{"title":"Tompkins Square","description":null,"products":[{"product_id":"various-artists-imaginational-anthems-no-2","title":"Various Artists 'Imaginational Anthems No.2'","description":"\u003cp\u003eHere are some highlights among the twelve tracks comprising Imaginational Anthem Volume 2'?all previously unreleased on CD in the US:\u003cbr\u003e\u003cbr\u003e¢ Kowaka D'Amour by Robbie Basho (1940-1986), the first live recording ever issued by this legendary artist\u003cbr\u003e\u003cbr\u003e¢ Devil's Brew by Fred Gerlach, a 1975 home recording by this masterful 12-string guitarist'? cited as an influence by Jimmy Page\u003cbr\u003e\u003cbr\u003e¢ New performances recorded expressly for IA2 by such emerging major talents as Berkeley's Sean Smith and (from the UK) James Blackshaw and Sharron Kraus.\u003cbr\u003e\u003cbr\u003e¢ New recordings of compositions by original Takoma recording artists Peter Lang (Future Shot at the Rainbow) and Billy Faier (New World Coming).\u003cbr\u003e\u003cbr\u003eFeatured on National Public Radio's Weekend Edition, Imaginational Anthem Volume 1 earned an A minus review from Entertainment Weekly. In Rolling Stone, David Fricke wrote: The history and beauty here speak for themselves, at the perfect volume.\u003cbr\u003e\u003cbr\u003e1. James Blackshaw ' River of Heaven\u003cbr\u003e2. Peter Lang ' Future Shot at the Rainbow\u003cbr\u003e3. Jose Gonzalez ' Suggestions\u003cbr\u003e4. Jesse Sparhawk ' Light Cycle\/Tetrahedra\u003cbr\u003e5. Michael Chapman ' Leaving The Apple\u003cbr\u003e6. Sean Smith ' What Blooms in Summer Dies in Winter\u003cbr\u003e7. Fred Gerlach ' Devil's Brew\u003cbr\u003e8. Christina Carter ' Ascend Mem\u003cbr\u003e9. Jack Rose ' Cross The North Fork II\u003cbr\u003e10. Billy Faier ' New World Coming\u003cbr\u003e11. Sharron Kraus ' Looking For The Hermit's Cave\u003cbr\u003e12. 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Contemplative, intricate, a simple but ornate school of folk that hangs effortlessly between the ancient and the avant-garde - I could listen to this stuff all day.\"\u003cbr\u003e- \u003cb\u003eJohn Mulvey, UNCUT\u003c\/b\u003e\u003c\/p\u003e\n\u003cp\u003eImaginational Anthem Vol. 3 is the third in a series of compilations devoted to acoustic guitar mavericks past and present. \u003c\/p\u003e\n\u003cp\u003eAs with Volumes 1 \u0026amp; 2, the new album features extraordinary young talents such as Cian Nugent (Ireland), Ben Reynolds (UK), and Shawn David McMillen (Austin, TX) alongside unsung heroes from decades past, such as banjo master George Stavis, who recorded an album for Vanguard in the 60's; Richard Crandell, whose rare private press works will hopefully now be brought to light; and Mark Fosson, whose lost 1977 Takoma album was recently issued.\u003c\/p\u003e\n\u003cp\u003eReleased in October 2005, Imaginational Anthem received 4 stars from Uncut (Entrancing), All Music Guide (Masterful) and Mojo (Groundbreaking). Rolling Stone's David Fricke wrote, The history and beauty here speaks for themselves, at the perfect volume. Jon Pareles wrote in The New York Times, Old and new, the music meditates on blues, Appalachian music, raga and ragtime, and traditions are transfigured by a deep love for the sonority of the acoustic guitar.\u003c\/p\u003e\n\u003cp\u003eReleased in June 2006, Imaginational Anthem Volume 2 opened with the gorgeous River of Heaven by Tompkins Square recording artist James Blackshaw, and featured unreleased recordings by legends such as Michael Chapman, Fred Gerlach, Billy Faier, Peter Lang, and Robbie Basho. The album was supported by a national Arthur Magazine-sponsored U.S. tour with Blackshaw, Sharron Kraus and Sean Smith. 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The records have been beautifully transferred by the highly respected record collector and producer \u003cstrong\u003eMichael Kieffer\u003c\/strong\u003e. \u003cbr\u003e\u003cbr\u003eFrank's self-titled debut album on Tompkins Square has won over fans like Greil Marcus and \u003cstrong\u003eRy Cooder\u003c\/strong\u003e, and landed Frank opening spots for \u003cstrong\u003eFleet Foxes\u003c\/strong\u003e and \u003cstrong\u003eBrendan Benson\u003c\/strong\u003e. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePitchfork\u003c\/strong\u003e recently ran an extensive interview with Frank in their new column The Out Door, and he's been a staple on Greg Vandy's show on KEXP, Seattle.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Pipe Major Forsyth And Drums \/ Hundrerd Pipers-Miss Drummond Of Perth-Sleepy Maggie \u003cbr\u003e2. Kamemaru Sunakawa \/ Yagi-Bushi, Yanre-Bushi \u003cbr\u003e3. 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She was an excellent fiddler, banjoist and guitar picker who retained the largely extinct repertoire of parlor pieces and the variety of specialized tunings that were necessary to play them. She lived most of her life in Ludlow, Missouri and passed away in 1998.\u003cbr\u003e\u003cbr\u003eLena Hughes' repertoire can be divided roughly in half: finger-picked numbers adapted from fiddle tunes and recast parlor guitar pieces gleaned from popular sentimental songs, hymns, and 19th century airs. As a faithful attendee at folk festivals, Hughes was accompanied by her guitar-playing husband, Jake. \u003cbr\u003e\u003cbr\u003eHer most mesmerizing performances, such as Pearly Dew, Spanish Fandango, and Kentucky Moon Waltz, depend heavily upon the resonance of the open chord as it relates to the picking of the melodic line, primarily on one string. This tonal reliance is most similar to the \"celestial octave\" that Washington Phillips employs, with similar effect, on his Train Your Child. This ethereal harmonic technique, which seems so natural in Hughes' playing, is the holy grail for most finger-picking guitarists. Her lack of pretense and her mastery of this repertoire is what defines her legendary status.\u003cbr\u003e\u003cbr\u003eThese recordings were made in the early 60's in Arkansas and released in very limited fashion as a private press LP. Remastered by \u003cstrong\u003eChris King\u003c\/strong\u003e. Designed by \u003cstrong\u003eSusan Archie\u003c\/strong\u003e.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTracklisting:\u003c\/strong\u003e\u003cbr\u003e1. Pearly Dew\u003cbr\u003e2. Under The Double Eagle\u003cbr\u003e3. Letter Edged In Black\u003cbr\u003e4. Blue Heaven\u003cbr\u003e5. Galloway Bay\u003cbr\u003e6. You Are The Only Star Of My Blue Heaven\u003cbr\u003e7. Spanish Fandango\u003cbr\u003e8. Kentucky Moon Waltz\u003cbr\u003e9. Silver Threads Among The Gold\u003cbr\u003e10. What A Friend We Have In Jesus\u003cbr\u003e11. 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In his own words, today : I was once told that one should first write about one's own experiences, then, expand to documenting the observed experiences of those around, and, finally write about what one imagines. \u003cbr\u003e\u003cbr\u003eAm I Really Here All Alone?encompasses all of the above. Something else I realized in writing lyrics is that sometimes it is good to be transparent about the meaning and others times, not so much. \"Unusual Day\" is an example of me being honest struggling to develop and maintain a relationship, but ultimately realizing it was not going to succeed. \u003cbr\u003e\u003cbr\u003e\"Watercolours\" documents a crushing experience, but is couched in metaphor. I hope that listeners will relate through their own experiences, and because my reality is implied, not specified, will not be limited to mine.\u003cbr\u003e \u003cbr\u003e\"Sweet Georgia\" is an example of me, as a writer, leaving my personal space. I think of it as an attempt to clone William Faulkner to Bobbie Gentry. \u003cbr\u003e\u003cbr\u003e\"The Magic Within You\" is actually a commission where I was asked to write a song for a benefit to be performed by \u003cstrong\u003eDoug Henning\u003c\/strong\u003e, the groundbreaking stage magician and friend. I once heard \u003cstrong\u003eJohn Prine\u003c\/strong\u003e complain that there was no point in writing a 'train song' because \u003cstrong\u003eSteve Goodman\u003c\/strong\u003e had already written the perfect one with \"City of New Orleans\". \u003cbr\u003e\u003cbr\u003eNaturally, I had to write \"Back Home, To You\", my idea of a train song where I tried to capture the movement of the train in the rhythm of the guitar. 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Tom's main mode of distribution for the album was handing the LP to drunken patrons at a bar in Pinos Altos, NM. Now Tompkins Square makes it a bit easier to acquire.\u003c\/p\u003e\nIn his own words, today : I was born in Elmhurst IL, lived there 29 years.  Had a brief career playing open mikes and bars for tips, drinks and nominal cash payments, even gave some guitar lessons. In 1984 I was offered a half partnership in an engineering firm in Dallas, so I moved to Texas.  Made a big pile of money.  \u003cbr\u003e\u003cbr\u003eMy wife bought me a Tascam 4 track recorder for my birthday, I went crazy with it.  Recorded a bunch of melodies that had been rattling around my brain since I was 8 years old.  Liked what I heard, decided to make an LP. It wasn't too hard to track down a studio to master my 4 tracks.  By this time I was an old hand at graphic design for promotional material, so I designed the cover myself.  \u003cbr\u003e\u003cbr\u003eHanded the albums out to business associates, as promotional material for other business interests, at a drunken open mike at a bar in Pinos Altos, NM. I continued to record for about another 10 years, blues rock, pop. Really refined my recording skills. 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