DNL’s, RECORDINGS, INSTRUMENTS & TUNINGS are discussed below.
“Over the course of five albums, DNL has forged himself an enviable reputation as an outstanding poet-musician . . . He has a sure grasp of his material and a poet’s instinct for the graceful union of traditional and modern.” —Raymond Greenoaken, beGlad
Available from Bandcamp:
Rivers, Kings and Curses: Traditional and Original Songs  was featured on “The Best of 2008” episode of Celtic Connections, syndicated on NPR. Among its guest musicians are Incredible String Band co-founder Robin Williamson on harp and hardanger fiddle; and West Coast Blues Hall of Fame inductee Nat Dove on piano. “A wonderful thrilling and chilling CD. ‘The Fall of Jack O’Lantern’ made me have a nightmare at the same time I was wide awake listening to it . . . wonderful wonderful work!” —Peter Berryman, Lou and Peter Berryman
How Like Ghosts Are We: trad/DNL Songs Beyond the Celtic Pale  “This is classic DNL . . . with songs both traditional and modern, from the quirky autobiographical ‘Road to Liz Bang Bodhran’ . . . to “On the Trail of Tears,” an eloquently moving protest about Native American exile. . . . ‘The Greenhorn Woodcutters’ is another engagingly eccentric tune . . . with pedal steel guitar, as two chain saw-wielding suitors argue over who can better supply their ladylove with a truckload of firewood. Definitely a versatile and seasoned performer.” —Murday Fisher, AllMusic Guide
Death in Los Fumos  “A sequence of songs, song-poems and poems interlaced with instrumental passages and found sounds. DNLs’ vocal delivery is compelling . . . Instrumentally, he has an acute ear for the achievement of maximal effect with minimal means . . . Musical influences . . . continue in a similarly wide vein throughout — Arabic music, Harry Partch, folk blues, you name it. Perhaps the weirdest section is “Great Whopping Lies,” Which pits intoned lines against an eerie didgeridoo. A strongly individual musical and poetic mind is at work here” —David Kidman, beGlad
An Age of Fable “The original songs really sparkle with a Celtic blues feel.”—Cliff Furnald, Dirty Linen. “An absolute joy . . . The material has a dusty moody feel and includes . . . a stunning song from William Blake.” —Steve Romanoski, OPtion Magazine. “Lloyd is a US resident Englishman of Kenyan birth . . . this must have informed ‘Poor Little Englishman!’ a wonderfully cutting account of a certain country’s inability to accept the loss of its empire . . . Lloyd uses traditional tunes and themes where it suits his purposes.” —Folk Roots.
Dark Ages: “Dense with poetry and an unusual blend of witty modesty . . . it’s a killer piece of work, brilliantly arranged . . . with great guitar leads and deft use of violins and female backing vocals . . . I can honestly say, few albums have yielded more over a longer period of time; it’s the epitome of what you call a ‘grower.’ The more you get to know DNL, the more you’ll . . . realize that he’s that rare misunderstood genius who’ll never let the world’s indifference turn him into a malcontent. Dig it.” —Douglas Mcgowan, Yoga Records
Brown Bess is a 1984 Guild D25-M (M for mahogany) set up for l’ud (low ud) tuning: D F# B E A D. Using acrylic nail tips and a Swiss zither pick on my thumb, I play Red Brand medium gauge strings.
Octar Kidogo, my third octar, began life as a Loar LH-300. It is tuned FF CC GG DD, somewhat like a Portuguese mandola. I play it with a flatpick assisted from time to time by my third and forth finger.
Madeline is a Yamaha APX6N (N for nylon string). Blending classical and folk technique, I play in standard tuning and use high tension Hanabach flamenco basses with high tension Aquila Perla trebles, when I can afford ’em. —DNL