Sally Fingerett is a multi talented pianist, guitarist, and composer, and one of the founding "Mothers" of that Fab Folkestra THE FOUR BITCHIN' BABES. With 5 solo recordings, 7 Bitchin' Babe group Cds, and participation in more than ten additional compilation projects, Sally is a veteran artist whose collection of musical work represents a lifetime commitment. From films scores and commercial music for Radio and Television to theme songs for group events, her passion for all things musical takes her from concert stages to recording studios around the country.

Born on Christmas Day and raised on the south side of Chicago, Sally traded in her stint at the University of Illinois Chicago Circle Campus, for the Lincoln Avenue singer/songwriter scene. Inspired by such greats as Steve Goodman and John Prine, she let go of white-­haired "dead guy" classical music to cultivate her own music style.

The urban-contemporary-singer-songwriter-scene became her home, and by age 23, her song, Rock-­A-­Line, Caroline, was published in the Old Town School of Folk Music Magazine Come For To Sing.

In the late 1970’s, with her ever loyal Volkswagen Beetle, this "born gypsy" found her way down to Nashville, where she saddled up as lead singer for the Buffalo Gals, an all female bluegrass band. After years of touring with the likes of John Hartford and Bill Monroe, Sally chose to go back to touring solo, performing her original songs on both guitar and piano, out on college circuit, where she was nominated for Coffeehouse Performer of the Year by the National Association of Campus Activities two years running.

It was during all this crazy traveling that Sally met and married Dan Green, a recording engineer/music producer living and working in Columbus, Ohio. They spent their early married life as a creative team at Amerisound, a music production company and recording studio. It was there they wrote and produced music for commercials (Wendy's, White Castle, Honda) and scored movies (The Second Degree) and cartoons (A Star for Jeremy-NBC). Together they would produce Sally's 5 solo CDs of all original music ENCLOSED CD (1982), UNRAVELED (1990), GHOST TOWN GIRL (1993), MY GOOD COMPANY (1998), her latest A WOMAN’S GOTTA DO HER THING (2004). In 1986 Dan and Sally's most treasured production appeared, a little girl, Elizabeth Julian.

In 1989, while enjoying a domestic life in Columbus Ohio, Sally rekindled an old friendship with folk goddess Christine Lavin, who invited Sally to join her onstage for a round of gigs with friends Megan McDonough and Patty Larkin. The four pals shared stages for a tour that included (in order) Chicago, Boulder, Salt Lake City, Seattle, and San Francisco. It was at the end of their next tour (NY, Boston, and DC) that the gals decided to tape their last night together. It was this live recording at the Birchmere in Alexandria VA, that became the girls first recording project, titled "Buy Me, Bring Me, Take Me, Don't Mess My Hair: Life According to Four Bitchin' Babes." It was this "after thought" that was to set the Babe wheels in motion. Sally took to the BABEs like a girl takes to Bloomingdale's.

In 1990 on the heels of the BABEs first Cd release, feeling lucky, Sally entered and won that year's Kerrville Folk Festival "New Folk" Award for her songs "Graceful Man" and "The Return." Shortly following, Sally's second recording project Unraveled was released, and her record company, Amerisound, re-issued her first recording "Enclosed" on CD from vinyl.

In 1994, on the heels of her third solo CD release "Ghost Town Girl," Sally's career came to a screeching halt, when she was stricken with a virus that left her with paralyzed vocal cords. For an entire year, Sally had "no sound." Not a whisper, nothing. After 11 months, and an national search for help, it was Anat Baneil , Moishe Feldenkraus' only living disciple, that assisted Sally in the healing and recovering necessary to once again "find her voice."

It was during this time that Sally re-examined her career path. With touring out of the question, Sally took to writing stories which would later find their way to publication, see Essays. But, it was her friend Christine Lavin who would give Sally the biggest gift of all. Handing a tape of Sally's song "Home Is Where the Heart Is" to her friends Peter, Paul and Mary, this song found its’ way onto PP&M's Lifelines CD, as well as their PBS special.

Once her voice was up and running, Sally hit the road once again. Grateful for the time off, and with all the renewed energy, she found herself in many wonderful spotlights. Invited to perform at Carnegie Hall's Putamayo's Songwriter Festival, she was then called to be the musical guest on Michael Feldman's Whad'ya Know (NPR). Sally was particularly honored when she was chosen to join the National Touring Company of The Vagina Monologues for 8 sold out shows at the Wexner Center for the Performing Arts. It was this Monologue experience that gave Sally the impetus and energy to create a solo theater piece for herself titled, “The Mental Yentl Show…a Musical Celebration of the Next Generation of Jewish Mothers.”  Blending her comedic essays as monologues along with original songs that showcase her classical piano chops, as well as her folk/funky blues/new age guitar playing, this unique and original theatrical event has been affectionately called "A Big Fat Jewish Thighs Experience."

Whether it's composing music, recording CDs, or touring and performing as a solo artist or as a "Babe," Sally considers herself a lucky girl. She's a contemporary artist who participates in all of life's roles, sifts it all through a wacky view finder, and lets it fly. 

Sally and her new husband Michael live in Columbus, Ohio with their three teenagers, (her daughter EJ 22, his sons Max 20 and Aaron 18)

Life is noisy, life is wonderful.