David Rea – Reviews

Reviews of “Times Seven”

And lo, it came to pass that the planet cowered in thrall to sensitive, moody people with acoustic guitars and songs about just how angstful it was to be such a person.

Which may well be how scholars of the future record the Great Singer/Songwriter Scourge of the ‘90s. Which is not to be confused with the Great Folk Scare of the ‘60s—David Rea arguably was a part of that one, hanging as he did with Joni Mitchell (whose portrait of Rea back in the day adorns his album cover), Neil Young, Gordon Lightfoot and others. He recorded the first two of his seven albums as part of the New York folk scene and co‐wrote Mountain’s hit, “Mississippi Queen,” during the same period. But 30 years and who‐knows‐how‐many songs down the road, the man is a blessed antidote to the S/S scourge.

And if he hadn’t chosen to open the album with Merle Travis’ “Three Times Seven,” which begins, “I’m three times seven and I do as I doggone please…” a person might’ve been able to point out just how long it takes for the personal pronoun to crop up in Rea’s work. The idea being that the longer it takes for “I” to rear its serified little head, the less whining is apt to transpire and the more stories likely are to get told. Still, there’s not much worry with Rea, who is a storyteller like Woody Guthrie and is as little given to moody navel gazing.

What he is, really, is a great blues singer. His laconic resignation on Travis’ “Dry Bread” is absolutely eloquent of a man who’s been up and down but most importantly still is. Rea’s own “Beyond the Reach of the Law” is a fine outlaw ballad, and his rendition of Robert Johnson’s “Walkin’ Blues” conveys the propulsive urgency of the original better than any number of other covers.

His offhand mastery of Johnson’s complex guitar style raises the whole issue of Rea as one of the finest acoustic guitarists you’re likely to hear. Whether it’s his recreation of Johnson’s skittering, scattershot slide style, the crystalline fingerpicking of Travis’ “Old Aunt Dinah” or a lilting Celtic medley called “Carrick Fergus/Raglan Road,” Rea’s technique is impeccable without ever being pedantic. John Foyston, The Oregonian, September 22, 2000

On his seventh album, David Rea’s stellar guitar playing combines with his rough, but expressive, vocals on a 17‐song set that stretches out over 66 minutes. Rea has a good time on sly tunes like Merle Travis’ “Three Times Seven,” finds Robert Johnson’s demons in “Walkin’ Blues” and is delightful on a Georgia Sea island medley of “Kindlin’ Wood” and “Things Are Coming My Way.” There are also some good original songs, a couple of instrumentals and Rea’s versions of songs by both Ian and Sylvia Tyson, for whom he played lead guitar back in the 1960s. Mike Regenstreif, SingOut! Spring 2001, Vol. 45 #1

David Rea has a sparkle that doesn’t fade with time. He’s been a superb artist for nearly four decades, recording with Gordon Lightfoot, The Clancy Brothers, and Jesse Winchester, just to name a few. David feels that at the age of fifty‐plus, he’s just hitting his stride. He’s recently been doing more writing, and five of his originals are included on this album: “Hands Up,” “Covered Bridge,” Harlequin Romance,” David Rea – Reviews

“Beyond the Reach of the Law,” and “Heroes of My Childhood.” Among songs by other writers is one called “Faded Blue,” written by Ian Tyson thirty‐five years ago and never before recorded. David notes that Tyson, “saved it for me, wrapped in tinfoil in his refrigerator, like a pack of old cigarettes.” The moving instrumental medley, “Carrick Fergus/Ragland Road,” showcases David’s incredible finger picking and demonstrates the depth of his artistry. Rea has such mastery of his instrument, he makes even the most difficult licks sound like the guitar just plays itself. That winsome, gravelly voice drives a song along through colorful imagery and wild tales, while Portlanders Meryle Korn, Gordon Euler, Jonathan Lay, Jenny Conlee, David Lipkind, Tom May, and Rick Young, add their fine talent to this terrific album. Marilyn O’Malley, Victory Music Review, February, 2001

David Rea sent along a copy of his new album too! And it’s a cracker! Hot pickin’ and some spiffy new tunes fill out “X 7,” his seventh album. David, who you will remember, co‐wrote Mississippi Queen, Is a link to the Jimmie Rogers’ era of songwriters. He tells little stories about life, and wraps them up with some fine picking on his Martin. He is joined by Tom May on Irish whistle, Rick Young on bass, and vocal/instrumental group Shanghaied on the Willamette for a richer sound than he had on his last album. Here he sings songs by Merle Travis, Ian Tyson and even Al Jolson! But they all sound like David Rea. Check out the cover art, by David’s longtime friend, Joni Mitchell! David Kidney, The Rylander, Series E, Number 4

Reviews of “Shorty’s Ghost”

On this highly enjoyable “me and my guitar” solo recording, David Rea displays three very different musical personalities: merging four enchanting, laid‐back originals with formidable instrumentals and classic blues. On the composed songs, his rich melodies float his interesting lyrics. These include the title song…about a haunted hotel…a personal take on the old story “My Evangeline”…the charming bouncy love song “I’ve been to Texas”; and “Old Cat Song,” about relaxing and being content. In between, Rea demonstrates the guitar skills that made him such a strong part of the Ian and Sylvia sound. He chooses two very different instrumentals, Merle Travis’ “Saturday Night Shuffle” and an O’Carolan medley, to display his impressive guitar style. Rea’s arrangements of classic blues look to Mississippi John Hurt, Blind Blake, and Robert Johnson for inspiration. Having recorded an award‐ winning documentary for the Canadian Broadcasting Corporation on Johnson, Rea is something of an expert on this mysterious, legendary blues artist. That said, there’s no mistaking Rea for the originals, as he sets out in his own direction to effectively interpret these blues masterpieces including Hurt’s “Stack O’Lee” with some original commentary woven into the song, and Johnson’s “Come On In My Kitchen.” He really pulls out all the stops on his rewrite of Johnson’s “Hellhound On My Tail.” Rea’s bottleneck guitar matches many of the great artists of the genre, screaming up and down the neck of the guitar like a Porsche on a mountain road. Recommended to lovers of good songwriting and acoustic blues played by a real artist. Rich Warren, Sing Out! Fall 1998, Vol. 43 #1

David Rea’s music immediately reaches for the inner linings of the heart and warms the cockles effortlessly. This Akron, Ohio native has been a fixture of recordings by Ian & Sylvia, Gordon Lightfoot David Rea – Reviews and briefly played with Fairport Convention. Now comes “Shorty’s Ghost,” his latest collection of story songs and choice covers from the blues, folk, and traditional fields. In a solo recording with just voice and guitar and an enthusiastic audience, the atmosphere of his live gigs comes across. Some John Renbourn‐inspired picking emerges on “O’Caralon Medley.” “I’ve Been to Texas” and “My Evangeline” swing like no tomorrow, and the epic title track is a spine‐chiller, while a brace of blues classics, including “Come On In My Kitchen” and “Travelin’ Riverside,” recreate the warm, front‐porch atmosphere of the great blues masters. Come to think of it, David Rea’s pretty much a master himself— and here’s the proof. John O’Regan, Dirty Linen, May 1998

David Rea has been playing his brand of American music for 40 years…and he is getting better and better. His new album, Shorty’s Ghost, is his sixth collection and it’s a goodun!

David has played with everybody. From the first Gordon Lightfoot album, through session work with Ian and Sylvia, Buffy Ste. Marie, songwriting with Leslie West (Mississippi Queen), replacing Richard Thompson in Fairport Convention, recording with Jesse Winchester, the Grateful Dead, the Rascals, David has done it. He even appeared on Mike Seeger’s 2nd Annual Farewell Reunion, an album RPC also guests on.

Shorty’s Ghost is an outstanding collection which highlights David’s stunning acoustic guitar playing and his great taste in songs. His own songwriting is remarkably good. He writes the kind of song that seems to be immediately familiar. They sound like old songs, classics. The album includes the Jimmie Rodgersish “I’ve Been To Texas,” an Acadian romance “My Evangeline,” and the folk‐narrative title song. You’ll be singing along with “Old Cat Song” after the first listen.

Recorded live with just a bass player, the album sounds like its working title (Official Bootleg). David’s trademark D45 filigrees are clear and ringing—and his bottleneck work on a selection of Robert Johnson blues is outstanding. He also performs one of his trademark talking blues transforming Mississippi John Hurt’s “Stack ‘o Lee” into a mystical legendary hero. Rylander Review, Fall 1998

Reviews of “The Brass Ring”

This guy is great! Rea has played with legions of the last three decade’s greats, including Lightfoot, Fairport, and Mountain. On this album, you can hear where he has been and where he is going. The title cut rollicks along country style and lays down an easy, hopeful message. “Lazy Fishin” elaborates on the “Fishin’ Blues,” “Twilight Bay” features excellent finger picking. The standout on the album is “Lone Wolf.” This one is for all of you sickened by the airplane hunting of Alaska’s wolves. Victory Music Review

David Rea came to my attention in the 1960s when he played in Gordon Lightfoot’s band; subsequently he worked with Judy Collins, Ian & Sylvia, Ramblin’ Jack Elliot, and various combinations that included Jesse Winchester, Tom Rush, the New Riders and others…Vocally, he reflects Lightfoot (or Ian Tyson) David Rea – Reviews and Elliot—clean delivery and broad range. His ballad, “A Lover’s Ghost,” is as poignant and pretty a love song as you’ll hear, and his story‐songs about the Canadian North Country (“Maple Syrup,” “Twilight Bay,” “Fish for the Table”) have a delightful Woody Guthrie style. Phil Elwood, San Francisco Examiner