Tim Robinson | Money in the Woods

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Folk: Modern Folk Folk: Folk Blues Moods: Featuring Guitar
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Money in the Woods

by Tim Robinson

Acoustic/electric folk - a rootsy, country-blues infused singer songwriter with poetic lyrics and a great full band. A 2005 New Pantheon Music Award nominee. 4 stars from Paste magazine.
Genre: Folk: Modern Folk
Release Date: 

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  Song Share Time Download
1. Orelia's Kiss
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4:44 $0.99
2. Wolfboy
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3:35 $0.99
3. Living
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3:56 $0.99
4. Boho
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4:42 $0.99
5. Money in the Woods
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3:51 $0.99
6. Black Car
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3:43 $0.99
7. Out on the Edge
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4:44 $0.99
8. Paris
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3:34 $0.99
9. Black River Moon
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3:24 $0.99
10. Red Horse
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3:21 $0.99
11. Twice
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3:58 $0.99
Available as MP3, MP3 320, and FLAC files.


Album Notes
MONEY IN THE WOODS just received 4 stars in this April's PASTE magazine!

PASTE's Amanda Petrusich had this to say: "... a beguiling mix of Greg Brown-style folk and thoughtful alt. country... As a lyricist, Robinson is consistently smart and unassuming, and both his vocals and arrangements are beautifully organic, as simple and inviting as a pile of freshly raked leaves."

There's also a great new review in PERFORMING SONGWRITER.

They had this to say: "His easy delivery falls onto your ears like the cadence of a long-lost brother or favorite uncle—someone you’ve been longing for and never get to see enough, someone with great stories, someone you love."

TIM ROBINSON's new collection of songs, MONEY IN THE WOODS, has been nominated for the 2005 NEW PANTHEON MUSIC AWARD. See a full list of nominees (including Ray LaMontagne, Fiona Apple, Mike Doughty, and Elliott Smith) at:


NEW YORK, November 13, 2005 '" Elton John, Elijah Wood, Beck, Margaret Cho, John Legend, Ben Gibbard (Death Cab For Cutie), Keith Urban, Ric Ocasek, Shirley Manson, Chester Bennington and Mike Shinoda of Linkin Park, Suzanne Vega, Dave Matthews and Keith Urban, and other esteemed artists will choose the ten finalists for the inaugural New Pantheon Music Prize. New Pantheon Founder Tom Sarig, was Co-Founder of the Shortlist Music Prize in 2001, which, for four years, honored the year's most artistic albums. Tom Sarig says "With the launch of New Pantheon, we are currently in the planning stages, with an expansive mission and plan, of what promises to be the most exciting and significant event and award designed to honor the most artistic and creative records of the year."

In the realm of singer/songwriters, if you start throwing the word "poet" around, you'd better be able to back it up. Tim Robinson can. His literate but earthy songs traffic in neither high-flown linguistics nor mawkish romanticism; his is a direct, trenchant style that expresses the deepest fundaments of humanity in a strikingly original way.

Robinson kicked around the NYC songwriter scene in the '90s, quietly soaking up experience and amassing an overwhelming cache of stunning songs. At last, his debut album MONEY IN THE WOODS allows the world at large to hear what Robinson can do. With guest appearances by everyone from staunch supporter Suzanne Vega to hot NY gospel-rockers Olabelle, MONEY IN THE WOODS is a dark, churning stew of folk, blues, and rock. While there's a musical kinship to such roots-conscious craftsmen as John Prine, Greg Brown, and Bob Dylan, the closest lyrical antecedents are literary figures like e.e. cummings and Dylan Thomas, men who shook up the English language and found a way to fashion it into something startlingly new.

Robinson's unmannered singing style and raw, minimalist production aesthetic make MONEY IN THE WOODS eminently approachable, but once you enter into the world these songs create, you'll be whisked off down strange, knotty byways you'd never even imagined before. In the end, though, the pure heart and soul behind Robinson's gifted pen is what will make you return to those byways time and again, gleaning something new with each trip.


What can I tell you about this collection of Tim Robinson's songs? He is one of my favorite songwriters. You have to read his songs as well as listen to them to get just how striking his ideas are.

These songs are about: fatherhood (Living) with the great line "sorry kid you're full of me"; the world and what it was (Boho) (Paris), dangerous women (Orelia); his own childhood (Wolfboy); among other things...

The songs are witty and sometimes dark but never cynical. This album is the world reflected through the prism of an intelligent and original mind. Get to know it.


“If your tastes run toward the brilliant and vital, the slightly rough but entirely ready - think Dylan, John Prine, Lucinda Williams, or Steve Earle - then go out and get yourself a copy of Money in the Woods.”


to write a review

Jeremiah Birnbaum

Excellent wordsmithing, chock full o' vibe
I've had the honest pleasure of hearing many of these songs evolve over the last couple of years, and it is marvelous to hear them presented in such a true fashion. Tim is one of the most prolific, talented and humble wordsmiths I've ever known, and these songs are the cream of the crop. The lushness of the very live arrangements, the warm dobro, Suzanne's excellent backups, and Tim's soulful voice, drenched in the river of experience and the paying of dues, make for an absolutely unique listening experience; completely modern yet respectful of influence and the continuum of the real blues--something familiar, yet revealing new colors in its many threads. Keep on...

Kirk Olsen "Dog Songs"

If intelligent, thoughtful, and thought provoking lyrics are your thing then thi
Tim Robinson is a great songwriter. I'm writing this review because I personally hope he finds an audience. After reading the reviewers that went before me, I have faith he will. Tim has a quirky voice that may not grab you right away but it grows on you because it’s real and honest. The band is awesome. I have listened to this CD six times now and it continues to floor me. As a songwriter myself I am humbled. I would give my right pinky to write like this guy. If you like Leonard Cohen, John Prine, Bob Dylan, Michael Smith then do yourself a favor and give this a listen.

Allan Orski

Buy this, it's good for you
Money in the Woods makes no campaign promises, kisses no babies. It offers no greasy handshakes. It doesn't have to and even if it did, the weather-beaten inhabitants of these songs know that cheap bargains don't put food on the table. The people here are battered but not about to sell out the last remnants of nobility that a man about to give up is holding onto. Robinson's songs do not give up. He respects the flawed humanity of these backwoods tunes, he hides nothing, and has the confidence to let march solemnly onward on their own steam. Greet them on their terms, raw-boned wisdom, lessons learned the hard way. They don't flinch and neither should you. You'll find no digitally enhanced platitudes, no drum machines, and not a single wasted word. Money in the Woods allows no room for bitterness nor false hope. The songs offer the only true hope that songs can offer: that the last one standing is the one who holds onto dignity for its own sake.

Paul Sachs

abstract America full of the wisdom of a poet who's honed his craft
Tim Robinson's CD evokes an abstract America full of the wisdom of a poet who's honed his craft that is both deft and aware. Robinson's America is not filled with Norman Rockwell images, o no, he's more like Jackson Pollock in changing the landscape with words and music that coalesce into a broader meaning. If you love music with words that make you think and dream, then buy Money in the Woods!

Earl Pickens

These songs have kicked around some lost and muddy roads for God knows how long. Too long for their own good, anyway. They been way up in the hills and these songs know things they ain't supposed to tell no one. They're banged out on strings tied to hunks of wood, beaten out on skins. There's a thorn stuck in the world somewhere, and there are shadows on the wind. Some say there's money in these woods.

I've been a real big fan of Tim Robinson's music for ten years now, since I first saw him perform in NYC at the Fast Folk Cafe. Bought this record within minutes of its release. Had high expectations for the album and they were all exceeded within the first 3 songs. The rest was gravy. Great damn stuff. Folk, roots-rock, bluegrass, whatever you wanna call it, this record was made the old fashioned way. Real songs. Real instruments. Hell, he even used real words, and those are hard to come by nowadays.