Clothesline Revival

The official website of Clothlesline Revival

Clothesline Revival

“Clothesline Revival is on to something special helping re-invent the roots genre known as Americana” — Chris Nickson, NPR All Things Considered

“WOW!! What a choice sound, right in there with T-Bone and Lanois.” — Gregg McVicar, Host/Producer, UnderCurrents

“Praetzel has gone deeper into the American archive of recorded music than anyone, and his juxtapositions reveal a collective view of a century of American music.” — Joe Allen, Wax Poetics

“… a fresh soulful version of Americana.” — Karen Olson, Utne Reader

“The result is music you can feel down in your soul’s root cellar and all the way up to the tingling top of your brain. Fans of down-and-out troubadours like Tom Waits, Ry Cooder, and Leon Redbone owe it to themselves to wander into the backyard of Clothesline Revival.” — The Daily Om

“… positive proof that everything old is new again.” — j. poet, Paste Magazine

“… no one is better qualified to do this, both artistically and technologically, than Conrad Praetzel.” – Wanda Waterman, The Voice Magazine


Holy Cow

“A real pleasure of an album, from the unexpectedly raucous electro funk and slide guitar work of Cow Cow Voodoo, and with a feeling of the species of the prairie and the desert everywhere through the shifting mood that drifts into what can only be called Cowboy Ambient. There’s a constant sense of movement – sometimes fast, sometimes slow – a journey of pure musical satisfaction.” — Chris Nickson, author and former contributor to All Things Considered

“Here is a form of roots and blues, a brilliant reach into the artistic stratosphere. Sounds like blues, but also like everything else, or not. It’s musical white light-with the presence of all other colors when viewed through a prism.” – Frank Matheis, Living Blues Magazine

“Praetzel’s music has the effect of propelling the listener forward, not just because of the driving rhythms but also because of the new sounds we’re hearing, so deeply inspired by the past that they practically explode into the future.” –Wanda Waterman, writer of The Mindful Bard for The Voice Magazine

“Man oh man, the guitar sounds and all the playing are a rich world from start to finish. And just when it seemed like every cool guitar riff that ever could be made has been done, her comes “Roustabout”! The whole flow of the album is well considered – it really is and behaves like an ALBUM!” – David Greenberger, Artist, Writer & Radio Commentator, The Duplex Planet


The Greatest Show On Mars

“It’s a good old-fashioned Barnum and Bailey-type show but with a host of characters from American rural folk and pop culture, like The Dark Man, Little Maggie, Wildwood Flower, The Revenuer, Ghost Riders in the Sky, UFO’s, space aliens, and The Old Time Bible-Thumping Salvation Show Preacher.” – Wanda Waterman, The Voice Magazine

“The main difference between The Greatest Show on Mars and My Life in the Bush of Ghosts and Play is that Praetzel’s music is far rootsier, grounded in the soil where Lomax found his unknown heroes of American song.” — Steven Terrell, The Santa Fe New Mexican

“Clothesline Revival isn’t just raising the dead — the updated drumbeats and judiciously placed theremin (or maybe it’s a musical saw) give the proceedings a strangely current yet timeless cast.” — Rachel Cholst, Adobe and Teardrops


They Come From Somewhere

“Fans of early roots and blues who are often disappointed by the slickness of a lot of modern blues should definitely check out They Came From Somewhere, which keeps the raw and real at the forefront, like a pleasantly rain-warped wooden shack, its floorboards rumbling as the mystery train roars past, tearing through the hum of crickets and then sailing on through that endless lonesome night.” — The Daily Om

“It’s like someone bottled the mournful yearnings of early American hard times with the contentment of cricket filled breezy porch evenings. This album is the opening of that bottle.” – WYCE

“Really, really hope to hear this music in the movies soon. Even a bad movie. I could watch dandelions grow to this music.” — Wanda Waterman, Voice Magazine

“Those two bizarre and larger than life figures striding among all the marks at the fair grounds might as well be Conrad and Robert, delivering the escape from everyday reality not as side show freaks, but accomplished musicians straddling two eras with chops and humor.” — Keith Meatto, Frontier Pschiatrist


Long Gone

“… because of the masterful sound design and ingenious arrangements, what might have simply turned out to be a novelty disc is an unmitigated success. This imaginative reinterpretation of traditional Americana is eccentric, orgininal, deeply soulful and utterly hypnotic. Glory be — do not pass this one by.” — Rachel Sanders, Exclaim! Canada

“Like hearing a song in the distance on a neighbor’s radio, it will stick with you and make you want more.” — Ken Krauss, the birdhaus

” … the sense of invention is never- ending. Their last was good; this is extraordinary.” — Chris Nickson, Global Village Idiot


Of My Native Land

“The album Moby should have made instead of Play…” — Chris Nickson, Seattle Weekly

“In an era where musical appropriation and cross-pollination have become the virtual norm, Praetzel and co. have accomplished something truly unprecedented and wonderful — and something deeply meaningful to anyone with an appreciation for the American folk tradition.” — Jesse Ashlock,

“… old meeting new in strange, exciting ways.” — Ned Hammad, Tower Pulse!

“Marrying traditional music from a wide range of sources to maverick musical treatments, loops, beats and samples has produced brilliant offspring.” – Frank Goodman, Pure Music

“The result is a moody dustbowl epic, ominous and beautiful, like a ghost hovering around you.” — The Daily Om

“The genre splicing seems so natural and spiritual that one could see every folk record from this point forward like this, creating new traditions for generations to come.” — The Daily Om

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