Archive for the ‘Uncategorized’ Category


Friday, October 17th, 2014

“A folk and gospel classic” – 4 stars – The Guardian
4 1/2 stars – All Music Guide
“Highest recommendation” – Other Music

* Produced by Grammy-nominated Curator of the Alan Lomax Archive, Nathan Salsburg
* Features 26 previously unreleased tracks. Unheard collaborations with Rev. Gary Davis, Sweet Papa Stovepipe, Mable Hillery, and others.
* Remastered from Lomax’s original tapes


Bessie Jones was one of the most popular performers on the 1960s and ’70s folk circuit, appearing-usually at the helm of the Georgia Sea Island Singers-at colleges, festivals, the Poor People’s March on Washington, and Jimmy Carter’s inauguration. “Get In Union” is a collection of her classic recordings with the Singers, combined with many previously unavailable solo and small-group performances captured by Alan Lomax between 1959 and 1966.

Alan Lomax first visited the Georgia Sea Island of St. Simons in June of 1935 with folklorist Mary Elizabeth Barnicle and author Zora Neale Hurston. There they met the remarkable Spiritual Singers Society of Coastal Georgia, as the group was then called, and recorded several hours of their songs and dances for the Library of Congress. Returning 25 years later, Lomax found that the Singers were still active, and had been enriched by the addition of Bessie Jones, a South Georgia native with a massive collection of songs going back to the slavery era. Over the next several years, Lomax and Jones worked together to present, promote, and teach Southern black folk song across the country, from nightclubs to elementary schools. “Get In Union” features freshly remastered audio from 24-bit digital transfers of Lomax’s original tapes and notes by the Alan Lomax Archive’s Nathan Salsburg and Anna Lomax Wood, who accompanied her father on his 1960 recordings of Bessie Jones and the Georgia Sea Island Singers.


Monday, September 8th, 2014

“Alice Gerrard has one of those voices that harkens back to the likes of Sara and Maybelle. She is the real deal with the right stuff and hasn’t forgotten where country music came from.”
- Emmylou Harris, June 2014

“This new Alice Gerrard album is next level” – UNCUT


The trailblazing folksinger famously collaborated with Hazel Dickens. Their classic recordings for Folkways and Rounder in the ’60’s and 70’s “rank among the most influential recordings in folk music history,” (All Music Guide), and laid the groundwork for many artists, especially female bluegrass and folk musicians.

‘Follow The Music’ features traditional tunes and original songs by Alice, produced by Hiss Golden Messenger’s M.C. Taylor, and features members of Hiss Golden Messenger and Megafaun. Available on LP/CD/DL via Tompkins Square, September 30th, 2014.

Listen / share



Tuesday, August 12th, 2014

SMOKE DAWSON – ‘FIDDLE’ – 1971 Private Press LP Reissued on LP / CD/ DL August 19th

Listen / Share

Notes by reissue producer / Tompkins Square label owner Josh Rosenthal :

I was doing some research for a box set of music recorded at Caffe Lena, the hallowed folk music venue located in Saratoga Springs, NY, when I came upon a photograph of a musician I didn’t recognize. He looked like a sixth member of The Band – a handsome fiddler with wax moustache, goatee, black Western hat. There was a traditional air to him, a seriousness, but there was also something wild there. I needed to know who he was, and everything about him. The producers told me his name was Smoke Dawson, and they had tape on him. We listened, and his live version of “Devil’s Dream” made it onto the box set. Then I started digging. I found a 1996 blog post from someone named Oliver Seeler, who claimed to have recorded a solo album by Dawson in 1971. I called the number on the site, not expecting much from an 18 year old blog post. But he picked up. He gave me background on the record. And, he gave me Smoke Dawson’s phone number.

George Dawson was born June 5, 1935 in the Greenpoint section of Brooklyn, New York. His father was an Irish immigrant blacksmith who worked for years on the Brooklyn Bridge. He was an Irish choral tenor singer, and his wife, a Philadelphia native of Irish descent, sang as well. Around 1955, George picked up the banjo and started meeting fellow musicians. In March of 1960, George joined a trio, MacGrundy’s Old-Timey Wool Thumpers, with Rob Hunter on guitar (not of Grateful Dead fame) and Peter Stampfel (of Holy Modal Rounders fame) on fiddle and mandolin. That was Peter’s first band too. “Wool Thumpers was a euphemism for fucking,” Peter recalls. “George played banjo, he was an extremely good player, and a wrestler and a weightlifter. There was a half-way house for bad Jewish girls who had been sent to a mental facility called Hillside. There were periodic reunions of the bad girls, and they hired our group to play. Paying gigs were extremely rare at the time. The woman who ran the show hated us. We had a choreographed stunt that we had planned. We’re playing “Dallas Rag”, Rob has a pipe in his mouth, and Dawson swings his banjo into Rob’s face, and the pipe goes flying right into the boss lady matron’s forehead and there’s a big loud gasp. Rob and Dawson fell down on the floor laughing . . .” And so it began. According to George, it was actually Peter’s proficiency on banjo that turned him into a fiddle player. “Peter was such a good banjo player. I said, ‘Why don’t I learn the fiddle and you can play the banjo’.” Or as Peter tells it, “George took a fuck-ton of speed and came back in a couple of weeks playing fiddle better than I did.” Around 1962, George was a new father to a boy named Wade (named after old-time banjo player Wade Ward). But he left his family behind, and ran off with Peter’s wife.

George began frequenting Caffe Lena in 1960, playing there October 14th and 15th of that year with Rob Hunter. George would live at the Caffe on and off for eight years. “It was the nicest place I knew of in the whole country. I helped cook, painted, I had romances there. It was the place I came of age.” He also immersed himself in the West Village folk scene, hanging out at Izzy Young’s Folklore Center, seeing Dave Van Ronk, Tom Paxton, Jack Elliott. “There was no one playing fiddle and suddenly I was in demand. I watched Dylan slowly sink into the scene. I ran a Sunday afternoon show at the Gaslight for (owner) John Mitchell.” Eager to discover the influences of so many folk artists during the period, George took an extensive Southern road trip. “I looked up people who Alan Lomax recorded. I lived in North Carolina and Virginia and spent a week with Doc Watson and Wade Ward. Eventually I moved to Florida, playing on the bar circuit, on the street. Then I drifted to California, chasing a girl. Went back and forth to Saratoga but stayed in California from 1968 on.”

Dawson played bagpipes at the California Renaissance Pleasure Faires, and busked on the streets of San Francisco. He fell in with a collective called Golden Toad, a rotating troupe of folk musicians led by Robert Donovan Thomas, a charismatic bagpipe player who designed the Grateful Dead’s skull and lightning bolt logo. Their first gig took place at Grace Cathedral in San Francisco, and although original member Mickey Zeckley claims it was recorded, there’s no evidence of this, and sadly no other recordings of the group are known to exist. Golden Toad would open for the Dead on occasion (never with George). Zeckley remembers, “George was a crazy, wacky guy who could play a hell of a fiddle. He was with Suzy Marceau, who had a green card marriage to Marcel Marceau’s son.”

On the afternoon of October 20, 1968, George joined his girlfriend Ruth Denny Decker Sennepf, and another couple on the Mendocino Headlands, a rugged stretch of coastline, while “experiencing enhanced consciousness” as George recalls, out on the rocks, watching the waves. A “sneaker” wave came and swept them in. George and the other couple were caught between some rocks down below and escaped, but Denny, as George called her, was swept away, and drowned. The Ukiah Daily Journal reported the story on October 21, 1968 : ‘ A 27-year-old Mendocino woman drowned Sunday at 1 :30 p.m. when she was swept from a rock by a towering wave. Victim was Ruth Denny Decker Sennepf, formerly of Mill Valley, who was sitting on the rock when she was swept away. Her companions, two men and a woman, escaped.’ Fellow Mendocino resident Ramblin’ Jack Elliott knew George in the early 70’s, and recalled the story. Folk musician Bob Gibson describes a lonely bagpipe player who can be heard in the Mendocino night in his tune “Smoke Dawson,” which recounts the incident. “George went home and burned his fiddle and swore he would never play again,” says Zeckley.

Oliver Seeler, a bagpipe player inspired by Golden Toad and Robert Thomas, recorded fellow busker Dawson in 1971 in Sea Ranch, CA. Seeler would go on to build bagpipes and run a world bagpipe website. The studio was situated near an airport, which made recording difficult. Oliver describes George as restless and uncomfortable in the studio, but George remembers a kid coming in with very good hash. Either way, what we hear is remarkable. “My whole training came from Mozart’s father’s book about violin technique (Versuch einer gründlichen Violinschule).” A tune like “The Minotaur” however, sounds like a swarm of bees violently shaken out of their hive. Where did he come up with that technique ? “I made it up. But my influence is from baroque violin, and on bagpipes I know Dutch, German, Spanish, Welsh and great tunes from a couple of hundred years ago.” These are traditional tunes leavened with a touch of sorcery (see cover), a bit of Mendocino hippie, an audible ’60’s hangover. 750 copies of the album were manufactured.

In 1972, Dawson took the stage at Ash Grove with The White Brothers (Clarence, Roland & Eric), their father Eric White, Sr., LeRoy Mack and Pat Cloud. There is a photo from the show. A fiddle player was needed and George somehow got the call. Roland recalls George as a fine player although a somewhat awkward fit, with George playing in a traditional old-timey style maybe not best suited for a bluegrass group. It would be the last moment in the limelight for Smoke Dawson, at least in terms of playing with nationally recognized artists. “I’ve been a computer programmer for IBM, a commercial fisherman, blacksmith, aerial photographer, goldmining engineer, wrestler, entertainer,” Dawson says. “I’ve played music for three to eight hours a day for thirty, forty years.”

In 1992, George was diagnosed with cancer at the base of his tongue, was given six months to live, and went through experimental treatment protocol. The treatment was devastating and it took five years for him to recover. On his way from Eugene to Spokane WA, he collapsed. And he has stayed in that same small town in Washington state ever since. Although he was left with essential tremor and other debilitating effects from radiation, he continued to play bagpipes. His town bought him a beautiful set so he could play weddings, funerals and town events. He is in touch with his four sons, from four different relationships.

“I row a boat, smoke dope, my girlfriend of twenty years is in the advanced stages of Parkinson’s Disease. I talk to fish, deer, birds.” George turns reflective. “I was cuckoo, couldn’t get along in the world. The music always saved me. It got me friends, it got me shelter”.

“I could go into my own Dreamworld.”

- Josh Rosenthal
San Francisco, CA
May 2014

Photograph by Joe Alper

Smoke Dawson on his lawn. Washington State, August 2014. Photo by Josh Rosenthal


Monday, June 2nd, 2014


Live album features Simon Scott (Slowdive), Duane Pitre. 2LP/CD/DL.


In celebration of the centenary of Louis Feuillade’s Fantômas silent film series, James Blackshaw was invited by Yann Tiersen to perform a live score to the fifth and final film, Le Faux Magistrat, at the beautiful and prestigious surroundings of the Théâtre de Châtelet, Paris on October 31st 2013.

Fantômas – a master of disguise and symbol of terror – is one of the most popular characters in French crime fiction, as well as a favourite with the avant-garde, particularly the surrealists.

Tim Hecker, Amiina, Yann Tiersen and Loney Dear also performed during the event (which was broadcast live on the European ARTE channel) each bringing their own unique sonic perspective to the other installments in the series.

Written during the course of a few months, Blackshaw drew influences from French impressionist composers, Brazillian guitar music, musique concrete and the works of other film composer such as David Shire and Pino Donaggio, to create a noirish score that is in turns sinister, quietly profound and thrilling.

Personally invited by James Blackshaw, experimental musicians Duane Pitre and Simon Scott (also of Slowdive) contributed drums, electronics, synth, bowed guitar, bass and more to Blackshaw’s nylon string guitar and grand piano, with multi-instrumentalist Charlotte Glasson adding violin, vibraphone and several wind instruments to the 75 minute long work.

MOJO **** Four stars
“Considerably broadens the composer’s palette”

Blackshaw’s new music is the sound of someone actively pressing against the boundaries of expectation. ‘Fantômas’ is Blackshaw’s most audacious attempt yet to shatter that mold. – Pitchfork

“It may be Blackshaw’s most ambitious work yet, and another variation on his ever expanding repertoire of talents.”

All Music Guide **** Four stars
“We heard bits and pieces that suggested Blackshaw was capable of a more expansive work, but nothing that hinted at the exquisite juxtaposition of tension, texture, tone, and harmonic color that ‘Fantômas: Le Faux Magistrat’ delivers”

Tiny Mix Tapes **** Four stars
“An incredible melody writer and musician in a tradition that existed long before him; he writes guitar and folk music as well as Robbie Basho or Leo Kottke, but he does not copy them.”

Secret Decoder
“A massive, gorgeous accomplishment”

“Blackshaw’s application of a wide variety of instrumental textures (including flute, piano, saxophone, bowed bass, electronics) is admirably assured . . .”

“An ambitious undertaking that succeeds due to a lively combination of respect and invention” (A-)
- Vinyl District

RYLEY WALKER – All Kinds Of You

Thursday, March 6th, 2014



Ryley Walker is a 24 year-old singer/songwriter and guitarist from Chicago.

Having kicked around Chicago’s experimental free/noise music scene for several years, Ryley recently turned to a folk-rock sound inspired by some of his heroes, among them Tim Hardin, Tim Buckley, and Bert Jansch. The result is a poised and accomplished debut album, recorded in Chicago by Cooper Crain (guitarist/keyboardist in Cave).

The West Wind, Ryley’s debut 3 song 12″ EP released in November, features “The West Wind” from the forthcoming album, and two B sides : “A Home For Me” and “Sweet Little Betsy” (w/Daniel Bachman). The 180g, 45rpm 12″ received praise from UNCUT, NPR, BBC, Rolling Stone and many other outlets.

“With the charming swagger of jazz-folk troubadour Tim Buckley and the resonant, full picking style of Bert Jansch, ‘The West Wind’ comes from Walker’s first widely available release, a three-song 12″. With acoustic guitar in hand and a voice like browned butter, Walker swings and sways in a lush string-and-piano arrangement right out of Buckley’s ‘Starsailor’; it slowly picks up to a swirling gallop without bucking the rhythm.”
- NPR Music

“Ryley Walker, a spaced-out young singer from Chicago who claws at his instrument like an angry old soul, was one of them. He spent his Thursday night practically snapping the strings off his guitar, squeezing magic and violence out of a gorgeous songbook. This was rainy day music for when the wind is threatening to rip your house from its foundation.” – Washington Post

Listen to “The West Wind”
Video for “The West Wind” (via THE FADER)


Tuesday, February 25th, 2014

Six new digital releases, available on every digital service around the world :

NEW ! Terry Waldo – The Soul Of Ragtime
Ragtime is one of America’s truly unique and precious art forms. Comprised of original and traditional tunes, the album is stylistically so varied that to simply call it ‘ragtime’ is nonsensical. At times dissonant, rollicking, gospel-influenced and harmonically complex, “The Soul of Ragtime’ celebrates tradition while moving the whole enterprise forward in surprising ways.

Buy on iTunes
Share a Soundcloud link

NEW !! Suni McGrath – Seven Stars
Legendary 12-string guitarist Suni McGrath’s first new recordings in 33 years were captured in 2006, but only three songs from that session were released. McGrath recorded three highly sought after out-of-print recordings in the 60’s.
Buy it on iTUNES
Share a Soundcloud link

NEW !! Harry Taussig – The Diamond of Lost Alphabets
The third album by American Primitive Guitar pioneer Harry Taussig. He appeared on Takoma’s ‘Contemporary Guitar Spring ‘67′ comp alongside John Fahey and Max Ochs. His first album, ‘Fate Is Only Once’, was released in 1965 and reissued on Tompkins Square in 2006. He waited 45 years before releasing ‘Fate Is Only Twice’, and now graces us with a third stellar collection. Taussig played his first live show ever at SXSW last year. A surprising resurgence from one of the true innovators.
Buy it on iTUNES
Share a Soundcloud link

Various Artists – Hooray For Max Ochs
Poet, activist, American Primitive Guitar master, Takoma recording artist, cousin of Phil Ochs and composer of “Imaginational Anthem,” which inspired Tompkins Square’s guitar series of the same name, Max Ochs is saluted via this tribute EP including two cover versions of IA by Sean Smith and Ben Reynolds, and tunes by Neil Harpe and Shawn McMillen. Previously eMusic-only.
Buy it on iTUNES

Bern Nix – Low Barometer
Guitarist Bern Nix has collaborated with Ornette Coleman as a member of Prime Time, as well as with John Zorn, Ronald Shannon Jackson and many more. This, his lone solo guitar album, is a 2006 session originally released as a limited edition of 25 CDs, now made available widely for the first time.
Buy it on iTUNES

Various Artists – Let Me Play This For You : Rare Cajun Recordings
This set features some of the rarest, most compelling tunes and heart-breaking songs from Southwest Louisiana. Most of the performances on this collection have not been heard since they were originally recorded on 78 rpm disc, and yet they serve as a discrete Rosetta Stone for the traditional Cajun and Creole repertoire that exists today. Released on CD in 2013.
Buy it on iTUNES

Suni McGrath ca. 1962


Monday, December 9th, 2013

Nathan Salsburg has been nominated for a Grammy Award, Best Album Notes, from the 3CD/3LP box set , ‘Work Hard, Play Hard, Pray Hard : Hard Time, Good Time & End Time Music, 1923-1936′. It’s Nathan’s first Grammy nomination, and the sixth for Tompkins Square.




‘I Heard The Angels Singing : Electrifying Black Gospel From The Nashboro Label, 1951-1983′

Friday, November 29th, 2013

4CD box set housed in a deluxe gatefold jacket. Available December 10th.


“You’re not likely to hear more heavenly singing anywhere.” – SPIN (Best Reissues of 2013)

“The gospel label Nashboro, based in Nashville, was the parent company of Excello, the more famous blues label — known for idiosyncratic, echoey sessions by Slim Harpo and Otis Spann, among others, that have traveled far and wide. But most of the Southern singers on Nashboro, including Brother Joe May and the Fairfield Four, were putting God first, working for steady local radio play and sales directly through the Nashville record store run by Nashboro’s owner, Ernest Young. In the early years these are tight and quiet sessions — brushed drums under close-harmony groups — until the late ’50s, when gospel’s relationship with hotter R&B grows closer: You hear where early James Brown comes from in the lead vocalist of the Kindly Shepherds’ “Take the Lord With You,” from 1958, and Sister Lucille Barbee’s “Let the Church Roll On,” from 1960, could have been conceived by Bo Diddley. By the late ’60s to the ’80s, Nashboro made gospel as modest but excellent soul music: no more, no less.” – The New York Times, 11/29


Ryley Walker 12″, Michael Hurley 78rpm out Nov 29th

Monday, November 11th, 2013

Ryley Walker’s debut 12″ EP featuring three songs : “The West Wind” from his forthcoming album, due in April; “A Home For Me”; and “Sweet Little Betsy”, an instrumental guitar duet with Daniel Bachman. (The latter two songs are exclusive to this EP and will not appear on the album, or anywhere else, online or otherwise). The EP is audiophile quality 180g vinyl at 45rpm.

Listen to “The West Wind”

Buy the single on iTunes

“Watertrain/Black & Yellow Bee” is a 78 rpm 10″ with two newly recorded, previously unreleased songs by folk legend Michael Hurley. Tompkins Square has released 78rpm records by Tyler Ramsey (Band of Horses), Ralph Stanley, Joe Bussard, Luther Dickinson, and a split 78 with Lucinda Williams & Michael Chapman.

Live At Caffe Lena : Music From America’s Legendary Coffeehouse, 1967-2013

Wednesday, July 24th, 2013


3-CD Box Set Available Now

New York Times Feature on Caffe Lena




Unreleased performances by Dave Van Ronk, Ramblin’ Jack Elliott, Kate McGarrigle, Rick Danko, Anais Mitchell, Sleepy John Estes, Arlo Guthrie, Sarah Lee Guthrie, and more.

Nestled in the quaint upstate town of Saratoga Springs, New York is Caffè Lena, the oldest continuously operating folk music coffeehouse in the US. Opened by Lena Spencer in 1960, this tiny room has played host to influential artists across diverse genres of music; traditional folk, blues, singer-songwriters, jazz and bluegrass. Luckily, many performances were caught on tape through the years, offering the listener a thrilling seat inside this hallowed venue. ‘Live At Caffè Lena’, a 3-CD box set, the result of years of investigative research, contains 47 tracks, all released for the very first time, alongside previously unpublished photographs. Images include selections from the archive of esteemed photographer Joe Alper, who captured many iconic, intimate portraits from the folk era of the 1960s.

‘Live At Caffè Lena’ documents an important folk universe that was and is still happening in upstate New York, a story heretofore largely untold. The release of this collection comes at an auspicious time in light of renewed interest in the New York folk scene of the 60s as depicted in the forthcoming Coen Brothers film, ‘Inside Llewyn Davis.’ The film is loosely based on Dave Van Ronk’s 2005 memoir ‘The Mayor of Macdougal Street.’ Van Ronk, a Caffè Lena regular, served as a mentor to many artists, some who would go on to eclipse his fame. His 1974 recording of “Gaslight Rag”featured on the box set references the Gaslight Café, a famed Greenwich Village venue that along with Caffè Lena was a catalyst for the folk music revival.

Caffè Lena embodied the spirit of the folk boom, the era and its artistry, building a reputation as a hotbed of creativity and connection. It was also a safe haven and nurturing space for artists, its atmosphere cultivated personally by Lena Spencer herself. She would graciously house wayward artists, sometimes for months at a time. But she was not merely a host. She championed artists, from Bob Dylan as early as 1961 all the way through the 80s until her passing. Her passion for identifying and promoting talent is evident throughout this 3-CD set. That Caffè Lena is still open for business tonight is a testament to her legacy.

‘Live At Caffè Lena’ is an important visual and audio document – 40+ years of our collective music history unearthed from dozens of “lost” tapes – night after night, show after show, through the decades – captured on tape in a tiny room in Saratoga Springs, New York.

‘Live At Caffè Lena: Music From America’s Legendary Coffeehouse, 1967-2013′
TSQ 2967 Distributed by INgrooves in North America, Cargo UK for Europe, FUSE for Australia

Producers: Steve Rosenthal (Three-time GRAMMY Award-winner, owner of The Magic Shop and The Living Room Music Club in NYC), Jocelyn Arem (Director of the Caffè Lena History Project)

Liner notes: Holly George-Warren & Robert Burke Warren, Scott Goldman, Michael Eck

Also Coming in October 2013:

Caffè Lena: Inside America’s Legendary Folk Music Coffeehouse (powerHouse Books) brings more than 200 never before seen, evocative images and stories to the public. Early 1960s photographs of Bob Dylan and Pete Seeger and modern-day images of Rufus Wainwright and Patty Larkin blend with rare memorabilia and an oral history derived from more than 100 original interviews of artists who have graced Caffè Lena’s stage over the decades, including Ani DiFranco, Utah Phillips, Dave Van Ronk, Spalding Gray, and other luminaries of the folk, blues, jazz, and theater worlds.

Track list for ‘Live At Caffè Lena: Music From America’s Legendary Coffeehouse, 1967-2013′

01 Intro by Lena Spencer / Guy Carawan Cripple Creek 1970
02 Hedy West Shady Grove 1968
03 Intro by Lena Spencer / Sleepy John Estes Holy Spirit 1974
04 Frank Wakefield and Friends Will The Circle Be Unbroken 1971
05 Jean Ritchie West Virginia Mine Disaster 1969
06 Billy Faier Hunt The Wren 1967
07 Greenbriar Boys Hit Parade of Love 1968
08 Mike Seeger O Death 1971
09 Jacqui and Bridie Hello Friend 1974
10 Tom Paxton Morning Again 1968
11 David Amram Little Mama 1974
12 Patrick Sky Reality Is Bad Enough 1971
13 Rosalie Sorrels Travelin’ Lady 1974
14 Smoke Dawson Devil’s Dream 1968
15 Utah Phillips The Green Rolling Hills of West Virginia 1974
16 Michael Cooney Thyme It Is A Precious Thing 1974
17 Kate McGarrigle and Roma Baran Caffè Lena 1972

01 Intro by Lena Spencer / Dave Van Ronk Gaslight Rag 1974
02 Jerry Jeff Walker Mr. Bojangles 1968
03 Barbara Dane Mama Yancey’s Advice / Love With a Feeling 1968
04 Roy Book Binder Ain’t Nobody Home But Me 1974
05 Intro by Lena Spencer / David Bromberg The Holdup 1972
06 Ramblin’ Jack Elliott Pretty Boy Floyd 1992
07 Arlo Guthrie City of New Orleans 2010
08 Aztec Two Step The Persecution and Restoration of Dean Moriarty 1989
09 Happy And Artie Traum Trials Of Jonathan 1974
10 Rick Danko It Makes No Difference 1988
11 Paul Geremia Something’s Gotta Be Arranged 1989
12 Robin and Linda Williams S-A-V-E-D 1987
13 John Herald Ramblin’ Jack Elliott 1991
14 Pete Seeger Somos El Barco (We Are the Boat) 1985

01 Sarah Lee Guthrie and Johnny Irion Folksong 2013
02 Anais Mitchell Wedding Song 2013
03 Bill Morrissey The Last Day Of The Furlough 1990
04 Patty Larkin Island Of Time 1992
05 Greg Brown Flat Stuff 1989
06 Mary Gauthier I Drink 2013
07 Sean Rowe Old Black Dodge 2013
08 Tom Chapin Cats In The Cradle 1987
09 Intro by Lena Spencer / Christine Lavin It’s A Good Thing He Can’t Read My Mind 1987
10 Bill Staines Sweet Wyoming Home 1990
11 Bucky and John Pizzarelli I Like Jersey Best 1989
12 Rory Block That’s No Way To Get Along 1989
13 Chris Smither Killing The Blues 1989
14 Tift Merritt Traveling Alone 2013
15 John Gorka Down In The Milltown 1990
16 Lena Spencer Dear Little Cafe 1972