Numerous television and radio shows, including: "Singalong Jubilee", "Nashville North" with Ian Tyson, Peter Gzowski's "90 Minutes Live" amongst others.

Filmscores and commercials

Nineteen albums/CDs

"Renaissance, about the endurance of love, remains one of the best songs ever written by a Canadian." - Robert Reid, The Record, March 2011

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“08.20.10 - Bradstreet & Keesee"
Review by Andrew Greenhalgh - December 31, 2010
Rating: **** 4 Stars (out of 5)

“Oh, the times they are a’changin’.”  Thus sang folk legend Bob Dylan decades ago, and the truth of it holds, no matter which way you parse it.  Yet, for some, the times aren’t so different from what they once were, as they hold to the old ways while gently moving forward into the future.  Such is the case with singer/songwriter David Bradstreet and bassist Carl Keesee on their recent release, 08.20.10.  Bradstreet and Keesee go back a ways, having been members of the Woodstock band Lazarus and Lazarus II, and having formed a lifelong musical friendship there.  Their friendship has spanned years, with Keesee residing in Canada as part of Bradstreet’s band before eventually settling in Austin, Texas.  Now, the two have reunited for a folk music delight, bringing nine songs, some old and some new, to life once again.

“Gifts” is the first track, and is a blast from the past as it was a lost track of Bradstreet’s from 1976.  Rediscovered when a fan sent a recording of an old show that featured the track, it showcases some of the lesser lyrics on the album while still bringing Bradstreet’s warm vocals to bear against the acoustic background.  Similarly, “No Place Like Home” hails from yesteryear and is a chill homage to the great old venues that once hosted these two.  With a near country feel reminiscent of a really laid back Waylon Jennings, it’s an album highlight.  “Same Love” blasts the two into the new millennium with a melancholy tale of love.  The lyricism is warm and glowing (“It’s been the same love/For thirty years and counting/We’re supposed to be over the hill/But as I look out of the window/And see the hill still shining there/You know that I’d marry you still”) and is accented solidly by the arrangement.

“The Traveling Ones” picks the pace up with some finger picking guitar as does “Sea Fever,” a classic folk song with charging guitars and lyrics from poet John Masefield.  These two tracks provide the only real sonic shift on the album and find themselves very welcome.  Frankly, a few more like it wouldn’t have hurt, to help showcase both artist’s range and to break up an occasional feeling of sonic monotony.  Yet that’s not to say that the remainder of the album is unworthy; quite the contrary.  The country-flavored “Space of Two” is another album highlight, Bradstreet’s voice taking on a bit of rasp that really works here, inspired by a great lyric, “‘Cause there’s something we can measure / by the echoes of our hearts, / and the space between the two of us / can never drift apart”.  Powerful and poignant.

“Nowhere Anywhere” provides another poetic collaboration, this time with Canadian poet Robert Priest, while “Rather Than Love” taps into some minor chord sensibilities with great guitar work from the two artists and Bradstreet’s unique lyric, “In good we trust.”  And “Farther to Fall” is a glowing folk homage to the songwriter’s heroes, as he says in the liner notes, “the ones that reach up higher, and some who crash trying.”  It’s a fairly conventional sentiment yet Bradstreet and Keesee sell it well here.

Bradstreet and Keesee’s 08.20.10 will not have much crossover or mainstream potential.  These guys are folk singer/songwriters through and through.  Yet, for those in the market for quality music in that genre will be well suited to consider the music of these two artists, despite the occasional hiccup here and there.  A little older, a little wiser, and, one may very well say, just that much talented as well.

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Ashern’s Home Routes delights intimate audience
Posted By Heather Robbins, Nov 5/09

Those lucky enough to get their Home Route season tickets for performances at Tim and Jean Cameron's Ashern home will be treated to six intimate musical evenings from now until April.
"I read about Home Routes in my CAA magazine last spring and thought it would be something we would like to explore," said Cameron. "We were approved by the group and included in the 2009-10 line-up. We'll host six concerts."
The Camerons held their first show Sept. 24 with Juno award winning Toronto singer songwriter David Bradstreet.
"He's probably best known for his song made famous by Valdy, Renaissance ('Let's dance the old dance once more.')," said Cameron. "He was fantastic. Performing his own songs with his excellent guitar playing kept the audience wanting more. In the intimacy of our living room, there isn't a bad seat to be found, great sightlines — and the sound was perfect. We had 44 guests that night. David mingled with us at the intermission, sold his CDs and got to know us. He said afterward he had never been in rural Manitoba before and he had such a good time he would like to do it again. We were his last stop in rural Manitoba, with two city gigs to finish off. His tour included Winnipeg, Boissevain, Carman, Neepawa, Onanole, Baldur, Brandon and a few others."

GOLDEN QUILL AWARD 2006
"Songwriting is a dedicated skill, and having honed that skill over three decades David Bradstreet continues to produce wonderful vignettes that are extremely enjoyable to listen to. But that’s not quite enough to be considered for the Golden Quill award. One also has to have written memorable songs, songs that linger in the mind, songs we can all go back to. Like Renaissance, a Valdy hit that he penned in the 1970s. He has done a mountain of work writing music and songs for TV and Films as well as for commercials."
- Steve Fruitman, The 17th Annual Porcupine Awards - 2006

David Bradstreet - Lifelines
"More Great Stuff - Music to Hear. This independent CD is a mix of acoustic ballads, folk songs and jazz/blues-layered numbers recorded live in Toronto.”
Canadian Living, September, 2006

"David Bradstreet just keeps on getting better like fine wine!! His voice seems to be at it's best ever and he left them wanting more! He was not just a performer, he was an "entertainer" with the strength and presence to invite the audience to sing along for the occasion. Also - his new songs were very strong indeed!"
- Jim Marino, Freewheeling Folk Show / CFMU Annual Benefit Concert, 2003

"David Bradstreet is an engaging reminder of the best of 1970s acoustic folk-rock. It ("David Bradstreet A&M sp9026-CD") sounds surprisingly fresh 25 years later, and via the Internet, it has become a classy collectible."
- Greg Quill, Toronto Star, 2002

"It's interesting to hear Bradstreet in the late '90s. Though his songs haven't changed in theme or texture, it's easy to detect the influence his music has had on later artists like Jane Siberry, who in turn influenced current diva Sarah McLachlan. Bradstreet still plays guitar with a dexterity reminiscent of another jazz-reared folkie, Bruce Cockburn..."
- Craig MacInnis, Hamilton Spectator

"On a few rare occasions one hears a song that touches a chord and becomes instantly memorable. For this reviewer that occasion took place when I heard David Bradstreet perform Beresford Street (Concertina Man) at the Mariposa Folk Festival some years ago. It was simple, poignant and joyous. Enough to make you shed your jaded outlook, if only for a moment, and be transported back to childhood innocence. Without a doubt, a classic folk song in any era."
- David Bray, DABzine, July 2002

"On David Bradstreet’s second album (Dreaming in Colour / A&M 1977), he seems to be suffering the sophomore syndrome. It is a pleasant album, but not as interesting as his debut solo album (1977’s David Bradstreet). Wheras his debut seemed to be more in the folk genre, this is more produced and closer to easy listening. The main problem with the album is that it’s too slick. There are standout songs (the beautiful and sad “Thirty Years,” “This Ringing in My Ear,” and “Ashes on the Water”), which are less produced and lean more towards Bradstreet’s folk roots. On the plus side, Bradstreet’s vocals are astounding, truly beautiful, and Bob Mann contributes some very good guitar solos that owe a great deal to George Harrison. The other interesting aspect of this album is the lyrics. Although the music may suggest background music for housework, the lyrics deserve close attention. Bradstreet has a knack for writing songs that tell heartbreaking stories (all of the previously mentioned titles are good examples) as well as strong/angry songs (“Last Catch,” for example). David Bradstreet is an extremely talented individual, and this album demonstrates that talent. With a different producer, it could have been brilliant, but the songs seem to get lost in the production”
- iTunes Album Review (2009)

"There's a sense of calm that spreads through these songs - filmic contrasts of elemental images of earth, sea and fire."
- Peter Goddard, The Toronto Star

"Bradstreet possesses a smooth, immensely musical tenor voice that's been sensibly augmented by crisp semi-acoustic arrangements and tasteful production."
- David Freeston, The Montreal Star

"His newer material has a sophistication and drive - there's more propulsion, more energy. And it looks good on him."
- Greg McMillan, Hamilton Spectator

"Bradstreet has put together an exceptional work. In voice, musicianship, writing, indeed, in all the elements that together make an album, Bradstreet has achieved a level few performers ever reach."
- Tim Whelan, Regina Leader Post

"David Bradstreet has been missed. He knows how to write terrific, thought-provoking lyrics and match them to beautiful, well-played melodies. Also worth noting is the overall sound of the CD. It is beautifully recorded, while still maintaining a welcoming warmth. This is the type of CD that allows listeners to discover something new with each listening. Highly recommended."
- Aaron Badgley, All-Music Guide

"Bravo Bradstreet" "There are lots of musicians around who are deserving of wider recognition but certainly none are more deserving than Toronto's David Bradstreet"
- Chris Cobb, Ottawa Citizen

"... one of the most potent breakaway albums ever..." ("David Bradstreet A&M)
- David Farrell, The Record

"Bradstreet has combined composing, arranging and lyric-writing skills of the highest order. The result is masterful."
- Randi Spires, The Ontarion

"...songs soft and low - with power"
- Richard Christy, Kingston Whig Standard

"It's Saturday night in Barrie and there's a rap on my basement apartment door. I open it and find an attractive bearded stranger standing there with a guitar case, casually dressed in khaki shorts, sandals and a t-shirt. While I ponder my good fortune (it is date night after all!) I realize this wandering minstrel is none other than Juno award-winning musician David Bradstreet arriving to perform for the Barrie Folk Society at my humble place of residence. I invite David in and he proceeds to set-up for this evening's performance. As he tunes his guitar and I cut vegetables, we spend the next half-hour chatting like old friends (somehow I don't remember him being this attractive when I saw him perform at the Eaglewood Folk Festival in Pefferlaw). As guests begin to arrive, David effortlessly slips into the role of doorman and greets everyone. The next two hours pass by quickly as he spellbinds the audience of 30 people with his wonderful music and humourous stories spanning a career of over 30 years in the music trade. During the intermission and after the concert, he mingles with the crowd and autographs CDs. Such is a typical evening at a house concert..."
- Elaine Murray, The Barrie Folk Society

BRADSTREET CLOSES SEASON - Wallaceburg News
Saturday night marked the final edition of the Wallaceburg and District Council for the Arts’ Glass Onion Folk Club for this year as Canadian singer/songwriter David Bradstreet took to the stage and delighted a crowd that came from as far away as Leamington, Chatham and Toronto to see one of Bradstreet’s rare live appearances.
The Toronto folksinger was a staple on the Canadian folk scene during the 1970’s, culminating a rapid rise in popularity with a JUNO Award in the latter part of the decade. Since that time however, he has busied himself writing film scores and doing a variety of other projects. Only now is he starting to feel the urge to perform regularly again.
Bradstreet was introduced by Glass Onion organizer John Gardiner and joked with the audience that the gig had been entirely arranged over the internet, causing him to wonder at one point whether there would really be a Glass Onion Folk Club or a John Gardiner.
Once he started to unwind on the guitar though, working his way through tunes from his past as well as new material, it was obvious that he remains a wonderful live performer, creating a warm, comfortable dialogue with his audience.
It was obvious too, that the years have added much life experience to Bradstreet’s music, and there were touching and poignant moments about family and friends throughout the night. Indeed, his wife of 23 years, Brenda, had accompanied him for the trip, and he often looked in her direction near the back of the hall.
The Glass Onion audience was enthusiastic and appreciative of Bradstreet’s relaxed style and wonderful melodies and coaxed him back to the stage for an encore with a standing ovation at the end of the night. He was also kept busy selling copies of his latest CD and signing autographs both at intermission and after the show.
Gardiner was pleased with the night. “It was a great way to end the season” he said. “David Bradstreet was the consummate professional and really gave us a taste of that old coffeehouse flavour. It was an intimate and personal performance and that’s what the Glass Onion is all about.”