -Cylinder Preservation and Digitization Project; Donald C. Davidson Library, University of California at Santa Barbara
We all share a love of antiquated pop tunes, and we recently took on the challenge of recording them in the only medium that does them justice. These old songs give a voice to a bygone era and reflect the attitudes of their time, and no matter how silly they seem they are historical documents of their time.
We aim to mine the zaniest and most obscure songs from the early 20th century and record them for a new audience to underscore both the absurdity and importance of popular music in American history.