I first encountered When the Train Comes Along in the playing of Uncle Dave Macon but since have found similar versions by Henry Thomas and Will Slayden. The cross-over of these players with Southern White players who were their contemporaries is of real interest. It is my opinion that if we set the racial issues aside, the marketing moguls of the day did much to separate the musicians. Thomas has more in common with the bluesier white players than many of his blues contemporaries (at least those that were recorded). His guitar playing is adequate but fundamental. Slayden?s banjo picking is pure accompaniment. Uncle Dave on the other hand was a powerful banjo picker and a born entertainer who mined the Black music for much of his material. John Jackson was a fan of country music black and white.
What would have happened had we not drawn black and white lines in the music back in the early days?
The second volume of Mississippi John Hurt's Library of Congress recordings have been released on Fuel. There are some real gems on it. I had never heard him play Redwing and some of the others there. The folklorist is a slight irritant and John fluffs some notes (perhaps he was getting tired). The insight to his repertory in real interesting.
What would have happened had we not drawn black and white lines in the music back in the early days?
The second volume of Mississippi John Hurt's Library of Congress recordings have been released on Fuel. There are some real gems on it. I had never heard him play Redwing and some of the others there. The folklorist is a slight irritant and John fluffs some notes (perhaps he was getting tired). The insight to his repertory in real interesting.