Condition:  To my NON US customers, do NOT ask me to alter /  change the declared value of your purchase for purposes of avoiding taxes in your country.  I will NOT do so.

AllMusic Review by Ronnie D. Lankford, Jr.  [-]

Many versions of "John Henry" exist, but Henry Thomas's version, because of his use of reeds, is unique. The reeds have a light, radiant air that lifts this song to something joyous. Thomas was born in Texas in 1874 and didn't record his first sessions until he was in his early fifties. His music incorporated blues and patched together songs ("rags") that seemed to come from earlier traditions, including nine pieces on which he uses reeds. The use of them may point to an earlier African-American tradition that had nearly vanished by the time he was recording. These pieces represent the best songs on this collection, with standouts like "The Little Red Caboose" and "Bull-Doze Blues." The later song sounds very similar to Canned Heat's "Goin' Up the Country," including the reed solo that sets the song in motion. Songs like "Don't Ease Me In," would later be performed by the Grateful Dead and many others, while "Honey, Won't You Allow Me One More Chance?" is lyrically related to an early Bob Dylan song with almost the same title. The songs gathered here have been taken from five recording sessions between 1927 and 1929, and are ordered chronologically. The liner notes explain the origins of reeds/quills in African-American music, and help place Thomas in a historical context. The fidelity on certain cuts is scratchy, but his voice and instrumentation are still always discernable. This is a good collection of an early-Texas songster, especially valuable because of Thomas' unique use of reeds.

Henry Thomas ?– Ragtime Texas

Tracklist

Credits

• Design – Nova Graphics, Inc.
• Liner Notes – Mack McCormick
• Producer – Bernard Klatzko
• Remastered By – Nick Perls

Notes

See our other EBAY auctions by using search by seller and using “record collector michigan”

Ferndale, Michigan 48220
Phone: 248-548-9888 
Hours: Monday thru Saturday NOON to 6:00 PM (Eastern) 

GOLDMINE GRADING

MINT ---- It should appear to be perfect. No scuffs or scratches, blotches or stains, labels or writing, tears or splits. Mint means perfect.

NEAR MINT ---- Otherwise mint but has one or two tiny inconsequential flaws that do not affect play. Covers should be close to perfect with minor signs of wear or age just becoming evident: slight ring-wear, minor denting to a corner, or writing on the cover should all be noted properly.

VERY GOOD PLUS ---- The record has been handled and played infrequently or very carefully. Not too far from perfect. On a disc, there may be light paper scuffs from sliding in and out of a sleeve or the vinyl or some of the original luster may be lost. A slight scratch that did not affect play would be acceptably VG+ for most collectors.

VERY GOOD ---- Record displays visible signs of handling and playing, such as loss of vinyl luster, light surface scratches, groove wear and spindle trails. Some audible surface noise, but should not overwhelm the musical experience. Usually a cover is VG when one or two of these problems are evident: ring wear, seam splits, bent corners, loss of gloss, stains, etc.

GOOD ---- Well played with little luster and significant surface noise. Despite defects, record should still play all the way through without skipping. Several cover flaws will be apparent, but should not obliterate the artwork.

POOR ---- Any record or cover that does not qualify for the above "Good" grading should be seen as Poor. Several cover flaws.