cat#|Track|Time|Year|personnel|live|Blurb|Original|format|studio|engineer|  group|
101-01|The Albatross|4:03|1982|H. Reid (slide guitar)|Studio|On 1st LP "Nothin' But Guitar." Re-recorded in 1989 for "Solo Guitar Sketchbook." This is the first studio recording of this, which is still the only piece known that uses this clever trick to play minor-key slide guitar. The guitar is tuned major, then has a capo on all but 1 string at the 1st fret, making the open chord minor, but the slide makes major chords wherever it is placed. It is played on a 1965 12-string Mosrite Dobro (with only 6 strings on it) with heavy gauge strings and fingerpicks. There is also a live version available here. It is very very rarely performed.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-02|Le Petit Rien|1:32|1982|H. Reid (guitar)|Studio|On 1st LP "Nothin' But Guitar." Played on a 1974 Gallagher guitar with fingerpicks in standard tuning, capo 2. A little baroque piece learned from a book, appears nowhere else. There is a nice outtake of this also.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-03|Simple Gifts|2:16|1982|H. Reid (guitar)|Studio|Recorded in Open-A capo configuration on B-45 Gibson 12-string, with fingerpicks. This track was re-recorded for inclusion on Chestnuts, using the Taylor 12-string.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-04|The Fisherman|2:35|1982|H. Reid (guitar)|Studio|Leo Kottke's fingerpicking classic, played on the 1974 Gallagher guitar with fingerpicks, capo 2. Re-recorded in 1989 for "Solo Guitar Sketchbook." Slower and sweeter, but less steady than the newer version. There is also a very nice live version from the Holstein's 1985 concert.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-05|The Elves And The Shoemaker|3:09|1982|H. Reid (guitar)|Studio|This cut was re-issued  on #105 Solo Guitar Sketchbook, and is the same exact track. It is the only one from #101 that was used-- the other 8 that appeared on the CD were re-recorded. It is played in G in normal tuning, with fingerpicks. One of the tunes Harvey played to win the National Fingerpicking contest. Written in 1972.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-06|Rocky Road|2:13|1982|H. Reid (guitar)|Studio|The only thing Harvey ever recorded in Open E capo, which uses 2 Third Hand capos to form an E chord. Standard tuning, fingerpicks.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-07|I'll Fly Away|2:33|1982|H. Reid (12-string guitar)|Studio|Recorded on a Gibson B-45-12, with capo Open A and fingerpicks.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-08|Minuet In G|1:32|1982|H. Reid (guitar)|Studio|This is essentially Sophocles Pappas' transcription of the Segovia arrangement, played with fingerpicks. It was later re-recorded for the 6-string banjo album, and there is another 2001 unreleased version available below, done bare-finger for an Apple Computer software release.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-09|For Whom The Bell Tolls|4:14|1982|H. Reid (guitar)|Studio|Mock flamenco played with fingerpicks, this is one of the tunes Harvey played in the finals to win the National Fingerpicking contest. It was re-recorded, on #105cd and again for the 6-string banjo CD.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-10|Dirty Dish Rag|2:31|1982|H. Reid (guitar)|Studio|One of the tunes Harvey played to win the National Fingerpicking contest. One of a handful of his works that use a sophisticated right hand technique (Scruggs banjo roll played with the fingers with a Travis thumb line) Harvey developed, and which may be unique to him. The technique also appears on "Slipped Through My Hand" and "Mockingbird" though this is the most involved piece that uses it.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-11|Wildwood Flower|2:42|1982|H. Reid (guitar)|Studio|On 1st LP "Nothin' But Guitar." An interesting use of 3 partial capos to make the open strings of the guitar all E's and B's (no 3rd of the E chord), combined with the use of a flatpick makes the guitar sound like a large mountain dulcimer. This is the only cut ever recorded in this "tuning", where capos are placed at the 2nd, 5th and 7th frets to make the open strings (from bottom) E B E B B E|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-12|Slipped Through My Hand|2:17|1982|H. Reid (12-string guitar)|Studio|Uses Open A capo configuration. This is the original version; it was re-recorded on the Taylor 12-string for Solo Guitar Sketchbook. There is a vocal version on LP # 102.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-13|Irish Washerwoman/ Home From The Sea|2:19|1982|H. Reid (guitar + rhythm guitar)|Studio|A rare flatpicking cut, with very solid picking. The second tune was learned from a book of fiddle tunes. The rhythm guitar was overdubbed.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-14|The Ghost Of Casey Jones|2:39|1982|H. Reid (slide guitar)|Studio|Improvised in the studio, to fill the need for a slide guitar piece for the album. Only recording of this.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
101-15|Farewell To Tarwaithe|3:01|1982|H. Reid (guitar)|Studio|First thing ever recorded in Double-dropped E capo configuration, where middle 4 strings are capoed at fret 2. This simple melody can then be played in 2 octaves, plus with harmonics.|#101-Nothin' But Guitar LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Nothin' But Guitar|
102-01|Dreamer Or Believer|3:15|1983|H. Reid  (guitar & vocal) Rick Watson (guitar & vocal)|Studio|1st recording of this song, with Rick Watson on 2nd guitar and harmony vocal.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-02|I Will Learn To Love You|3:52|1983|H. Reid  (12-string & vocal), Brian Silber (violin), Lynn Rothermich (vocal), Rick Watson (piano & vocal)|Studio|The only studio recording  of this song. Harvey is playing rhythm on his B-45 Gibson 12-string.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-03|Raspberry Reel|2:26|1983|H. Reid  (guitar) Brian Silber (violin), Akira Otsuka (mandolin), Al Petteway (bass)|Studio|The only recording of this tune. A rare flatpicking composition by Harvey, with Akira Otsuka- mandolin, Al- Petteway-bass, Brian Silber- violin.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-04|Slipped Through My Hand|3:31|1983|H. Reid  (12-string guitar & vocal), Brian Silber (viola), Lynn Rothermich (vocal)|Studio|First (and so far only) vocal recording of this song. This first appeared as a guitar instrumental on #101 LP, and was re-recorded on #105 Solo Guitar Sketchbook. Few people know this was originally a song, and the much-requested instrumental grew out of the guitar breaks on the song. Harvey is playing his B-45 Gibson 12-string. (It's usually sung in F and this is in G to accomodate the viola.)|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-05|Suite In F- Part 1|2:03|1983|H. Reid  (guitar)|Studio|Written in 1982, this was the first piece of instrumental music written for the Esus partial capo configuration, and this is the first recording of it. A transcription appears in the book "Sleight of Hand." It was re-recorded on Solo Guitar Sketchbook, using the Taylor 810 guitar.  Harvey plays rhythm autoharp on Part 3 of this version.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-06|Suite In F- Part 2|2:03|1983|H. Reid (guitar)|Studio|Written in 1982, this was the first piece of music written for the Esus partial capo configuration, and this is the first recording of it. A transcription appears in the book called Sleight of Hand. It was re-recorded on Solo Guitar Sketchbook, using the Taylor 810 guitar. |#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-07|Suite In F- Part 3|2:33|1983|H. Reid (guitar & autoharp)|Studio|Written in 1982, this was the first piece of instrumental music written for the Esus partial capo configuration, and this is the first recording of it. A transcription appears in the book called Sleight of Hand. It was re-recorded on Solo Guitar Sketchbook, using the Taylor 810 guitar.  Harvey plays rhythm autoharp on Part 3 of this version.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-08|All Or Nothing (It's Up To Me)|3:15|1983|H. Reid  (guitar, lead guitar, autoharp), Brian Silber (violin & viola), Lynn Rothermich (vocal), Rick Watson (vocal), Robbie Flint (pedal steel), Ron Freeland (snare)|Studio|Harvey plays lead guitar and lead autoharp and trades licks with Robbie Flint, who has been Alan Jackson's pedal steel player for many years. They were playing in a band together in Virginia in 1980. This is to date the only cut with a drum in Harvey's catalog.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-09|Cryin' Shame|4:00|1983|H. Reid (guitars & vocal, slide guitar)|Studio|Harvey plays 3 guitars on this-- a fingerpicked rhythm/lead,  a flatpicked rhythm, plus a lead slide guitar. Quite a different feel from the other recordings of this on #106 and #112.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-10|The Flower Of Loudoun County|4:14|1983|H. Reid  (guitar, autoharp & vocal), Brian Silber (viola), Lynn Rothermich (vocal), Robbie Flint (pedal steel)|Studio|The only studio recording of this to date. Harvey lived in Virginia for a few years in the early 1980's. Recorded vocal + autoharp, with overdubbed fingerpicked guitar.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-11|Johnny The Fisherman|3:21|1983|H. Reid  (6 & 12-string guitar, lead guitar & vocal), Brian Silber (violin), Lynn Rothermich (vocal), Rick Watson (vocal & bass vocal)|Studio|One of the only examples of a guitar technique Harvey developed, using a 12-string played like a melodic banjo. (See also: Pegasus & Dance the Storm is Over) The solos on Part 1 of this song are done this way, with rhythm autoharp. The instrumental part is another rare flatpicking cut, with a rhythm guitar overdubbed.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
102-12|A Very Old Song|4:53|1983|H. Reid (guitar & vocal)|Studio|Possibly the first song written in the now-famous Esus capo configuration. Played with fingerpicks in Esus with a Third Hand Capo, later version (#112) is played bare-finger in Eb, with Shubb Esus capo, which allows a different V chord. A very early celtic song, pre-dating the celtic music revival by quite some time.|#102- A Very Old Song LP|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#102 A Very Old Song|
103-01|The Last Dance Of Summer|2:29|9/21/86|H. Reid  (autoharp), Brian Silber (violin)|Studio|A classic cut-- written and recorded on the Fall Equinox, this is a magical blend of rhythm autoharp and violin on melody.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-02|Twilight|5:24|1986|H. Reid  (guitar & vocal), Brian Silber (viola)|Studio|One of Harvey's most mysterious and lovely songs, and one that rarely gets performed. Guitar, vocal and viola.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-03|The Bonnie Streets Of Fyvio |2:07|1986|H. Reid  (autoharp), Brian Silber (viola)|Studio|Just the autoharp and viola intertwining.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-04|The Fisher's Hornpipe |1:42|1986|H. Reid  (mandolin, jew's harp), Brian Silber (violin)|Studio|Nice mandolin work by Harvey on his old fiddle tune classic. With a rare overdub of jew's harp.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-05|Old Portsmouth Town|5:17|1986|H. Reid  (guitar & vocal), Rick Watson (piano & vocal), Linda Schrade (vocal)|Studio|One of Harvey's most requested songs, and one he has never done a "Studio" version of. He used to perform quite a bit in the early 1980's with this trio (with Rick Watson and Linda Schrade), and this is the only recorded cut from them.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-06|The HunterŐs Moon|7:41|1986|H. Reid  (guitar), Brian Silber (viola)|Studio|An extended, improvised, moody celtic-flavored guitar & viola duet.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-07|The Road To Dundee |2:42|1986|H. Reid  (autoharp), Brian Silber (viola)|Studio|Possibly the sweetest autoharp/viola duet Harvey ever recorded. Achingly beautiful.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-08|Guide Me|3:19|1986|H. Reid  (guitar & vocal), Brian Silber (vocal), Lynn Rothermich (lead vocal)|Studio|Just a guitar and 3 voices on a gospel-style song. Lynn sings lead.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-09|The Coming Of Winter |5:35|1986|H. Reid  (autoharp), Brian Silber (violin)|Studio|One of the recording hilights of Harvey's career, this is one of the most captivating and hypnotic things he ever recorded. This violin/autoharp duet has never been performed, and is of immense interest to autoharp fans.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-10|The Minstrel's Dream|22:11|1986|H. Reid (guitar)|Studio|One of Harvey's most amazing performances-- an unedited epic solo guitar performance, and the first of his tunes to feature his invention of using van Halen style 2-handed tapping to mimic a bagpipe. A must for fans of his guitar work.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-11|Lord Of The Dance |2:25|1986|H. Reid  (autoharp), Brian Silber (violin)|Studio|Another of the brilliant autoharp/violin duets from this 1986 album.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-12|Archibald MacDonald Of Keppoch |3:57|1986|H. Reid (guitar)|Studio|An extended and captivating Scottish slow air on solo guitar.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
103-13|Gathering The Harvest|5:15|10/6/86|HR (autoharp, guitar & vocal)|Studio|Recorded the day it was written, a Thanksgiving song, and some of Harvey's best lyrics ever, sung to a memorable hymn-like melody. Voice, autoharp and guitar.|#103- The Coming of Winter|Reel|The Cottage (Bath, Maine)|H. Reid|#103 The Coming of Winter|
485-01|Suite In F Intro|:25|3/5/85|H. Reid (spoken)|Live|spoken intro|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-02|Suite In F|6:30|3/5/85|H. Reid (guitar)|Live|A complete live version of the classic 3-part suite-- arguably the first piece ever written (1982) in the Esus capo configuration. There is some room noise, and the sound quality is not as good as others in this show (it was the opening tune of the show, and the levels were not perfect) but it is a clear and strong version. Part 3 particularly shines.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-03|Dreamer Or Believer|3:39|3/5/85|H. Reid  (guitar & vocal)|Live|Very fast and strong guitar-- a solid version, one that shows the early sound.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-04|My Zebra Is A Libra Intro|:45|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's
Comedy Songs|
485-05|My Zebra Is A Libra|2:51|3/5/85|H. Reid (guitar & vocal)|Live|This is the same concert that brought us the Cocaine Blues (all 11 mins of it on "In Person" ), and was a high-energy night. This is the only recording of this novelty song about the zodiac. Some of the best singing done in that era.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-06|Restless Man/ Police Dog Blues Intro|:17|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-07|Restless Man/ Police Dog Blues|4:16|3/5/85|H. Reid (slide guitar & vocal)|Live|A little unsure and choppy, but a good example of Harvey's early sound.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-08|Simple Gifts/Dance The Storm Is Over Intro|:52|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-09|Simple Gifts/Dance The Storm Is Over|6:18|3/5/85|H. Reid (12-string guitar)|Live|Played on Harvey's B-45 Gibson 12-string, this is the only live version of this amazing guitar piece, one of Harvey's most difficult and original ever, and one he has not performed in many years. The studio version (on #104 Of Wind & Water) features David Surette on rhythm bouzouki, and this one shows any doubters that Harvey really could play this piece unaided. The melody is played chromatic-banjo style, with the thumb on the octave strings interweaving with the fingers on treble strings to generate a harp-like effect. The guitar tone is not what he later got out of his jumbo Taylor, but the guitar playing is clear.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-10|Vigilante Man|4:15|3/5/85|H. Reid (slide guitar & vocal)|Live|Harvey's earliest recording of this song, and does not contain the percussion solos Harvey has made a trademark of his version. They apparently emerged somewhere between March 1985 and July 1986.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-11|The Fisherman/ Minuet In G|4:23|3/5/85|H. Reid (guitar)|Live|A very clean and strong version of the classic Kottke instrumental, and the only live recording of this Bach Minuet to date. Great playing and sound quality.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-12|Down Yonder Medley|3:42|3/5/85|H. Reid (autoharp)|Live|A tour de force of Harvey's autoharp. A medley of "Down Yonder", "The Old Spinning Wheel" and "Redwing" played in G. No one else has ever played autoharp like this.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-13|Talking Organic Food Intro|1:53|3/5/85|H. Reid (spoken)|Live|The spoken intro to the Talking Organic Food.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-14|Talking Organic Food|2:34|3/5/85|H. Reid  (guitar & vocal)|Live|The only recording of a song Harvey wrote in high school about his brother. Very funny, with nice bluegrass guitar.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-15|Cryin Shame Intro|:17|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-16|Cryin Shame|4:18|3/5/85|H. Reid (slide guitar & vocal)|Live|The song was new, and Harvey was living in his car, and there is an urgency here you don't hear any more.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-17|The Entertainer|3:05|3/5/85|H. Reid (guitar)|Live|The only recording of this ragtime piece done on guitar. Very strong fingerpicking. Harvey played this piece in the finals at Winfield in 1981 to win the National FIngerpicking contest.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-18|Fiddle Tune Medley|6:52|3/5/85|H. Reid  (guitar)|Live|Possibly the best cut from this concert. The only recording of several fiddle tunes Harvey arranged for Esus fingerstyle guitar. "Lord Inchiquin", "Flowers of Edinburgh" (The arrangement published in the "Sleight of Hand" book!), "Whiskey Before Breakfast", and "Rickett's Hornpipe." The last of these he re-recorded for the banjo CD. The guitar work is stellar and strong-- great sound quality. A real find.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-19|The Flower Of Loudoun County Intro|:38|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-20|The Flower Of Loudoun County|4:04|3/5/85|H. Reid (autoharp & vocal)|Live|A very nice version (and the only live version in our vaults) of this much-requested ballad. Just autoharp & voice.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-21|Dirty Dish Rag Intro|:24|3/5/85|H. Reid (spoken)|Live|Spoken intro to song. Free with purchase of song. (Specify if you want it.)|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-22|Dirty Dish Rag|2:31|3/5/85|H. Reid (guitar)|Live|Harvey's ragtime guitar at its best. A few mistakes but a very lively version, for anyone who wonders what he sounded like playing this live.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
485-23|Old Portsmouh Town|5:07|3/5/85|H. Reid (guitar & vocal)|Live|The song was only 8 months old when this was recorded. The other 2 live versions with harmonies are better, but this is a one-of-a-kind old and solo version.|Unreleased|F-1|Holstein's (Chicago IL)|Rich Warren|Live at Holstein's|
486-01|Vigilante Man|5:05|1986|H. Reid  (slide guitar & vocal)|Live|This exciting cut was captured during a tribute to Woody Guthrie, presented by 8 Seacoast folk musicians, including Harvey, Cormac McCarthy, Susie Burke, John Perrault, Linds Schrade and Jim MacDougall. This was Harvey's solo number, and is the earliest recording of his "drum-solo" approach to the song, with a lot of different moves than the later versions, which date to 1990. Quite interesting and exciting.|Unreleased|Cassette|Portsmouth High School|H. Reid|Misc Live Cuts|
494-01|Vigilante Man|5:34|8/18/94|H. Reid (slide guitar & vocal)|Live|This is the 4th version of this, after the very early 1985 and 1986 live cuts and the 1990 studio version. It appeared on the Folks Live CD put out by the Folks Festival. It was recorded on stage at the folk festival, and is a quite inspired performance. Probably the 2nd best, after the one on #112.|Folks Live CD|ADAT|Lyons, CO|Kevin Clock|Misc Live Cuts|
495-01|Missing A Train|2:44|9/30/95|H. Reid (octave mandolin & vocal)|Live|This was recorded at a 25th anniversary tribute to the Stone Church, a Seacoast area music club. It rocks hard.|Live From the Stone Church Vol 2 CD|ADAT|Stone Church|Todd Jones|Misc Live Cuts|
495-02|The Minstrel's Dream|6:13|9/30/95|H. Reid (guitar)|Live|This was recorded at a 25th anniversary tribute to the Stone Church, a Seacoast area music club. It is a shortened version of the monumental piece.|Live From the Stone Church Vol 2 CD|ADAT|Stone Church|Todd Jones|Misc Live Cuts|
500-01|Guide Me|3:22|Jan 2000|H. Reid  (guitar & vocal), Joyce Andersen (vocal)|Studio|This is the 2nd version of this. The original from 1986 (#103cd) featured Harvey on guitar and with Lynn Rothermich & Brian Silber on harmony. This one features just the guitar and 2 voices.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
500-02|L-O-N-E-S-O-M-E|3:00|Jan 2000|H. Reid  (guitar & vocal), Joyce Andersen (fiddle & vocal)|Studio|This novelty song is one of 5 brilliant Reid originals that appeared  on Lonesome Dave & the North Dixie Road Kings tape in 1989, featuring the bluegrass band. This version is a duet by Harvey & Joyce, and features their tight harmony singing.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
500-03|To The Western Wind |4:20|2000|H. Reid  (guitar & vocal), Joyce Andersen ( vocal)|Studio|This is the 3rd version of this. The original from 1988 (#104cd) featured Harvey on 12-string and with Lynn Rothermich on harmony. Version 2 was Harvey solo on his live CD. This one features a faster more driving tempo, done on 6-string, with just the guitar and 2 voices.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
500-04|Why Don't You Love Me?|2:29|2000|H. Reid  (guitar & vocal), Joyce Andersen (fiddle & vocal)|Studio|This is an out-take from Joyce and Harvey's duo CD. Has some snappy rhythm guitar from Harvey and good swing fiddling from Joyce.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
501-01|Bury Me Beneath The Willow|2:29|Jan 2001|H. Reid  (6-string banjo & vocal), Joyce Andersen (fiddle & vocal)|Studio|This is an out-take from Joyce and Harvey's duo CD. It is a fine example of Harvey's unique "faux-frailing" technique on the 6-string banjo. Recorded live in the studio with no overdubs.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
501-02|Minuet In G|1:39|12/3/01|H. Reid (guitar)|Studio|Harvey re-learned and re-recorded this for Apple Computer, which they included in the release in 2002 of their product iPhoto. This is the version they used, in full fidelity, rather than the MP3 used in the software.|Unreleased|16-bit MOTU|Woodpecker Studios (York ME)|H. Reid|Misc. Outtakes|
595-01|Are You From Dixie|2:07|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|An old pre-bluegrass classic learned from the Blue Sky Boys, sung as a duet throughout.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-02|Cashmere & Cocaine |2:45|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A lovely recording of a gem of a song written by one of Harvey's street music partners 25 years ago. Fingerpicked, with Lynn on harmony on choruses.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-03|Coat Of Many Colors|3:39|11/15/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|Lynn sings lead, Harvey sings harmony and plays some rare and beautiful straight-ahead Carter style rhythm guitar with Maybelle-style solos. |Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-04|Come Walk With Me|2:32|8/11/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal), David Surette (mandolin)|Studio|A spirited version of a Joe Val bluegrass song, with some strong but rare pure bluegrass mandolin work by David Surette, and some very crisp bluegass rhythm guitar and lead vocal by Harvey.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-05|Crossing The Water|2:24|8/9/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A rousing duet version of Bill Staines' uplifting song, with guitar and 2 vocals.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-06|I Call Your Name|3:22|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A very fun cut, with guitar and 2 vocals, literally recorded at 3 AM when Lynn did not know the tape was running. Some great harmony singing and cool ragtimish guitar work.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-07|I Might Fall Again|3:34|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|Lynn sings lead, Harvey on harmony and fingerstyle guitar. A beautiful song by Harvey's old street music pal Jerry Shelfer, and one that keeps never making it onto an album.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-08|Mississippi You're On My Mind|3:37|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal), David Surette (mandolin)|Studio|Lynn sings lead, Harvey on harmony and flatpicked guitar. A very sweet cut, that precedes by 5 years the stellar version on "Great Sad River" with Joyce Andersen. David Surette adds some nice mandolin.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-09|Old Buddy Goodnight |3:17|11/15/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A duet version of this lost gem from the masterful pen of Bruce (Utah) Phillips. Perfect harmony vocals.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-10|Satan's Jeweled Crown|4:12|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A powerful rendition of this gospel classic, with traded lead vocals and great rhythm guitar.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-11|Set Your Fields On Fire|2:11|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A bouncy and fun version of a bluegrass gospel show-off song, done as a duet with guitar and 2 vocals.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-12|Sunny Banks Of Sweet Deliverance|3:11|7/24/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A rare find, and a brilliant duet performance of this lost gem of a gospel song. Very powerful singing.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-13|True Blue Lou|2:12|8/10/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal)|Studio|A late night ragtime fun song, learned from R. Crumb in 1975. Duet with fingerpicked guitar. Unlike anything else in the catalog.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-14|Why Don't You Love Me?|2:10|8/11/95|H. Reid  (guitar & vocal), Lynn Rothermich (vocal), David Surette (mandolin)|Studio|Nice flatpick guitar work, sharp duet vocals, and some great swing mandolin from David Surette on this Hank Williams classic.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
595-15|Why Should I Be Lonely?|4:02|8/10/95|H. Reid  (guitar), Lynn Rothermich (vocal)|Studio|Just Lynn's vocals and Harvey's guitar in a sweet and reverent version of this rarely heard song from the Singing Brakeman. A nice lesson in how to play Jimmie Rodgers songs on guitar.|Unreleased|DAT|Woodpecker Studios (York ME)|H. Reid|"Joined at the Voice"|
601-03|Wreck Of The Isidore (Solo)|7:13|4/15/01|H. Reid (guitar & vocal)|Studio|This is just the very strong rhythm guitar and vocal track from the epic recording of "The Wreck of the Isidore." There was a bit of overdubbing on the CD, with violin, harmony vocals, bass and mandocello added, This is just the powerful solo performance, done in a single take, which is interesting in its own right.|Unreleased|24-bit|Woodpecker Studios (York ME)|H. Reid|#115 Outtakes|
682-01|For Whom The Bell Tolls|4:33|1982|H. Reid (guitar)|Studio|This is a very exciting and interesting and somewhat longer alternate take of this tune. Unclear why it was not used.|Unreleased|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Outtakes|
682-02|Last Steam Engine Train|3:14|1982|H. Reid (guitar)|Studio|Out-take from the 1st LP. A pretty hot version, and not used because Harvey did not want to include 2 Kottke tunes, and already had a train song.|Unreleased|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Outtakes|
682-03|Le Petit Rien|1:32|1982|H. Reid (guitar)|Studio|An alternate take of the tune, played on the Charles Hoffman guitar Harvey won at Winfield. Very sweet and strong. Unclear why this was not used.|Unreleased|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Outtakes|
682-04|Musette In D|1:48|1982|H. Reid (guitar)|Studio|Out-take from the 1st LP. A nice baroque piece, and Harvey's own arrangement. Played in Dropped D tuning.|Unreleased|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Outtakes|
682-05|Wildwood Flower|2:37|1982|H. Reid (guitar)|Studio|An out-take from the 1st LP-- not much different from the one that was used.|Unreleased (101)|Reel|Track Studios (Silver Spring MD)|Ron Freeland|#101 Outtakes|
682-06|Le Petit Rien|1:31|1982|H. Reid (guitar)|Studio|Version 2  (outtake) of this tune from #101 LP. Played on a Charles Hoffman (currently ownd by Lou Mandris of Incline NV) grand-concert koa guitar won at Winfield the Sept before. Played with fingerpicks in standard tuning, capo 2. A little baroque piece learned from a book.|Unreleased (101)|Reel|Track Studios Silver Spring MD|Ron Freeland|#101 Outtakes|
690-01|Freight Train Boogie|3:24|6/3/90|H. Reid  ( guitar & vocal), Rick Watson (keyboard & vocal), Dan Crary (guitar & vocal)|Live|This is Harvey's only recorded version of this song. A very exciting performance; Harvey sings lead and plays guitar in a trio with Dan Crary on lead guitar and Rick Watson on the piano. There are also 3-part vocals. Harvey's cool guitar break starts around 1:50 and plays twice through.|Unreleased|DAT|Unitarian Church (Portsmouth NH)|Jim Tierney|Misc Live Cuts|
690-02|Dreamer Or Believer|3:44|6/3/90|H. Reid  (guitar & vocal), Dan Crary (guitar & vocal),Rick Watson (bass & vocal)|Live|Harvey sings lead and plays guitar in a trio with Dan Crary on lead guitar and Rick Watson on bass +  3-part vocals. This one is more ragged (but spirited) than some of these out-takes, but is one of only a few cuts of Harvey and Dan playing together.|Unreleased|DAT|Unitarian Church (Portsmouth NH)|Jim Tierney|Misc Live Cuts|
690-03|Matchbox Blues|3:31|6/3/90|H. Reid  (slide guitar & vocal), Rick Watson (keyboard)|Live|Harvey's only recorded version of this boogie woogie piano song. It really cooks, and Harvey sings lead and plays slide guitar in duet with the piano. It is a very exciting take.|Unreleased|DAT|Unitarian Church (Portsmouth NH)|Jim Tierney|Misc Live Cuts|
692-01|In The Suburbs|2:37|10/10/92|H. Reid  (guitar & vocal), Rick Watson (keyboard & lead vocal)|Live|The only recorded version of one of Harvey's rare comedy songs. Rick sings lead in a funny spoof of Elvis' "In the Ghetto."|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
692-02|Kentucky Waltz|3:31|10/10/92|H. Reid  (guitar ), Rick Watson (mandolin), Brian Silber (violin), Lynn Rothermich (lead vocal)|Live|The only recorded version of this. Lynn sings beautifully, and Harvey's bluegrass rhythm is superb. The violin work is also exceptional.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
692-03|Summertime|6:59|10/10/92|H. Reid  (guitar), Brian Silber (violin), Lynn Rothermich (vocal)|Live|A monumental version of this song, with extended and impressive guitar and violin work and a nice vocal by Lynn.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
692-04|Old Portsmouth Town|5:29|10/10/92|H. Reid  (guitar & vocal), Brian Silber (viola), Rick Watson (keyboard & vocal)|Live|A very nice version of the song with Rick on piano and vocals and Brian on viola. As good or better than the original CD version.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
692-05|The Albatross|3:15|10/10/92|H. Reid (slide guitar)|Live|This is the only known live recording of the piece, done at the 10th Anniversary concert in Portsmouth NH, using the same unusual guitar that was used on both studio recordings of the piece. |Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
692-06|Waltz Of The Waves/ Road To Dundee|4:35|10/10/92|H. Reid  (autoharp), Brian Silber (viola), Rick Watson (keyboard)|Live|A lovely medley of 2 of Harvey's most memorable autoharp pieces, done at the 10th Anniversary concert in Portsmouth NH 10/10/92. Brian Silber on viola, Rick Watson on keyboard.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
697-01|Giving Everything Away|3:37|10/9/97|H. Reid  (guitar ), Brian Silber (violin), Lynn Rothermich ( vocal)|Live|Lynn sings beautifully, and Harvey's bluesy guitar is excellent. The violin work is  brilliant. There is distortion on guitar track which mars this otherwise near-perfect cut.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|
697-02|Heartaches|2:59|10/9/97|H. Reid  (guitar ), Brian Silber (violin), Lynn Rothermich ( vocal)|Live|Some of Harvey's only swing-style guitar ever. The violin work is  brilliant. There is distortion on guitar track.|Unreleased|ADAT|Unitarian Church (Portsmouth NH)|Jim Tierney on ADAT|Coming of Winter Concerts|