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  Home arrow Music arrow Dreamer or Believer: Harvey Reid

 
Dreamer or Believer: Harvey Reid | Print |  E-mail
Written by Chris Greiner   
Wednesday, 22 September 2004

For his expansive double-CD retrospective, Dreamer or Believer (Woodpecker Records), distinguished acoustic musician Harvey Reid rummaged through some 20 years of recordings, dusting off two tracks from each year between 1982 (the year of his first release) and 2002. Half of the tracks are instrumental, the other half are song. The results are divided into two 20-song discs (appropriately titled Instrumentals and Songs). Employing an array of recordings-some cuts appear on previous releases, others are outtakes from studio sessions, live tracks or demos-Reid's intent was to compile an album that would be both a greatest hits collection and a musical sampler.

While never quite achieving wide popular success, Reid is nonetheless a masterful musician with an encyclopedic knowledge of his genre and a body of work that ultimately deserves generous recognition. Dreamer showcases Reid's wide-ranging talents as a multi-instrumentalist songwriter, interpreter, arranger and musical historian. These gifts are most obvious on Instrumentals, where without the distraction of vocals his soulful playing shines-from the Civil War ballad "Lorena" and its plaintive autoharp, lap steel and six-string arrangement; to the stripped-down, flat-picked version of the rollicking "Arkansas Traveler"; to "Five Cent Cigar," a traditional-style rag composed by Reid and played on guitar. The disc also illustrates Reid as technician, spotlighting the various instruments, techniques, tunings and styles he employs.

Beyond the first track-a rousing live recording of Geoff Mack's epic tongue-twisting romp, "I've Been Everywhere"-Songs, on the other hand, is mostly unremarkable. Though more competent than most, Reid is at his least compelling as folk singer and singer/songwriter. The best songs are the more whimsical ones-such as the live recording "Lonesome As Can Be,"-where energy and harmony dominate.

In this format, where Reid's songs are set stark in contrast to his instrumental work, they appear to prove that Reid is at his most memorable when one of his instruments is speaking for him.

 
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