Reviews

Listen.com:  Drive Through The Fields

Indiana musician does restrained Lo-Fi rock and Surf instrumentals. In the era of bombastic Dick Dale imitators, its nice to hear somebody who knows the value of the "Walk-Don't Run" aesthetic.

 

Demo Universe:  Music For Monkeys

Encouraged by my mildly supportive review of his 2000 instrumental LP Drive Through The Fields, Reavis sent along this 1995 recording for my enlightenment and amusement. "I had two weeks off between my last job and my current one," he writes, "so I borrowed a friend's 4-track and got this down on tape quickly. It's a bit more primitive." And a good deal more exciting than the wallpapery Fields. Not only do we get to hear Phil sing a few tunes (it's a deadpan baritone) but Music For Monkeys also reveals the breadth and depth of his considerable talent as a guitarist. "West Of Here" and "Troubled Times" show the influence of psychedelic pioneer Syd Barrett, "Christian Barn Anthem" is spiky jazz a la Charlie Christian, and the reverb-laden "I (Heart) The Feelies" pays stirring tribute to that much-hearted band without saying a word. Hot and slashing, Reavis' cover of "The Prisoner" theme helps me understand the comparisons to Dick Dale that he's garnered. If you're into guitar, and don't mind a lo-fi recording, Music For Monkeys is more fun than a barrel of Mosrites.

 

Splendid E-Zine:  Drive Through The Fields

A veteran of nearly a dozen bands, Phil Reavis has most likely played just about every type of music imaginable. Drive Through the Fields gives him the opportunity to let fly with waves of lo-fi bluesy surf guitar licks. Reavis' influences stem from Dick Dale to Stevie Ray Vaughan, showing equal love for each's distinct style of play. "Return to Zero" adds muted horns over Reavis' dueling cascade of gentle strum and Dale-like noodling. Reveling in its lo-fi roots, the album has a warm, lived in quality. A worthwhile experience Drive Through the Fields proves to be nothing too flashy -- just a nice instrumental journey through those lazy rural summer nights.

 

AutoReverse:  Drive Through The Fields

Opens with the title track, an acoustic/acoustic/bass (?) strum-along that initially recalls The Ventures but then drifts off to...er, wherever, basically. "Highway 17 (Driving to Santa Cruz)" is more a cross between The Ventures and a relaxed Dick Dale. Drums. Somewhat traditional guitar solos. Several of the songs are broken down to just a couple guitar tracks; recalling the openness of a desert road or something. "It's Alright" is an eight minute epic of acoustic guitars and bongos...and singing! Co-ed! And backward guitars. "A Walk In The Woods" is a happy bit of instrumental acoustica. Actually that goes for pretty much the whole CD. It's not lo-fi but it's not cold and distant either. It's a comfortable set of songs...Ian C Stewart, AutoReverse 10, Spring 2000

 

Demo Universe:  Drive Through The Fields

Pleasant, unobtrusive guitar instrumentals in a variety of styles, recorded at home on a 4-track. Some reviewers have made comparisons to Dick Dale, but Reavis is not nearly as incendiary; Drive Through The Fields is more akin to work by England's Shadows, or late-period Ventures, after the surf craze had passed. Nothing on this tape got me hopping, but at the same time, I had no strong urge to turn it off, an achievement of sorts.

 

Demorama:  Drive Through The Fields

Well, I made it through, with heavy use of the "speed-up-the-track" button on my player. First off, I should say that I'm not a fan of rock instrumentals. It seems to me that it requires an entirely different lifestyle. I am reminded of that "Seinfeld" episode when Jerry inadvertently gets himself into a potential m*nage-a-trois situation and whines to George, "I'm not an orgy guy. I'd have to get different clothes, different friends..." The rock instrumental crowd appreciates such things as Allman Brothers Band-length jam sessions and Joe Satriani. I, with the exception of Stevie Ray Vaughn's version of "Little Wing," do not. My shortcomings aside, I can appreciate the players that embark on this risky journey. Without the distraction of vocals, their skill as a musician is in full view. You gotta be good. I mean really damn good. Phil Reavis is merely competent, but at least he has the balls to try. I was reminded of the stuff my college roommate would fuck around with when he wasn't tearing into the opening riff of The Cure's "Boys Don't Cry," forever ruining that song for me.
There are plenty of bands that would love to have his expertise --he can hit all the notes and do some funky tricks, and he almost evokes enough mood on a couple of the tracks ("Three More Hours to Reno" and "Return to Zero") that you could place them in the background of some small independent film, but it's nothing special. Reavis is best suited for a complementary roll in a good band.