When you can make a record with a USB microphone and cloud-based recording, itâ€™s hard to remember the revolution that was home recording. TEACâ€™s 4-track reel-to-reel recorders (and TASCAMâ€™s later cassette-based Portastudio) for the semi-pro market allowed home recordists to multi-track and overdub without the overbearing expense (and ticking clock) of studio time. Some of these sessions ended up in the commercial market, but many were unspooled only for friends and family, or circulated in local vinyl pressings. Tompkins Square sampled several of these small batch recordings on Imaginational Anthem, Vol. 8: The Private Press, and now expands on the theme with this first of several planned full album reissues.
Tom Armstrong had hung around the edges of the music business, playing bars and open mics, but when his engineering career took off, dreams of a professional music career were put aside. But a 4-track gifted to him by his wife kept his guitar playing alive, and provided a creative outlet into which he poured this original music. Though he kept recording for more than a decade, this is the one collection of songs he had mastered and pressed to vinyl, handing out copies mostly to friends and business associates. He favors meditative acoustic tracks, such as the harmonic-filled opener and the somnambulistic â€œDream Waltz,â€ but he adds dripping neo-psych notes to â€œKeller,â€ picks electric slide on â€œThe Thing,â€ and sings the title track.
The albumâ€™s variety might have driven a market-seeking record label crazy, but itâ€™s exactly that free-spiritedness that gives the album its charm. The segue from the finger-picked electric â€œMamaâ€™s Babyâ€ to the echoed, nearly discordant â€œBebopâ€ suggests the evolution of blues into jazz, and the album continues to evolve as it closes with the driving spaciness of â€œThunder Clouds.â€ Most of the arrangements appear to be two or maybe three guitars, sometimes rhythm and lead, often interleaving in original ways. Armstrongâ€™s technique is good, but itâ€™s his musical imagination and the freedom to follow his muse without commercial pressure that really gives these recordings their power. [Â©2017 Hyperbolium]