A Mark In Time
Mark Knopfler Discussion => One Deep River / The Boy => Topic started by: Dutchessy on January 24, 2024, 10:35:25 AM
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Ahead of the Game 3.56
It's nothing but the hits in a room downtown
They're noisy as hell but nice
People don't usually get to play in there
More than a time or twice
You had you a regular spot
They were even advertising your name
Better than the usual thing you got
Staying just ahead of the game
Ahead of the game
And I can't tell you one thing new
About playing for the door
Some of my dreams back there too
With the sawdust on the floor
We're worn out and weary, all of us
But we know why we came
Banged up and battered like this old bus
Staying just ahead of the game
Ahead of the game
The sky's as big as nowhere
Which is where we've been
Left a dream behind there somewhere
You've got to have a dream
I gave your buddy a ride to the train
He was telling me he'd be back
It was a red light shining, love in vain
When we rolled across the tracks
Barista-bartender selling beat-up car
Needs a ticket for a bus or a plane
Singer-songwriter heading for home
Staying just ahead of the game
Ahead of the game
https://www.youtube.com/watch?v=gaAtqgbA5WA
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It’s “fine”.
Nice little guitar lick but otherwise a bit ponderous.
They have made strange single choices in recent years so there will likely be better stuff on the album.
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Thank you so much for this link. I am bad with this stuff. :think
LE
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It’s “fine”.
Nice little guitar lick but otherwise a bit ponderous.
They have made strange single choices in recent years so there will likely be better stuff on the album.
I guess that monotonous part needs some more spins for you then? I loved it immediately, it has that JJ feel about it. What you call ponderous is exactly what I love about it. :lol
LE
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I guess we shouldn’t be expecting anything different from MK at this stage in the game.
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I absolutely love it.
When I first saw the album name, it reminded me of J.J. Cale's River Runs Deep.
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Good song, like it, very JJ. Lovely bass sound from Glenn.
But- is it mark on lead? Not sure. Not that that matters!
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Maybe a bit of a safe choice for first single, but I like it! Lovely Communiqué or JJ Cale sounds here and there indeed
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Yup. Sounds like a Mark Knopfler song ;D It has a lot of familiar elements from other songs of his. The main riff is very nice, and the guitar sound is gorgeous. Can't wait to hear that in good quality.
The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
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Small clip on youtube as well: https://www.youtube.com/shorts/o2gPsuo6j6c
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Yup. Sounds like a Mark Knopfler song ;D It has a lot of familiar elements from other songs of his. The main riff is very nice, and the guitar sound is gorgeous. Can't wait to hear that in good quality.
The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
I got the same impression, but I'm so happy he's back with new music that I don't really care
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Ah okay, so april 12th it is...
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Yup. Sounds like a Mark Knopfler song ;D It has a lot of familiar elements from other songs of his. The main riff is very nice, and the guitar sound is gorgeous. Can't wait to hear that in good quality.
The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
I got the same impression, but I'm so happy he's back with new music that I don't really care
Oh, I'm happy for the new music. I'm sure there will be several gems. But the whole thing still makes me a little emotional.
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I like it. It has lots of traces from previous albums. Very MK.
This one is kind of a mix between Beryl and Pulling down the ride.
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Also on Youtube, edited the opening post
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Just a little song, nothing extraordinary for a single, it's ok, but just ok for me.
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Have to wait until the evening.
Very excited. OK the first comments are not that overwhelming.
But hey finally new music.
I remember Redbud tree wasn't a burner too in 2012.
Beryl was cool in 2015
Good on you 2018 was also OK
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I like it. It has lots of traces from previous albums. Very MK.
This one is kind of a mix between Beryl and Pulling down the ride.
I'm hearing traces of The Car Was The One (chords, melody).
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I like it. It has lots of traces from previous albums. Very MK.
This one is kind of a mix between Beryl and Pulling down the ride.
I'm hearing traces of The Car Was The One (chords, melody).
Me something related to "Pulling down the ride".
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I like it. It has lots of traces from previous albums. Very MK.
This one is kind of a mix between Beryl and Pulling down the ride.
I'm hearing traces of The Car Was The One (chords, melody).
Me something related to "Pulling down the ride".
Yes, my thoughts also (pulling down the ride), same drum vibe.
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It’s “fine”.
Nice little guitar lick but otherwise a bit ponderous.
They have made strange single choices in recent years so there will likely be better stuff on the album.
Yes certainly I also hope there is better material on there than this. Pretty boring to be honest. The riffs just going around and around.
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Nice, not great, but a joy to hear new material. And already the fact that I like it more than Good On You, is enough for now. ;)
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Oh, I'm happy for the new music. I'm sure there will be several gems. But the whole thing still makes me a little emotional.
Oh yes, I have exactly the same feelings :thumbsup
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Have to wait until the evening.
Very excited. OK the first comments are not that overwhelming.
But hey finally new music.
I remember Redbud tree wasn't a burner too in 2012.
Beryl was cool in 2015
Good on you 2018 was also OK
I would bet you will like it! :wave
LE
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The very first beginning sounds somewhat cut. Is it because it is ripped, or is this the official release? Could it be that it is connected to the song before and therefore sounds this strange?
Listening to it on my proper system now. I still like the vibe of the song. Although I understand the underwhelmed reations also.
I like his voice in this very, it is pure band, no gimmicks, the guitar sound is very nice and clear, there is a nice tremolo in the rhythmn guitar, the bass is cool, and Mark sounds as cool as always. Total trademark song. I guess this one could get a lot of radio airplay.
LE
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The very first beginning sounds somewhat cut. Is it because it is ripped, or is this the official release? Could it be that it is connected to the song before and therefore sounds this strange?
Listening to it on my proper system now. I still like the vibe of the song. Although I understand the underwhelmed reations also.
I like his voice in this very, it is pure band, no gimmicks, the guitar sound is very nice and clear, there is a nice tremolo in the rhythmn guitar, the bass is cool, and Mark sounds as cool as always. Total trademark song. I guess this one could get a lot of radio airplay.
LE
I think it's connected to the previous song. Sounds like the last chord on an acoustic guitar.
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Just a little song, nothing extraordinary for a single, it's ok, but just ok for me.
Same here but glad we finally have something new!!
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The very first beginning sounds somewhat cut. Is it because it is ripped, or is this the official release? Could it be that it is connected to the song before and therefore sounds this strange?
Listening to it on my proper system now. I still like the vibe of the song. Although I understand the underwhelmed reations also.
I like his voice in this very, it is pure band, no gimmicks, the guitar sound is very nice and clear, there is a nice tremolo in the rhythmn guitar, the bass is cool, and Mark sounds as cool as always. Total trademark song. I guess this one could get a lot of radio airplay.
LE
It's also on Spotify and Youtube, so there is no cut...
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It's nothing but the hits in a room downtown
They're noisy as hell but nice
People don't usually get to play in there
More than a time or twice
You had you a regular spot
They were even advertising your name
Better than the usual thing you got
Staying just ahead of the game
Ahead of the game
And I can't tell you one thing new
About playing for the door
Some of my dreams back there too
With the sawdust on the floor
We're worn out and weary, all of us
But we know why we came
Banged up and battered like this old bus
Staying just ahead of the game
Ahead of the game
The sky's as big as nowhere
Which is where we've been
Left a dream behind there somewhere
You've got to have a dream
I gave your buddy a ride to the train
He was telling me he'd be back
It was a red light shining, love in vain
When we rolled across the tracks
Barista-bartender selling beat-up car
Needs a ticket for a bus or a plane
Singer-songwriter heading for home
Staying just ahead of the game
Ahead of the game
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Thank you! Where did you find the lyrics?
LE
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That slightly overdriven strat tone is just glorious. Very interesting riff. The production is perfect, as always. That’s exactly what I expect from Mark at this stage of his life/career.
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First listen was quite special to me given the knowledge that we are entering the final act(s) of MKs career, I made a distinctive effort to enjoy the experience, good or bad.
The thing that struck me apart from the obligatory 'Hank' esq guitar tone was the bass, interesting sound, thick and sounds like its slightly blended with a synth towards the end.
Cant wait for more....
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Thank you! Where did you find the lyrics?
LE
https://genius.com/Mark-knopfler-ahead-of-the-game-lyrics
;D
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I like it. It’s not top tier MK—though I’m hesitant to make any serious pronouncements after only one listen—but as far as I’m concerned it’s leagues ahead of most of his last album.
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I like it, for me sounds more like a bonus track than a single, but I hope it happens like with "Redbud tree" that was the single for Privateering, and for me is the less representative song from that record...
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Nice, not great, but a joy to hear new material. And already the fact that I like it more than Good On You, is enough for now. ;)
Pretty much my feelings exactly. New MK material is always cause for celebration (“joy” is precisely the right word for it) and this one is already starting to grow on me.
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I like it, for me sounds more like a bonus track than a single, but I hope it happens like with "Redbud tree" that was the single for Privateering, and for me is the less representative song from that record...
Yes, Redbud Tree was a very strange choice, as a single and album opener. In fact, I feel it doesn't belong at all on Privateering. Neither musically nor thematically. Then again, I'm no Mark Knopfler ;D
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That slightly overdriven strat tone is just glorious. Very interesting riff. The production is perfect, as always. That’s exactly what I expect from Mark at this stage of his life/career.
Beautiful tone. Reminds me of what Mark played on that David Crosby track a few years ago.
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
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LYRICS:
It's nothing but the hits in a room downtown
They're noisy as hell but nice
People don't usually get to play in there
More than a time or twice
You had you a regular spot
They were even advertising your name
Better than the usual thing you got
Staying just ahead of the game
Ahead of the game
And I can't tell you one thing new
About playing for the door
Some of my dreams back there too
With the sawdust on the floor
We're worn out and weary, all of us
But we know why we came
Banged up and battered like this old bus
Staying just ahead of the game
Ahead of the game
The sky's as big as nowhere
Which is where we've been
Left a dream behind there somewhere
You've got to have a dream
I gave your buddy a ride to the train
He was telling me he'd be back
It was a red light shining, love in vain
When we rolled across the tracks
Barista-bartender selling beat-up car
Needs a ticket for a bus or a plane
Singer-songwriter heading for home
Staying just ahead of the game
Ahead of the game
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Sounds great. I like it very much :)
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Did you attend any 2019 concert? It was quite clear that we won't have much guitar in the future...
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I like the song. That first listen of a new song from a new MK album is always special, I always remember hearing Darling Pretty for the first time, that was an amazing moment.
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I like the song. That first listen of a new song from a new MK album is always special, I always remember hearing Darling Pretty for the first time, that was an amazing moment.
Yes, hearing DP was special. Such a new sound from MK. Also, Border Reiver made a huge impression on me. So uplifting after the very low-key Shangri-La and Kill To Get Crimson.
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"pity all the songs look short so I am not expecting much guitar playing"
How long are the songs?
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Very clear ... we gotta love our old MK.... :)
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"pity all the songs look short so I am not expecting much guitar playing"
How long are the songs?
Between 3 and 4 minutes, very few of them have 5 minutes.
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Exactly.
Musically, the new song is good enough for me but it is sad to confirm that he's still plagiaring himself mercylessly some of his old musical ideas, as he did in DTRW. The riff is recycled from 38 Special and the verse is litteraly carboncopied from the verses from The Car Was The One. Put it all in the mixer with a new groove and there you have it.
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Song is fine and an enjoyable listen that doesn't break any new ground but based on previous singles probably not representative of the album .
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I like the song very much, especially the riff! :) Parts of the melody is reminiscent of The Car Was The One.
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A million times better than Good On You, Son. I like this one quite a lot. A good lick and beat that brings to mind a train rolling on and on. I'm just looking at the High Level Bridge on the picture as I'm listening to it and hearing the bogey's hammer overhead.
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A million times better than Good On You, Son. I like this one quite a lot. A good lick and beat that brings to mind a train rolling on and on. I'm just looking at the High Level Bridge on the picture as I'm listening to it and hearing the bogey's hammer overhead.
Love these words, very nice described what I think myself.
LE
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It's nothing but the hits in a room downtown
They're noisy as hell but nice
People don't usually get to play in there
More than a time or twice
You had you a regular spot
They were even advertising your name
Better than the usual thing you got
Staying just ahead of the game
Ahead of the game
And I can't tell you one thing new
About playing for the door
Some of my dreams back there too
With the sawdust on the floor
We're worn out and weary, all of us
But we know why we came
Banged up and battered like this old bus
Staying just ahead of the game
Ahead of the game
The sky's as big as nowhere
Which is where we've been
Left a dream behind there somewhere
You've got to have a dream
I gave your buddy a ride to the train
He was telling me he'd be back
It was a red light shining, love in vain
When we rolled across the tracks
Barista-bartender selling beat-up car
Needs a ticket for a bus or a plane
Singer-songwriter heading for home
Staying just ahead of the game
Ahead of the game
I wonder if Mark was thinking about himself.
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I wonder if Mark was thinking about himself.
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As a DS fan who only came to his solo stuff in the last few years this is the first time I've ever listened to a MK single the day it came out, and it'll be the first album of his I buy on the day of release. So it's hard to judge, because it is quite emotional hearing what is likely a swansong for him. But my first thought was I like it; it's not groundbreaking or extraordinary but it has a great tone and feel.
Looking forward to the album.
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Really like this little song, a precursor for greater things to come...
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Wonderful new song. Love it! His voice and the production sound so great. This is pure Mark Knopfler.
After the long wait I had to shed a trear when I heart this song for the first time.
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"Solid" is my first response. Nothing spectacular, but it has some groove to it. Looking forward to the rest of the album!
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Exactly.
Musically, the new song is good enough for me but it is sad to confirm that he's still plagiaring himself mercylessly some of his old musical ideas, as he did in DTRW. The riff is recycled from 38 Special and the verse is litteraly carboncopied from the verses from The Car Was The One. Put it all in the mixer with a new groove and there you have it.
Haven't listened yet, but hearing it described as a mashup of .38 Special and The Car Was the One has me pretty apprehensive.
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Exactly.
Musically, the new song is good enough for me but it is sad to confirm that he's still plagiaring himself mercylessly some of his old musical ideas, as he did in DTRW. The riff is recycled from 38 Special and the verse is litteraly carboncopied from the verses from The Car Was The One. Put it all in the mixer with a new groove and there you have it.
Haven't listened yet, but hearing it described as a mashup of .38 Special and The Car Was the One has me pretty apprehensive.
But Ahead Of The Game is not a copy of anything. There will always be similarities, but you cannot give in to suggestions ;)
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Exactly.
Musically, the new song is good enough for me but it is sad to confirm that he's still plagiaring himself mercylessly some of his old musical ideas, as he did in DTRW. The riff is recycled from 38 Special and the verse is litteraly carboncopied from the verses from The Car Was The One. Put it all in the mixer with a new groove and there you have it.
Haven't listened yet, but hearing it described as a mashup of .38 Special and The Car Was the One has me pretty apprehensive.
And I would never have named these two songs to describe the song. If I would have to name one song it would be "Let's See You", but from very far. Isn't it funny what we all hear..
LE
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I think I know MK's music well. But I don't hear anything similar :) Maybe a little guitar, its sound reminds me of True Love Will Never Fade.
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I love it! Sophisticated chord changes, strong melody, cool groove and very classy no-nonsense production and mix. Really fits with his age and status, much more so than Good on you son, which seemed a bit up-beat tailored for radio but missed it at all accounts for me. This would be much more airplay-able. Hats off, just what I hoped he would deliver! All in all, sounds great!!
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Just played it through my sound system and I love it especially the dainty Bass n drums! Knopflers Strat sound is beautiful too..
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I love it! Sophisticated chord changes, strong melody, cool groove and very classy no-nonsense production and mix. Really fits with his age and status, much more so than Good on you son, which seemed a bit up-beat tailored for radio but missed it at all accounts for me. This would be much more airplay-able. Hats off, just what I hoped he would deliver! All in all, sounds great!!
I totally agree with you, apart from the "strong melody". I love this song but I can understand people you have reservations because of the almost monotonous repeat of the them. I have a soft spot for songs with this element like "Song For Sonny Liston" or "Beyond My Wildest Dreams", not that I compare those two with AOTG, but this one sounds so good. You nailed it with everything you said.
LE
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I love it! Sophisticated chord changes, strong melody, cool groove and very classy no-nonsense production and mix. Really fits with his age and status, much more so than Good on you son, which seemed a bit up-beat tailored for radio but missed it at all accounts for me. This would be much more airplay-able. Hats off, just what I hoped he would deliver! All in all, sounds great!!
I totally agree with you, apart from the "strong melody". I love this song but I can understand people you have reservations because of the almost monotonous repeat of the them. I have a soft spot for songs with this element like "Song For Sonny Liston" or "Beyond My Wildest Dreams", not that I compare those two with AOTG, but this one sounds so good. You nailed it with everything you said.
LE
Totally agree with all said here, love the repeating Riff as it just simply works with the mood of the lovely little song...
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Not for me personally, just no meat on the bones with this one. Sounds like a B side or bonus track. Seems to lack melody like many of the songs in the last decade, same chords and rhythm as many songs in that era. Waiting on the next ones, pity all the songs look short so I am not expecting much guitar playing
Exactly.
Musically, the new song is good enough for me but it is sad to confirm that he's still plagiaring himself mercylessly some of his old musical ideas, as he did in DTRW. The riff is recycled from 38 Special and the verse is litteraly carboncopied from the verses from The Car Was The One. Put it all in the mixer with a new groove and there you have it.
I totally agree with this : .38 Special came immediately to mind. I like the sound and the feeling of the new song, but it's nothing "new", for me he's not "ahead of the game" with this one ;) and I don't like the fade-out ; some alternating licks would be nice...
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"pity all the songs look short so I am not expecting much guitar playing"
How long are the songs?
Between 3 and 4 minutes, very few of them have 5 minutes.
https://www.qobuz.com/de-de/album/one-deep-river-mark-knopfler/mocgl8vxu0uqb
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The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
Well, he plays with a pick on thick strings, so I guess that’s why it sounds a bit «stiff», no left hand vibrato or bends and so on. I guess it’s the same artistic decstion as on Our Shangri-la and most of the Kill To Get Crimson record.
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"pity all the songs look short so I am not expecting much guitar playing"
How long are the songs?
Between 3 and 4 minutes, very few of them have 5 minutes.
https://www.qobuz.com/de-de/album/one-deep-river-mark-knopfler/mocgl8vxu0uqb
I expected longer songs.
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The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
Well, he plays with a pick on thick strings, so I guess that’s why it sounds a bit «stiff», no left hand vibrato or bends and so on. I guess it’s the same artistic decstion as on Our Shangri-la and most of the Kill To Get Crimson record.
It's not a question about pick or fingers, although I know what you are getting at. Mark always added chromatic passing notes, used small bends, slides, pull offs and hammer ons, vibrato (his vibrato is one of the best there is, so smooth and controlled) to breath life and air into his phrases. Like a voice. It's like that is gone. And it's also not about string gauge. I use 13-56 on my dreadnought acoustic and can bend and use vibrato without problem with my left hand, which is not my dominant hand, and I'm also not a particularly strong guy. Mark, who plays with his dominant hand, should have no problem using vibrato on his 57 Strat with 12 gauge strings. It will be very interesting to hear other songs and solos from this album.
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Hello guys.
I listened to the new single: very beautiful. At first sight I immediately fell in love with the Riff. If I had to compare the setting of the song I would compare it to Walk of Life. Same style, similar in rhythm and with the guitar riff replacing the WOL organ. I know it's a harsh comparison but I really like Riffs, it's a matter of taste! ;)
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The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
Well, he plays with a pick on thick strings, so I guess that’s why it sounds a bit «stiff», no left hand vibrato or bends and so on. I guess it’s the same artistic decstion as on Our Shangri-la and most of the Kill To Get Crimson record.
It's not a question about pick or fingers, although I know what you are getting at. Mark always added chromatic passing notes, used small bends, slides, pull offs and hammer ons, vibrato (his vibrato is one of the best there is, so smooth and controlled) to breath life and air into his phrases. Like a voice. It's like that is gone. And it's also not about string gauge. I use 13-56 on my dreadnought acoustic and can bend and use vibrato without problem with my left hand, which is not my dominant hand, and I'm also not a particularly strong guy. Mark, who plays with his dominant hand, should have no problem using vibrato on his 57 Strat with 12 gauge strings. It will be very interesting to hear other songs and solos from this album.
When he plays his 54 Strat with 12s, he doesn’t bend or play vibrato with his left hand, so that’s a deliberate choice of style. Of course he could bend if he wanted to, at least he used to could. Yes, it’s gonna be interesting to hear the other new songs and how his playing (and left hand bends and vibrato) has become when he plays other guitars.
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The solo breaks my heart a little. You can really sense how stiffly he plays. The solo works, but for us who know Mark's music and playing so well, we all know that this not how he would have chosen to play this had his hands and fingers been in good shape. No vibrato for example. None of those little bends that make his solos so smooth and fluid. I hope I'm wrong, and that it's just an "odd" artistic decision :'(
Well, he plays with a pick on thick strings, so I guess that’s why it sounds a bit «stiff», no left hand vibrato or bends and so on. I guess it’s the same artistic decstion as on Our Shangri-la and most of the Kill To Get Crimson record.
It's not a question about pick or fingers, although I know what you are getting at. Mark always added chromatic passing notes, used small bends, slides, pull offs and hammer ons, vibrato (his vibrato is one of the best there is, so smooth and controlled) to breath life and air into his phrases. Like a voice. It's like that is gone. And it's also not about string gauge. I use 13-56 on my dreadnought acoustic and can bend and use vibrato without problem with my left hand, which is not my dominant hand, and I'm also not a particularly strong guy. Mark, who plays with his dominant hand, should have no problem using vibrato on his 57 Strat with 12 gauge strings. It will be very interesting to hear other songs and solos from this album.
When he plays his 54 Strat with 12s, he doesn’t bend or play vibrato with his left hand, so that’s a deliberate choice of style. Of course he could bend if he wanted to, at least he used to could. Yes, it’s gonna be interesting to hear the other new songs and how his playing (and left hand bends and vibrato) has become when he plays other guitars.
Yes, I know he normally uses the tremolo arm instead of bending/vibrato when playing the 54 Strat (did I say 57 Strat earlier?), but on this track he doesn't use the tremolo arm. That's what I find so odd. But, yeah, fingers crossed for the rest of the album.
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Hello guys.
I listened to the new single: very beautiful. At first sight I immediately fell in love with the Riff. If I had to compare the setting of the song I would compare it to Walk of Life. Same style, similar in rhythm and with the guitar riff replacing the WOL organ. I know it's a harsh comparison but I really like Riffs, it's a matter of taste! ;)
Yes, the riff is pretty cool. Quite remarkable how he's created such a hook with just 7 notes and an equal amount of slurs. I even transcribed it already (sorry, I can't help it): https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550 (https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550)
The riff is indeed very easy and "slippery" or "smooth" is a better word. The solo is also simple and I like it.
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https://youtube.com/shorts/o2gPsuo6j6c?si=YBSJ9hYRJe85X4z4
Short clip MK and band in studio.
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Who plays the solo ? Mark or Richard ?
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Who plays the solo ? Mark or Richard ?
I would say it's definitely Mark... even if Richard knows how to imitate him!
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I think its a nice song, and I really like the guitarsound :-)
Its a typical MK song, and its great, I think. Looking forward to the rest of the album.
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I think its a nice song, and I really like the guitarsound :-)
Its a typical MK song, and its great, I think. Looking forward to the rest of the album.
Welcome!
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I think its a nice song, and I really like the guitarsound :-)
Its a typical MK song, and its great, I think. Looking forward to the rest of the album.
Welcome back Kay Edvin? I remember you being a member before
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Just played it through my sound system and I love it especially the dainty Bass n drums! Knopflers Strat sound is beautiful too..
I would even say that this guitar tone brought me back to Dire Straits first album, I'm not expecting DS type songs on the new album, but I have a good feeling about it.
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Yes, the riff is pretty cool. Quite remarkable how he's created such a hook with just 7 notes and an equal amount of slurs. I even transcribed it already (sorry, I can't help it): https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550 (https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550)
The riff is indeed very easy and "slippery" or "smooth" is a better word. The solo is also simple and I like it.
Thanks for the Tab!!
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Well...
Since DTRW i have second thoughts about MK's albums.
Ok, there are some great tracks on his recent records, but, in overall i miss some energy and, above all, i miss the old Knopflerism on his new songs.
But, who am i to blame him? Musicians change to refresh his inspirations and his lastest albums are photography about his mind at the time.
The fact that Mark still make music makes me very happy.
Strange that, despite my dislike about DTRW, i liked Good On You Son more than Ahead Of The Game.
I think that GOYS is well suited and has a better ambience even my dislike about Guy's production touch.
Ahead Of The Game surprised me that the song didn't have what i call Fletcher Noises. This was until near the end of the song, where starts some "frog" noises.
About the cover, well... i understand what London reflects to Mark. It's a tribute to the river and the city...
But, i didn't like the cover.
I don't know what is the worse cover. DTRW or ODR.
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Well...
Since DTRW i have second thoughts about MK's albums.
Ok, there are some great tracks on his recent records, but, in overall i miss some energy and, above all, i miss the old Knopflerism on his new songs.
But, who am i to blame him? Musicians change to refresh his inspirations and his lastest albums are photography about his mind at the time.
The fact that Mark still make music makes me very happy.
Strange that, despite my dislike about DTRW, i liked Good On You Son more than Ahead Of The Game.
I think that GOYS is well suited and has a better ambience even my dislike about Guy's production touch.
Ahead Of The Game surprised me that the song didn't have what i call Fletcher Noises. This was until near the end of the song, where starts some "frog" noises.
About the cover, well... i understand what London reflects to Mark. It's a tribute to the river and the city...
But, i didn't like the cover.
I don't know what is the worse cover. DTRW or ODR.
I agree. DTRW is, by far, the poorest album in MK's career in musical terms. Recycling structures and melodies from his previous stuff, very disoriented jazzy sleepy vibes, uninteresting lyrics. Much worse than anything previous from him. I would be delighted if we could have anything original in the new record, but first single is lazy recycling territory again.
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Well...
Since DTRW i have second thoughts about MK's albums.
Ok, there are some great tracks on his recent records, but, in overall i miss some energy and, above all, i miss the old Knopflerism on his new songs.
But, who am i to blame him? Musicians change to refresh his inspirations and his lastest albums are photography about his mind at the time.
The fact that Mark still make music makes me very happy.
Strange that, despite my dislike about DTRW, i liked Good On You Son more than Ahead Of The Game.
I think that GOYS is well suited and has a better ambience even my dislike about Guy's production touch.
Ahead Of The Game surprised me that the song didn't have what i call Fletcher Noises. This was until near the end of the song, where starts some "frog" noises.
About the cover, well... i understand what London reflects to Mark. It's a tribute to the river and the city...
But, i didn't like the cover.
I don't know what is the worse cover. DTRW or ODR.
I agree. DTRW is, by far, the poorest album in MK's career in musical terms. Recycling structures and melodies from his previous stuff, very disoriented jazzy sleepy vibes, uninteresting lyrics. Much worse than anything previous from him. I would be delighted if we could have anything original in the new record, but first single is lazy recycling territory again.
I feel like this single belongs to Tracker more than anything. But yes, this song shows where 6 years went, I can imagine finding the exact bass sound and atmosphere for the song can take a loooooong time. I mean this bass sound and effects are phenomenal but surely feel a little bit distracting. It's like spending energy updating the graphics in a video game instead of changing the story and gameplay. But I'm sure the album will have more surprises, it even had a harp!
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About the cover, well... i understand what London reflects to Mark. It's a tribute to the river and the city...
It's Newcastle :)
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
The Gateshead bridge is one of the most iconic and recognisable bridges in the UK!
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Not really, it's a very famous and iconic bridge (actually bridges), designed by the same people who designed the Sydney Harbour Bridge.
The main one has its own wikipedia page:
https://en.wikipedia.org/wiki/Tyne_Bridge
It features on the label of Newcastle Brown Ale, the famous beer sold over the world:
(https://i2-prod.chroniclelive.co.uk/incoming/article1432112.ece/ALTERNATES/s510b/B4B2A45F-C992-BA59-69C0FD80FEE3E5A2.jpg)
And the High Level Bridge, just behind, is featured in the classic movie Get Carter.
(https://www.getcarter.xyz/wp-content/uploads/vlcsnap-2016-03-14-19h59m44s632.jpg)
It's not some random bridge like the random road in DTRW. It reflects the Geordie themes Mk has come back to since beginning the very first notes of the debut album with them all those years ago.
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
The Tyne Bridge is pretty iconic. There are also two other bridges behind it if you look closely. I agree it's not great, but he's never had great album covers so my expectations weren't high.
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I feel like this single belongs to Tracker more than anything. But yes, this song shows where 6 years went, I can imagine finding the exact bass sound and atmosphere for the song can take a loooooong time. I mean this bass sound and effects are phenomenal but surely feel a little bit distracting. It's like spending energy updating the graphics in a video game instead of changing the story and gameplay. But I'm sure the album will have more surprises, it even had a harp!
One thing that i cannot understand and at some point kind of "irritates me" its that Audiophyle kind of production / speach.
I mean, they are focused on tape recording, tube microphones, vintage desks... all design to be listened on high-expensive headphones or some kind of hitech-stereo-surround-hybrid-hifi equipment.
And how about the song?
This audiophyle kind of speach, in my opinion, tries to turn MK's audience to the science behind the song instead the song itself.
Talk about the AOTG bass tone, the plate reverb on Mark voice, the correct voltage tube tremolo on Richards guitar.... In my opinion, this is secondary. These details are the song complements, not the main thing.
Mark's albums seems to be more like a British Grove marketing stuff than an real album.
And the DTRW was, in my opinion, a failture in terms of engeneering, mixing and mastering. If the main role is to talk about that, there are a LOT of week/poor sounds on that record.
I hope that, the nwe album brings more songs that can be enjoyed on a simple headphone than "to rear the guitar tone perfectly, you'll need a Phillips XPTO headphone plugged on a Sony Tube Hi-fi amp"
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
The Tyne Bridge is pretty iconic. There are also two other bridges behind it if you look closely. I agree it's not great, but he's never had great album covers so my expectations weren't high.
Ok, that's fine.
I never been in Newcastle so... sorry my mistake.
Makes more sense now.
But, like me, 1 zillion people never been on Newcastle.
So, could be any bridge for a lot of people.
But surelly represents something huge to MK.
Bless him.
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
The Tyne Bridge is pretty iconic. There are also two other bridges behind it if you look closely. I agree it's not great, but he's never had great album covers so my expectations weren't high.
I can say that they all look great on vinyl format (which seems to be the main goal.)
LE
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MK's records were always audiophile reference standard all the way back to the early 80s.
That didn't mean I didn't also enjoy them on my Sanyo personal cassette player with cheap headphones.
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"I hope that, the nwe album brings more songs that can be enjoyed on a simple headphone than "to rear the guitar tone perfectly, you'll need a Phillips XPTO headphone plugged on a Sony Tube Hi-fi amp"
Believe me, I'm not an audiophile and I listen to music with normal headphones and speakers and I don't complain.
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
The Tyne Bridge is pretty iconic. There are also two other bridges behind it if you look closely. I agree it's not great, but he's never had great album covers so my expectations weren't high.
Ok, that's fine.
I never been in Newcastle so... sorry my mistake.
Makes more sense now.
But, like me, 1 zillion people never been on Newcastle.
So, could be any bridge for a lot of people.
But surelly represents something huge to MK.
Bless him.
You've a pretty decent bridge in your neck of the woods too.
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"But, like me, 1 zillion people never been on Newcastle.
So, could be any bridge for a lot of people"
But if you want to you'll find out what the picture shows ;)
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MK's records were always audiophile reference standard all the way back to the early 80s.
That didn't mean I didn't also enjoy them on my Sanyo personal cassette player with cheap headphones.
All great artists has big standarts about sound quality. But its not only about it.
Well, thats my opinion.
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So you are complaining about that his albums sound too good compared with the artistic quality?
LE
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So you are complaining about that his albums sound too good compared with the artistic quality?
LE
I read it as saying that the audio quality doesn't matter if the music isn't good, which is true.
Let's face facts, nothing MK has recorded in BG is as good to listen to as 1957 mono Whole Lotta Shakin by Jerry Lee Lewis or any of the Elvis Sun recordings done in the same little studio.
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One thing that i cannot understand and at some point kind of "irritates me" its that Audiophyle kind of production / speach.
I mean, they are focused on tape recording, tube microphones, vintage desks... all design to be listened on high-expensive headphones or some kind of hitech-stereo-surround-hybrid-hifi equipment.
And how about the song?
This audiophyle kind of speach, in my opinion, tries to turn MK's audience to the science behind the song instead the song itself.
Talk about the AOTG bass tone, the plate reverb on Mark voice, the correct voltage tube tremolo on Richards guitar.... In my opinion, this is secondary. These details are the song complements, not the main thing.
Mark's albums seems to be more like a British Grove marketing stuff than an real album.
And the DTRW was, in my opinion, a failture in terms of engeneering, mixing and mastering. If the main role is to talk about that, there are a LOT of week/poor sounds on that record.
I hope that, the nwe album brings more songs that can be enjoyed on a simple headphone than "to rear the guitar tone perfectly, you'll need a Phillips XPTO headphone plugged on a Sony Tube Hi-fi amp"
I remember when Down The Road came out, I was so shocked, that I wrote a long thread criticising Guy's production, and it seems to be the direction everything is still going. This stuff sounds like Roxy Music, with songs like "Back On The Dance Floor" and now this, with all the effects, complex production and such. I miss the bare-bone style of albums like Shangri-La, which wasn't recorded in the studio Mark owns and yet is filled with masterpieces and features outstanding production.
We all joke about moving microphones and stuff, and over-obsession with tape and technology, but it is a problem and distracts you from the main event I think.
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So you are complaining about that his albums sound too good compared with the artistic quality?
LE
I read it as saying that the audio quality doesn't matter if the music isn't good, which is true.
Let's face facts, nothing MK has recorded in BG is as good to listen to as 1957 mono Whole Lotta Shakin by Jerry Lee Lewis or any of the Elvis Sun recordings done in the same little studio.
I got an Sinatra EP the other day with the Coffee Song and was astonished how good it sounded . Made me move a lot.
LE
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"I hope that, the nwe album brings more songs that can be enjoyed on a simple headphone than "to rear the guitar tone perfectly, you'll need a Phillips XPTO headphone plugged on a Sony Tube Hi-fi amp"
Believe me, I'm not an audiophile and I listen to music with normal headphones and speakers and I don't complain.
I can't complain either. To me Mark's music always sounds great and gives me a lot of joy.
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
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So you are complaining about that his albums sound too good compared with the artistic quality?
LE
I read it as saying that the audio quality doesn't matter if the music isn't good, which is true.
Let's face facts, nothing MK has recorded in BG is as good to listen to as 1957 mono Whole Lotta Shakin by Jerry Lee Lewis or any of the Elvis Sun recordings done in the same little studio.
"You can't polish a doo-doo."
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So you are complaining about that his albums sound too good compared with the artistic quality?
LE
I read it as saying that the audio quality doesn't matter if the music isn't good, which is true.
Let's face facts, nothing MK has recorded in BG is as good to listen to as 1957 mono Whole Lotta Shakin by Jerry Lee Lewis or any of the Elvis Sun recordings done in the same little studio.
"You can't polish a doo-doo."
Indeed!
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The whole "life of a musician" subject matter is wearing thin for me, also.
Could be a metaphor for his own life but to me it's clear he's singing about an unsuccessful singer songwriter, scraping a living doing solo gigs. Made me think a lot about one of my favourite artists whose career has panned out exactly like that (and ironically that artist is a big MK fan).
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
I agree about the lyrics, they are somewhat flat. But the last good lyrics were on Tracker anyway.
LE
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I got an Sinatra EP the other day with the Coffee Song and was astonished how good it sounded . Made me move a lot.
LE
Interesting you mention The Coffee Song - I'm a big Sinatra fan and that is probably my second favourite track of his. But the album it comes from is generally regarded as having poor sound (his first album on Reprise after leaving Capitol). Doesn't matter! Amazing song!
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The whole "life of a musician" subject matter is wearing thin for me, also.
Could be a metaphor for his own life but to me it's clear he's singing about an unsuccessful singer songwriter, scraping a living doing solo gigs. Made me think a lot about one of my favourite artists whose career has panned out exactly like that (and ironically that artist is a big MK fan).
Jason Isbell?
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
I have the same impression since first listening.
In an excellent MK record, this one would be left out.
In a very good MK record, this song would be a track in the bonus lp in the deluxe box.
In a good MK record, this song would be a filler, a song you add because you have nothing better.
I'm not saying is bad, I'm saying is very plain and despite is nice, is nothing to call home about.
I truly hope the rest of the record and bonus tracks are better.
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
I have the same impression since first listening.
In an excellent MK record, this one would be left out.
In a very good MK record, this song would be a track in the bonus lp in the deluxe box.
In a good MK record, this song would be a filler, a song you add because you have nothing better.
I'm not saying is bad, I'm saying is very plain and despite is nice, is nothing to call home about.
I truly hope the rest of the record and bonus tracks are better.
And it's the second track on the album. A very important spot I think, earlier occupied with songs like "Basil", "Haul Away", "Boom, Like That", "The Scaffolder's Wife", "On Every Street", etc. And now the second tracks are "Back on the Dance Floor" and "Ahead of the Game". Abandon hope all ye who enter here.
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I remember when Down The Road came out, I was so shocked, that I wrote a long thread criticising Guy's production, and it seems to be the direction everything is still going. This stuff sounds like Roxy Music, with songs like "Back On The Dance Floor" and now this, with all the effects, complex production and such. I miss the bare-bone style of albums like Shangri-La, which wasn't recorded in the studio Mark owns and yet is filled with masterpieces and features outstanding production.
We all joke about moving microphones and stuff, and over-obsession with tape and technology, but it is a problem and distracts you from the main event I think.
I remember that the STP album have a little GF touch. That electronic beat on Junkie Doll, the synth intro of Speedway and a 'here and there' small elements. BUT, despite the fact that STP is my fav MK album, the songs are the main element and the 'GF touch' brings elements that are a good addiction to the songs.
Since KTGC, none of MK albums reached the sonically impact that SL have. If we are talking about the BG Studios, the best sounding MK album is Tracker and is miles away from SL.
Beyond that, i've listened to some stuff recorded at BG and almost none have impressed me (sonically speaking)
Shangri-La has the best sound, and above this, have great songs and an organic vibe with is amazing.
I agree that DTRW have over production, too many non musical elements and that Roxy Music vibe that i doesn't like.
Listen to Mark's music makes me happy to this day because of him.
OK if Mark cannot play as he played on his past. But i cannot stand about his 'lazy singing'
But his band have players that can play anything and play great.
Jim, Richard, Glenn, Ian, Robbie, John and now Greg are mazing musicians and both of them sounded flat thru the recent albums.
I hope that the rest of the album be great.
I hope the new album wasn't mde to sell microphones.
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The whole "life of a musician" subject matter is wearing thin for me, also.
Could be a metaphor for his own life but to me it's clear he's singing about an unsuccessful singer songwriter, scraping a living doing solo gigs. Made me think a lot about one of my favourite artists whose career has panned out exactly like that (and ironically that artist is a big MK fan).
Jason Isbell?
Isbell is buying 1959 Les Pauls, not selling a beat up car to buy a ticket to get to his next gig. This song is about a musician who it hasn't worked out for (IMO).
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The whole "life of a musician" subject matter is wearing thin for me, also.
Could be a metaphor for his own life but to me it's clear he's singing about an unsuccessful singer songwriter, scraping a living doing solo gigs. Made me think a lot about one of my favourite artists whose career has panned out exactly like that (and ironically that artist is a big MK fan).
Jason Isbell?
Isbell is buying 1959 Les Pauls, not selling a beat up car to buy a ticket to get to his next gig. This song is about a musician who it hasn't worked out for (IMO).
Than you probably mean the Malpaso Gang?
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If we are talking about singles, Ahead Of The Game I like more than Good On You Son :) From the first hearing. I love the sound of it. Yes, it's a simple song, very good for a first single, it's great. Someone wrote earlier that this song brought him back to the first DS album. I have the same.
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The whole "life of a musician" subject matter is wearing thin for me, also.
Could be a metaphor for his own life but to me it's clear he's singing about an unsuccessful singer songwriter, scraping a living doing solo gigs. Made me think a lot about one of my favourite artists whose career has panned out exactly like that (and ironically that artist is a big MK fan).
Jason Isbell?
Isbell is buying 1959 Les Pauls, not selling a beat up car to buy a ticket to get to his next gig. This song is about a musician who it hasn't worked out for (IMO).
Than you probably mean the Malpaso Gang?
Malpaso Gang are so unsuccessful we don't even have beat up cars to sell.
Anyone want to buy a bike?
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I remember when Down The Road came out, I was so shocked, that I wrote a long thread criticising Guy's production, and it seems to be the direction everything is still going. This stuff sounds like Roxy Music, with songs like "Back On The Dance Floor" and now this, with all the effects, complex production and such. I miss the bare-bone style of albums like Shangri-La, which wasn't recorded in the studio Mark owns and yet is filled with masterpieces and features outstanding production.
We all joke about moving microphones and stuff, and over-obsession with tape and technology, but it is a problem and distracts you from the main event I think.
I remember that the STP album have a little GF touch. That electronic beat on Junkie Doll, the synth intro of Speedway and a 'here and there' small elements. BUT, despite the fact that STP is my fav MK album, the songs are the main element and the 'GF touch' brings elements that are a good addiction to the songs.
Since KTGC, none of MK albums reached the sonically impact that SL have. If we are talking about the BG Studios, the best sounding MK album is Tracker and is miles away from SL.
Beyond that, i've listened to some stuff recorded at BG and almost none have impressed me (sonically speaking)
Shangri-La has the best sound, and above this, have great songs and an organic vibe with is amazing.
I agree that DTRW have over production, too many non musical elements and that Roxy Music vibe that i doesn't like.
Listen to Mark's music makes me happy to this day because of him.
OK if Mark cannot play as he played on his past. But i cannot stand about his 'lazy singing'
But his band have players that can play anything and play great.
Jim, Richard, Glenn, Ian, Robbie, John and now Greg are mazing musicians and both of them sounded flat thru the recent albums.
I hope that the rest of the album be great.
I hope the new album wasn't mde to sell microphones.
I remember reading something about the fact that on the MK BG productions they don't like to use EQ very much, I think that is possibly OK if you have very high end playback equipment but for everyone else, including me it just sounds a bit flat, particularly the drums.
Tune is OK. Thankful to hear new output. MK has been a recycler for a long time now.
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
I have the same impression since first listening.
In an excellent MK record, this one would be left out.
In a very good MK record, this song would be a track in the bonus lp in the deluxe box.
In a good MK record, this song would be a filler, a song you add because you have nothing better.
I'm not saying is bad, I'm saying is very plain and despite is nice, is nothing to call home about.
I truly hope the rest of the record and bonus tracks are better.
I agree with you both. It is just sad, and ironic, when we have heard about "not looking back" for years. I listened to the song one time yesterday morning, and by yesterday evening I didn't remember the title and haven't even listened to it twice yet. Still have high hopes for the album. It really is impossible to tell how the rest is!, I mean, I loved "back on the dancefloor" and "When you leave", both on the same album :)
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Who plays the solo ? Mark or Richard ?
I would say it's definitely Mark... even if Richard knows how to imitate him!
Thank you.
I like this song, very relaxing.
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I have listened to the song several times over the last two days, and sorry, but it does nothing for me. Lyrically and musically it just falls flat. Sounds like a b-side. I'm sure (I hope?) there will be better tracks on the album.
The whole "life of a musician" subject matter is wearing thin for me, also.
I have the same impression since first listening.
In an excellent MK record, this one would be left out.
In a very good MK record, this song would be a track in the bonus lp in the deluxe box.
In a good MK record, this song would be a filler, a song you add because you have nothing better.
I'm not saying is bad, I'm saying is very plain and despite is nice, is nothing to call home about.
I truly hope the rest of the record and bonus tracks are better.
And it's the second track on the album. A very important spot I think, earlier occupied with songs like "Basil", "Haul Away", "Boom, Like That", "The Scaffolder's Wife", "On Every Street", etc. And now the second tracks are "Back on the Dance Floor" and "Ahead of the Game". Abandon hope all ye who enter here.
When I listen to other people's albums, I often think that they sound so good .. Dylan's albums Time Out Of Mind, Love And Theft and the older Oh Mercy exceptionally good, and many others. It is done with being a given, total naturally and no fuzz about it. With Mark and Guy, this fixation on making the best, highest quality sounding record and all this ado appears inhibited and unprofessional although they wish to appear the opposite. It is true that I never find the high recording quality that Guy always mentioned apart from maybe in Tracker and even the new vinyls from STP and TRD.
It seems there is a huge difference between the work and the ears of the likes of Daniel Lanois and Chuck Ainlay compared to Guy Fletcher. It is almost a pity just thinking what could have happened with the last albums in hands of a "real" producer.
All Dire Straits albums sound MUCH better than anything from British Grove. I don't know what they are doing wrong. Maybe it is just my hearing.
LE
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When I listen to other people's albums, I often think that they sound so good .. Dylan's albums Time Out Of Mind, Love And Theft and the older Oh Mercy exceptionally good, and many others. It is done with being a given, total naturally and no fuzz about it. With Mark and Guy, this fixation on making the best, highest quality sounding record and all this ado appears inhibited and unprofessional although they wish to appear the opposite. It is true that I never find the high recording quslity that Guy slways mentioned apart from Tracker and even the new vinyls from STP and TRD.
It seems there isxa huge difference between the work and the ears of the likes of Daniel Lanois and Chuck Ainlay compared to Guy Fletcher. It is almost a pity just thinking what could have happened with the last albums in hands of a "real" producer.
All Dire Straits albums sound MUCH better than anything from British Grove. I don't know what they are doing wrong. Maybe it is just my hearing.
LE
Agreed!
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"All Dire Straits albums sound MUCH better than anything from British Grove"
I can not agree. Not all. Love Over Gold, Brothers in Arms and On Every Street are recorded too quietly. Remastered versions too
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"All Dire Straits albums sound MUCH better than anything from British Grove"
I can not agree. Not all. Love Over Gold, Brothers in Arms and On Every Street are recorded too quietly. Remastered versions too
Agreed!
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"All Dire Straits albums sound MUCH better than anything from British Grove"
I can not agree. Not all. Love Over Gold, Brothers in Arms and On Every Street are recorded too quietly. Remastered versions too
The opposite is true. They are perfect. Since then, almost everything is recorded too loud. Love Over Gold has reference standard.
LE
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
Thats a shame as I think t's a great album cover and its very distinctly Newcastle! London does not have bridges like those across the Thames!
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When I listen to other people's albums, I often think that they sound so good .. Dylan's albums Time Out Of Mind, Love And Theft and the older Oh Mercy exceptionally good, and many others. It is done with being a given, total naturally and no fuzz about it. With Mark and Guy, this fixation on making the best, highest quality sounding record and all this ado appears inhibited and unprofessional although they wish to appear the opposite. It is true that I never find the high recording quslity that Guy slways mentioned apart from Tracker and even the new vinyls from STP and TRD.
It seems there isxa huge difference between the work and the ears of the likes of Daniel Lanois and Chuck Ainlay compared to Guy Fletcher. It is almost a pity just thinking what could have happened with the last albums in hands of a "real" producer.
All Dire Straits albums sound MUCH better than anything from British Grove. I don't know what they are doing wrong. Maybe it is just my hearing.
LE
Agreed!
Yeah, amen to that... I know some of us are pretty harsh on Guy sometimes, however, Mark is also a producer, and Guy just seems to be looking in the same direction (and never looking back of course). The producer dictates how the record will sound, that's why we had a notorious "wall of sound" back then and other good or bad techniques.
With Mark and Guy, it really feels like a never-ending race to the best-sounding record, and everybody who recorded something in their life knows how damn hard it is to record something flawlessly. Dire Straits records are so different because they were recorded everywhere. Almost every album is done in a new studio. Basing Street, Compass Point, Power Station, AIR Montserrat, AIR Studios Oxford Street.
The problem with all post-BG albums is that nothing really changes. Musicians are all the same, guitars are the same, and the studio is the same. The only difference was Chuck Ainlay co-producing and then switching to Guy co-producing. How it affected Mark's albums is up for discussion, but judging by A LOT of complaints it doesn't seem like it affected it in a good way. It's remarkable how having your studio can be such an advantage and disadvantage at the same time.
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Your last paragraph put it perfectly well and is more or less what I tried to say. Thanks.
LE
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
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Your last paragraph put it perfectly well and is more or less what I tried to say. Thanks.
LE
But I answered your post, so thank you. And speaking of Guy, the fact he's always bragging he never had a single argument with MK also always baffled me. How you can be creative with somebody who always agrees with you on anything? I think the best examples of creativity in history came when personalities would clash, disagree with each other, battle for something, and then produce a perfect "in-between" compromise with the best of both worlds, which is a win-win for everyone.
I would want more variety from Mark. Change the studio. Change the producer. Change the musicians. Change the designer. "Done With Bonaparte" with Paul Moore on bass and "Done With Bonaparte" with Glenn Worf on bass are TWO DIFFERENT SONGS. "Sailing To Philadelphia" with Dudley Phillips on bass and "Sailing To Philadelphia" with Glenn Worf are two different songs, and it's just one instrument.
You can't believe how changing musicians, producers and studios can affect the whole thing. And keeping everything the same can be perceived either as a remarkable achievement of consistency or just being lazy and suffering from having too much freedom, having your studio and a trusty co-producer who agrees on everything you want to do and you agree with everything he wants to do.
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
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While I'm writing all this essentially criticising Mark, I can't help but think how it's a part of the character. We love him because he's who he is, with all his decisions, good or bad. His life is an amazing story of recognising your talent, overcoming difficulties, overcoming fame, and turning dire straits into Dire Straits. He's a human and humans make mistakes, it's what we all are very good at. All this "keeping the formula" stuff, keeping the musicians, doing everything with the same sound and same approach might not be the best way to do it, but it's Mark Knopfler's way.
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
Yes, so very sad to see isn't it LE...The coat is dapper, and I absolutely love his 'Bakers boys' cap!
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...but it's Mark Knopfler's way"
and has to be true
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
Sadly, people age and Mark is no different. It isn’t really any of our business. Whatever may or may not be ailing him, the fact is that he is still enjoying writing his songs, getting together with his band and recording them. And still doing it extremely effectively. He was certainly in good spirits at the Christie’s interview. As long as he is content in what he is doing, then that is the most important thing.
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This might be the last record, just as the last tour was the final one ever.
By returning to Newcastle with lyrics, the title, the artwork and all it seems to complete the full circle.
This is probably a record where MK is giving his 11 out of 10. The release got rescheduled. He probably wrote another couple of tunes.
I truly hope this will be among his best work ever.
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...but it's Mark Knopfler's way"
and has to be true
Yeah... It's like on Jim Morrison's grave his dad made an inscription that says "true to his own spirit" in Greek. Apparently, Jim's spirit told him to kill himself at 27 and give a huge FU to the world that desperately wanted to hear more music and read more poetry from the man, but that's the thing with truly creative people. They are always riding on their own radio wave, and always nuts in one way or another.
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"All Dire Straits albums sound MUCH better than anything from British Grove"
I can not agree. Not all. Love Over Gold, Brothers in Arms and On Every Street are recorded too quietly. Remastered versions too
The opposite is true. They are perfect. Since then, almost everything is recorded too loud. Love Over Gold has reference standard.
LE
LE is exactly right here. Go read up on the loudness wars to find out why.
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
Sadly, people age and Mark is no different. It isn’t really any of our business. Whatever may or may not be ailing him, the fact is that he is still enjoying writing his songs, getting together with his band and recording them. And still doing it extremely effectively. He was certainly in good spirits at the Christie’s interview. As long as he is content in what he is doing, then that is the most important thing.
Yes and I wasn't critizising that or him in any way, I was just trying to express my compassion if that is the right word. I follow him since 1985, I got older (14 then, 52 today) together with him, and sometimes I think there are few people who I know better than MK. So it cannot be unseen and I had to express that. Of course you are right about what is his business and what is ours.
LE
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I follow him since 1985, I got older (14 then, 52 today) together with him, and sometimes I think there are few people who I know better than MK.
Me since 1989:)
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
Yes, so very sad to see isn't it LE...The coat is dapper, and I absolutely love his 'Bakers boys' cap!
<3 <3 Aging sucks :-\ Still some people refuse to see the truth. I love his coat too! And agreed again Quizzy about the sound at BG and the struggle to find something perfect that in fact can be too much and ruin the whole thing (I could say "agreed!" to most your posts)
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
To be fair, he has been limping like this since the Cesena 2018 event. He kind of limped out of stage during the first concerts of the 2019 tour. I don't think it's something new
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Someone's not walking very well....
https://youtube.com/shorts/miWcAmIcLbY?feature=shared
It gives me pain to see it. He is having pain constantly it seems. And he looks so sad these days. I wish the photographer would have shouted "cheeeese"....
I like his coat though.
LE
Sadly, people age and Mark is no different. It isn’t really any of our business. Whatever may or may not be ailing him, the fact is that he is still enjoying writing his songs, getting together with his band and recording them. And still doing it extremely effectively. He was certainly in good spirits at the Christie’s interview. As long as he is content in what he is doing, then that is the most important thing.
Yes and I wasn't critizising that or him in any way, I was just trying to express my compassion if that is the right word. I follow him since 1985, I got older (14 then, 52 today) together with him, and sometimes I think there are few people who I know better than MK. So it cannot be unseen and I had to express that. Of course you are right about what is his business and what is ours.
LE
Fair comment. Mark’s music has been a huge part of my life too for decades now. Each album has been a marker of where I was and what I was doing at the time, and I have to admit myself - even though I don’t think his music making days are by any means over - both the guitar auction and the announcement of the new record without a tour have brought the realisation that there is less music ahead of us than there is behind into much sharper focus. For that reason, I think there will be an extra emotional level where One Deep River is concerned.
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I agree that it’s a bit sad for us long time fans to see that his getting old and having health issues and that he doesn’t make the kind of music we used to like. But I find it a bit harsh to criticize him for that. I guess he is just trying to have a good time and a good life, spend some time in the studio, making songs and records, moving around microphones, drinking cofee, getting new guitars, selling the old ones etc. I think he is not struggling to achieve things or trying anything hard at all. I don’t agree that he is trying to achieve optimal sound or the perfect mic position. (Most other musicians do, though.) He has the best equipement at hand at all times and mostly just plug and play. I guess everything has become (too) easy. I don’t think he is ambitious at all anymore. And I absolutely don’t blame him. It must be a great life doing what you love the most. But I guess that’s why his music sounds the way it does and has done for some years.
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This songwriter / singer life vignette that we have in these lyrics of AOTG is definitely not very special and it had a much better treatment, i.e., in Precious Voice from Heaven, which was, by the way, a better all around song overall IMHO.
In a positive note, I really like the AOTG lovely little guitar solo. It is quite original in its own terms, well played and not totally autopilot-generated.
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I agree that it’s a bit sad for us long time fans to see that his getting old and having health issues and that he doesn’t make the kind og music we used to like. But I find it a bit harsh to criticize him for that. I guess he is just trying to have a good time and a good life, spend some time in the studio, making songs and records, moving around microphones, drinking cofee, getting new guitars, selling the old ones etc. I think he is not struggling to achieve things or trying anything hard at all. I don’t agree that he is trying to achieve optimal sound or the perfect mic position. (Most other musicians do, though.) He has the best equipement at hand at all times and mostly just plug and play. I guess everything has become (too) easy. I don’t think he is ambitious at all anymore. And I absolutely don’t blame him. It must be a great life doing what you love the most. But I guess that’s why his music sounds the way it does and has done for some years.
Absolutely. In a world where old stars are resurrecting their money-earning old bands all the time, trying to record new hip young people music in their elderly, recording old songs or Mark forbid, cover albums all the time, having plastic surgery, going nuts, verging into politics and other questionable domains, it's refreshing to see somebody who's at nearly 75 still quietly doing his thing, and good at that.
However, like I said, Mark is a human being and it's still his job, a dream job that is, and he lives in heaven compared to 99.9999999999999999% of people in the world, and he deserves all this, but a little bit of criticism and questions from people would not hurt either. Mark is undoubtedly a little bit lazy, a little bit disconnected from his fans, a little bit old-school in a bad way, and has a ton of other imperfections.
We just observe all that, complain about bad things, or celebrate good ones. The world is in perfect balance.
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I agree that it’s a bit sad for us long time fans to see that his getting old and having health issues and that he doesn’t make the kind og music we used to like. But I find it a bit harsh to criticize him for that. I guess he is just trying to have a good time and a good life, spend some time in the studio, making songs and records, moving around microphones, drinking cofee, getting new guitars, selling the old ones etc. I think he is not struggling to achieve things or trying anything hard at all. I don’t agree that he is trying to achieve optimal sound or the perfect mic position. (Most other musicians do, though.) He has the best equipement at hand at all times and mostly just plug and play. I guess everything has become (too) easy. I don’t think he is ambitious at all anymore. And I absolutely don’t blame him. It must be a great life doing what you love the most. But I guess that’s why his music sounds the way it does and has done for some years.
Absolutely. In a world where old stars are resurrecting their money-earning old bands all the time, trying to record new hip young people music in their elderly, recording old songs or Mark forbid, cover albums all the time, having plastic surgery, going nuts, verging into politics and other questionable domains, it's refreshing to see somebody who's at nearly 75 still quietly doing his thing, and good at that.
However, like I said, Mark is a human being and it's still his job, a dream job that is, and he lives in heaven compared to 99.9999999999999999% of people in the world, and he deserves all this, but a little bit of criticism and questions from people would not hurt either. Mark is undoubtedly a little bit lazy, a little bit disconnected from his fans, a little bit old-school in a bad way, and has a ton of other imperfections.
We just observe all that, complain about bad things, or celebrate good ones. The world is in perfect balance.
Absolutely! Nothing wrong with that :) I wouldn’t call it his job, though, more a hobby. I don’t think he has had to work since mid 80ies.
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I did quite like the new single,
I like a lot of people immediately noticed the similarity to "Car was the one"
It is an interesting choice for a single definitely. I'm guessing it may be because it features a slight DS sound and a guitar hook, which is very much MK's branding.
I actually loved Tracker and DTRW , in terms of songwriting I thought there were some fantastic songs on both. I'm so very curious to see how this album sounds. The guitar playing does seem stiff on the single in my opinion so i'm very curious how much there is and how much it features on the rest of the album.
Production wise, I feel like since Guy has taken over it's become a lot more "Live". It seems like they opt for strong performances rather than super slick production. They've he adds keys/synths to colour it up. I think that works sometimes, for instance I think laughs and jokes on tracker sounds incredible it has space to breathe and the sounds are fantastic. Other tracks however like "trapper man" and "good on you son" sound muddy and unnecessarily cluttered.
Is any of this bad? Not really. I'm amazed that MK is still cranking out albums, as someone said quietly doing what he does. MK at the very least will always have an album with a handful of good/great songs on it. That is amazingly consistent for an artist going as long as he has. I won't judge the whole album in advance. I am super excited to hear it. As I mentioned i've loved the last 2 albums (although SL is my favourite!) so I hope it continues in that fashion.
Amazing how time flies, I remember thinking it was absurd the years difference between GH and STP. And in that time he did 2 soundtracks! Now 5 years seemed to come and go so fast.
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Yes, the riff is pretty cool. Quite remarkable how he's created such a hook with just 7 notes and an equal amount of slurs. I even transcribed it already (sorry, I can't help it): https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550 (https://tabs.ultimate-guitar.com/tab/mark-knopfler/ahead-of-the-game-chords-5118550)
The riff is indeed very easy and "slippery" or "smooth" is a better word. The solo is also simple and I like it.
Thanks for the Tab!!
Cheers! You're welcome. Though I realised I made a mistake in the tab, I think it's supposed to be two open strings (1st and 2nd) in the middle of the riff, this way you don't change the hand position until the slide part and it sounds better. I don't know how I missed it but in music nothing is obvious. I'm also hearing more notes there, so soon I'll probably find an even better way to play.
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I agree that it’s a bit sad for us long time fans to see that his getting old and having health issues and that he doesn’t make the kind of music we used to like. But I find it a bit harsh to criticize him for that. I guess he is just trying to have a good time and a good life, spend some time in the studio, making songs and records, moving around microphones, drinking cofee, getting new guitars, selling the old ones etc. I think he is not struggling to achieve things or trying anything hard at all. I don’t agree that he is trying to achieve optimal sound or the perfect mic position. (Most other musicians do, though.) He has the best equipement at hand at all times and mostly just plug and play. I guess everything has become (too) easy. I don’t think he is ambitious at all anymore. And I absolutely don’t blame him. It must be a great life doing what you love the most. But I guess that’s why his music sounds the way it does and has done for some years.
Making record has become a pleasant pastime for him. Money is no issue, he gets to play with his favorite toys, meet up with friends, who happen to be world-class musicians. No stress, no pressure. I also don't blame him, and he deserves it all, but I don't think it generates amazing art. And I feel it's been like this even before his health started failing.
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And the DTRW was, in my opinion, a failture in terms of engeneering, mixing and mastering. If the main role is to talk about that, there are a LOT of week/poor sounds on that record.
I can't agree with that in the slightest. I think it sounds wonderful. And DS have been notable for their clean studio sound from the beginning, only when Mark went solo, did the quality go south a bit by catering to the loudness war (Golden Heart, STP and Shangri-La are all more limited dynamically than they need to be - though the production itself is very good), but his more recent ones sound nicely dynamic again.
MK's records were always audiophile reference standard all the way back to the early 80s.
That didn't mean I didn't also enjoy them on my Sanyo personal cassette player with cheap headphones.
Agree.
And it's the second track on the album. A very important spot I think, earlier occupied with songs like "Basil", "Haul Away", "Boom, Like That", "The Scaffolder's Wife", "On Every Street", etc. And now the second tracks are "Back on the Dance Floor" and "Ahead of the Game". Abandon hope all ye who enter here.
Unfortunately, "Basil" still does nothing for me and sinks Tracker IMVHO, whereas I love "Back on the Dance Floor". Make of that what you will.
Still haven't made up my mind about "Ahead of the Game", but so far I can't say it impresses me like "Good On You Son" did, which I really felt was a breath of fresh air at the time (though I find the radio edit missing some great bits now).
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
Could be any bridge?? That's an insult to us Geordies. It's one of the most iconic bridges in the UK and its bloody marvellous :)
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Unfortunately, "Basil" still does nothing for me and sinks Tracker IMVHO, whereas I love "Back on the Dance Floor". Make of that what you will.
Still haven't made up my mind about "Ahead of the Game", but so far I can't say it impresses me like "Good On You Son" did, which I really felt was a breath of fresh air at the time (though I find the radio edit missing some great bits now).
I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
"Back on the Dance Floor" is also a great song, but its greatness lies definitely not in words, more like in landscapes painted with the music, with this very Bryan Ferry/Steely Dan sound, like something recorded in the mid-80s, and this backing vocals and effects. So Basil is more like a song for the heart, and Dance Floor a song for the body if it makes sense. Same with "Ahead of the Game"... It's catchy, uptempo, moves your body, like a single should.
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Boswell guitars used a random bridge on their MK model, could be any bridge ;)
(https://i.ibb.co/Nm99B3J/mk1.jpg)
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Unfortunately, "Basil" still does nothing for me and sinks Tracker IMVHO, whereas I love "Back on the Dance Floor". Make of that what you will.
Still haven't made up my mind about "Ahead of the Game", but so far I can't say it impresses me like "Good On You Son" did, which I really felt was a breath of fresh air at the time (though I find the radio edit missing some great bits now).
I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
"Back on the Dance Floor" is also a great song, but its greatness lies definitely not in words, more like in landscapes painted with the music, with this very Bryan Ferry/Steely Dan sound, like something recorded in the mid-80s, and this backing vocals and effects. So Basil is more like a song for the heart, and Dance Floor a song for the body if it makes sense. Same with "Ahead of the Game"... It's catchy, uptempo, moves your body, like a single should.
100%. Music causes different emotions at different times. You're not going to dance to Basil but for me it's one of MK's greatest achievements as a songwriter.
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Boswell guitars used a random bridge on their MK model, could be any bridge ;)
(https://i.ibb.co/Nm99B3J/mk1.jpg)
I'm terribly sorry, and I don't know where to talk about it... But don't you think this bridge should be a little bit more... centred inside this 12th fret on a Boswell acoustic? Like in the picture attached? What it is about this bridge that it suddenly makes everybody drunk and forget about symmetry and aesthetics? Unbelievable.
The idea was probably that a fret underneath the bridge is like a river, but support beams don't touch the fret on a finished guitar! The arc of the bridge is heavily off-centre, making this whole structure very hard to look at. I swear, if I bought this guitar, the first thing I would do is take it to the luthier and move the inlay.
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I think you have OCD :) To be fair, that's probably why you work so hard on getting the details of MK's guitar solos right.
I'm a sloppy slob and can't play any of MK's solos exactly, so OCD for the win!
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It's Newcastle :)
I had my doubts if was London or not.
But, it reflects how poor is the album cover.
Could be any bridge.
Or any road, like DTRW
Could be any bridge?? That's an insult to us Geordies. It's one of the most iconic bridges in the UK and its bloody marvellous :)
Yes, I beg Rolo's pardon but that sentence only shows ignorance...
It's a mythical bridge!
The cover picture is wonderful, and links perfect with Mk and the title.
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I think you have OCD :) To be fair, that's probably why you work so hard on getting the details of MK's guitar solos right.
I'm a sloppy slob and can't play any of MK's solos exactly, so OCD for the win!
Yes, I do have OCD and I love it, it's one of my favourite things in the world. For me, it's not a mental disorder, more like a blessing, it matches my personality perfectly. I wash my hands constantly, barely leave fingerprints anywhere, and surely notice details about everything that nobody in their right mind would notice.
I think my OCD is a pretty mild one, as I'm comfortable and not suffering from depression or anything like that, and with many things, I just don't care. Like I don't care if I have a fender bender in my car and the bumper is slightly damaged, and fingerprints on the guitar are inevitable.
But this supposedly last MK's album, and this ultra-luxury boutique masterbuilt guitar that costs a fortune and there are only two dozen made... I don't know, I hope at least they thought about it or tried to centre out things a little bit, or else it's some outstanding carelessness, regardless of OCD or not.
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Yes, I beg Rolo's pardon but that sentence only shows ignorance...
It's a mythical bridge!
The cover picture is wonderful, and links perfect with Mk and the title.
Ok.
As i said, makes more sense now.
Its a very important bridge for the Geordies and reflects a very important part for MK....
But, i keep my opinion about the album cover.
Sorry about that, people
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Unfortunately, "Basil" still does nothing for me and sinks Tracker IMVHO, whereas I love "Back on the Dance Floor". Make of that what you will.
Still haven't made up my mind about "Ahead of the Game", but so far I can't say it impresses me like "Good On You Son" did, which I really felt was a breath of fresh air at the time (though I find the radio edit missing some great bits now).
I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
"Back on the Dance Floor" is also a great song, but its greatness lies definitely not in words, more like in landscapes painted with the music, with this very Bryan Ferry/Steely Dan sound, like something recorded in the mid-80s, and this backing vocals and effects. So Basil is more like a song for the heart, and Dance Floor a song for the body if it makes sense. Same with "Ahead of the Game"... It's catchy, uptempo, moves your body, like a single should.
Perfect comment. I agree.
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But, i keep my opinion about the album cover.
Sorry about that, people
Don't worry Rolo, we are all just having fun with you :)
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I still remember the words of Danny Cummings that jbaent quoted that Mark was exceptionally brave on this album. He certainly wasn't thinking about Ahead Of The Game. I think the album will have some surprises.
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But, i keep my opinion about the album cover.
Sorry about that, people
Don't worry Rolo, we are all just having fun with you :)
I know. ;D
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Unfortunately, "Basil" still does nothing for me and sinks Tracker IMVHO, whereas I love "Back on the Dance Floor". Make of that what you will.
Still haven't made up my mind about "Ahead of the Game", but so far I can't say it impresses me like "Good On You Son" did, which I really felt was a breath of fresh air at the time (though I find the radio edit missing some great bits now).
I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
"Back on the Dance Floor" is also a great song, but its greatness lies definitely not in words, more like in landscapes painted with the music, with this very Bryan Ferry/Steely Dan sound, like something recorded in the mid-80s, and this backing vocals and effects. So Basil is more like a song for the heart, and Dance Floor a song for the body if it makes sense. Same with "Ahead of the Game"... It's catchy, uptempo, moves your body, like a single should.
Oh yes, Basil, fantastic song. You only forgot Ruth Moody's voice adding some sweetness to it!
There are some days where think Tracker is Mark's best album, surpassing even STP. I suppose you have to get into a certain mood to truly enjoy it.
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I only listened to the track one single time, because I don't want it to have an unfair advantage over the other tracks when I'll listen to them in April. (A neurotic obsession of mine, I'll admit.)
But I loved it. It's very unassuming, even subdued, yes - but that's the perfect expression of what the song is about. I loved the bridge part (musical bridge, I mean), when there's a glimmer of hope - only for the music to fall back to the old riff. It's stuff like that, in my opinion, that Mark does better than anyone.
And I'm glad the riff is so memorable. It does go well with the words "See you in April" - I think I'll have it in my ear until then. :)
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What I didn't understand, by the way, is some of your criticism of the track's production. If only some of the past tracks would have been produced this way, and had that same warm atmosphere! No idea what they may or may not have done in the studio, but to me as a layperson it sounds like a bunch of guys playing together, and that's it. I love that and think it fits Mark's later-day music well. I was never very fond of how some of the older songs, even great ones ("Privateering" comes to mind) sounded comped and overproduced. If the whole album should sound like "Ahead of the Game", that's very alright with me. They may have spent hours choosing the right microphones, okay, but that's fine if they had the time (which they definitely did ;)), and the results sound about as down to earth is any MK track ever did.
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Boswell guitars used a random bridge on their MK model, could be any bridge ;)
(https://i.ibb.co/Nm99B3J/mk1.jpg)
Beautiful and love how its not in the centre. Wouldn't look right in the centre....
FEATURE 2
Tyne River Bridge inlay. This inlay came directly from Mark. The Tyne bridge is an iconic landmark in Newcastle, where Mark spent his late childhood/teen years. He mentions or alludes to the city and the river Tyne often in songs. The song ‘Going Home’ from Local Hero is used as Newcastle Football Club’s home walk out song
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Beautiful and love how its not in the centre. Wouldn't look right in the centre....
FEATURE 2
Tyne River Bridge inlay. This inlay came directly from Mark. The Tyne bridge is an iconic landmark in Newcastle, where Mark spent his late childhood/teen years. He mentions or alludes to the city and the river Tyne often in songs. The song ‘Going Home’ from Local Hero is used as Newcastle Football Club’s home walk out song
Just asked Butch about the inlay position and will share the answer here. After all, why wonder around when we have the man himself available to comment? I might be the only person who cares about this, not the first time it happened to me. And by the way, on the guitar Mark got before this new one, the inlay is perfectly centred. In fact, all Boswell guitars have a symmetrical inlay, and most guitars for that matter, so it's definitely a rare specimen. Everything on an acoustic guitar is about symmetry. Book-matched tops, circles, 3+3 headstock, the instrument is literally built around the centre line. So any deviation from this is a bold move.
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It wouldn't bother me if the inlay wasn't exactly centre, in fact I prefer the inlay Tyne bridge lower as if resting on the bottom fret line.....just my opinion
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A few thoughs on the single:
The riff is a nice litte surprise. The groove, bass playing and overall vibe of that bit sound just great, though it is a bit stale, stuck on the same chord.
As for the rest of the tune, it sounds very much like Mark has sounded for ten years. These days, he has a tendency to write songs that are not exactly driven or given energy by chord changes, as it were, but where they often seem to come 'behind', or not quite in sync with the melody. I'm not very fond of this style, as the songs often seem to be dragging their feet.
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It wouldn't bother me if the inlay wasn't exactly centre, in fact I prefer the inlay Tyne bridge lower as if resting on the bottom fret line.....just my opinion
The master's answer: "It looks completely different with the frets actually put in. This way gives it more balance and more “sky” above the bridge, with the bottom fret appearing more as the surface the bridge is spanning."
Well, you can actually see the finished instrument on his page and I still stand with my opinion that I would like it centred. I'll never even have a guitar like this, so who cares. That's the beauty of this world isn't it? Everybody has their preferences, opinions and feelings.
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The master's answer: "It looks completely different with the frets actually put in. This way gives it more balance and more “sky” above the bridge, with the bottom fret appearing more as the surface the bridge is spanning."
Well, you can actually see the finished instrument on his page and I still stand with my opinion that I would like it centred. I'll never even have a guitar like this, so who cares. That's the beauty of this world isn't it? Everybody has their preferences, opinions and feelings.
This kind of debate about gear related to MK always make me think:
The MK brand was/is on:
- Fender Strat
- Gibson LP
- Martin Ragpicker
- Pensa MKx
- Boswell
- Tone King MK (i read somewhere that is related to MK)
Mark wasn't always a rich man.
So, would be nice to see some Middle Class Gear related to MK.
- Mexican Strats
- Epiphone LP
Carlos Santana, during the idealization of the PRS Santana model, explains to Paul that he needed to sell a cheap and good guitar for those who connot buy good instruments for a low price.
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The master's answer: "It looks completely different with the frets actually put in. This way gives it more balance and more “sky” above the bridge, with the bottom fret appearing more as the surface the bridge is spanning."
Well, you can actually see the finished instrument on his page and I still stand with my opinion that I would like it centred. I'll never even have a guitar like this, so who cares. That's the beauty of this world isn't it? Everybody has their preferences, opinions and feelings.
This kind of debate about gear related to MK always make me think:
The MK brand was/is on:
- Fender Strat
- Gibson LP
- Martin Ragpicker
- Pensa MKx
- Boswell
- Tone King MK (i read somewhere that is related to MK)
Mark wasn't always a rich man.
So, would be nice to see some Middle Class Gear related to MK.
- Mexican Strats
- Epiphone LP
Carlos Santana, during the idealization of the PRS Santana model, explains to Paul that he needed to sell a cheap and good guitar for those who connot buy good instruments for a low price.
Everybody knows I had ranted about it on this forum many, many, many times... And will rant about it till the cows come home. I have a very strong opinion that signature instruments should not be expensive, period. The signature instrument is supposed to be affordable, so your young broke fans and beginner guitar players or their parents can afford it, not only your old wealthy guitar-collecting fans. And history knows a variety of examples of when it was done properly.
Mark seems to dismiss the idea completely and all his signature instruments along with his signature bear an outrageous price tag. I don't get it. For the price of these instruments, which is well into the professional instrument category or likely way beyond it, you can find an array of better alternatives, and professionals will have their guitars made to their specifications anyway, they don't need Mr. Knopfler to configure guitars for them.
The only exception was Signature Fender which was priced just like an average decent American-made Strat, and people on this forum said Mark wanted to do a Mexican-made version of it, as well as different colours, but as usual couldn't find time or willpower to do it. So apparently he just agrees on a first idea which is basically "Let's do a guitar like you have" and that's it. They do it, but the price inevitably goes through the roof as Mark is playing great quality instruments anyway.
The irony of this situation is that Mark is the guy who stopped signing guitars in fear they would appear on eBay, the guy who says he loves cheap guitars and hopes that his $500,000 LP will find good use, and yet the majority of his signature instruments are in collectors vaults all over the world because they are ridiculously expensive. When it comes to MK Sig instruments, it's a complete mess and one of the departments I can't say a lot of good words about Markus.
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I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
I definitely appreciate good lyrics, but if the music doesn't move me, then they're just good lyrics. It's not really just about tempos either, although I do lose patience/attention with slower songs more easily. (I'm probably one of the younger members here, which might be relevant in that context.)
It's not that I hate "Basil", and I think there are definitely worse songs on the album, but the discussion was about track orders & I wouldn't have put it at second position. Imagine someone put "Why Worry" after "So Far Away" on BIA... it would've taken all the energy out of the record way too early. I even remember that a review (possibly in eclipsed) pointed this out - along the lines of "this atmospheric song appears too early in the tracklist and takes the drive away too quickly". 100%
There are some days where think Tracker is Mark's best album, surpassing even STP. I suppose you have to get into a certain mood to truly enjoy it.
Believe me, I've tried, but I gave up eventually; and if I don't really derive enough pleasure from an album, I'm not really inclined to reach for it. I did once make a radically restructured playlist that - sacrilege, I know - I think is more focused and interesting than the regular tracklist - but I'm not going to post it on here for now...I've probably already ruffled enough feathers ;D
The idea was probably that a fret underneath the bridge is like a river, but support beams don't touch the fret on a finished guitar! The arc of the bridge is heavily off-centre, making this whole structure very hard to look at. I swear, if I bought this guitar, the first thing I would do is take it to the luthier and move the inlay.
Hard to look at, really?
It reminded me of the Rule of thirds that is generally preferred in photography. At least in the pic you posted, I view the frets above and below as the edges of a photo and a bridge usually doesn't float in the middle of a pic, it's closer to the bottom than to the top. The way they did it looks right to me and suggests a bit of ground below and sky above.
And now I see that this is also the official explanation, making the point of my reply moot... :smack
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I think one could fall in love with Basil (the song, not the man) by just reading the lines like "Poets have to eat as well", "What he wouldn't give just to walk out today / To have time to think about time", "Bury all joy / Put the poems in sacks / And bury me here with the hacks", "Basil puts on his old duffel and scarf / And goes out into the dark."
I mean just reading this gives me chills, and I'm not even a native English speaker. But on top of that, you get Mark's beautiful vocals, usual guitar brilliance, and perfect production. I can't understand how somebody can not like a song like this. It's incredibly atmospheric and hands down one of the best songs on the Tracker album, if not the best. Maybe you are just not a fan of slow ballads. If you are, then give it another shot.
I definitely appreciate good lyrics, but if the music doesn't move me, then they're just good lyrics. It's not really just about tempos either, although I do lose patience/attention with slower songs more easily. (I'm probably one of the younger members here, which might be relevant in that context.)
It's not that I hate "Basil", and I think there are definitely worse songs on the album, but the discussion was about track orders & I wouldn't have put it at second position. Imagine someone put "Why Worry" after "So Far Away" on BIA... it would've taken all the energy out of the record way too early. I even remember that a review (possibly in eclipsed) pointed this out - along the lines of "this atmospheric song appears too early in the tracklist and takes the drive away too quickly". 100%
There are some days where think Tracker is Mark's best album, surpassing even STP. I suppose you have to get into a certain mood to truly enjoy it.
Believe me, I've tried, but I gave up eventually; and if I don't really derive enough pleasure from an album, I'm not really inclined to reach for it. I did once make a radically restructured playlist that - sacrilege, I know - I think is more focused and interesting than the regular tracklist - but I'm not going to post it on here for now...I've probably already ruffled enough feathers ;D
The idea was probably that a fret underneath the bridge is like a river, but support beams don't touch the fret on a finished guitar! The arc of the bridge is heavily off-centre, making this whole structure very hard to look at. I swear, if I bought this guitar, the first thing I would do is take it to the luthier and move the inlay.
Hard to look at, really?
It reminded me of the Rule of thirds that is generally preferred in photography. At least in the pic you posted, I view the frets above and below as the edges of a photo and a bridge usually doesn't float in the middle of a pic, it's closer to the bottom than to the top. The way they did it looks right to me and suggests a bit of ground below and sky above.
And now I see that this is also the official explanation, making the point of my reply moot... :smack
Interesting to read your perspective, feel free to share your personalized tracklist for Tracker. And welcome to the forum!
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Hey Iron Hand, you're definitely on the right track with all your thoughts. Regarding age and losing patience with slower songs, that's okay. I remember when I was younger I also preferred faster music, and with time slow ballads have grown into my favourite type of music. A good ballad is everything I need to feel like the happiest man in the world. It's like many of the iconic books make no sense to read before 30 for instance.
Mark's slow songs, in particular, can be perceived as incredibly dull and boring, I know many people can fall asleep while listening to them, and songs like "Follow The Ribbon" can put to sleep even die-hard fans. Just listen to "Follow The Ribbon", it's as if it was recorded at a 10 BPM tempo, one of the slowest songs in MK's history. I wonder how the musicians themselves managed to record it in full EIGHTH minutes!
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With the bridge inlay, I already realised I was the only one against the entire world here the whole time. If this is the idea of a bridge, it would look better at the 14th fret, where the neck meets the body, the body in this case would symbolise the "water", and I'm sorry to say, but on the 12th fret, this bridge is floating in mid-air if we continue to follow this analogy.
I can explain why I have such a big problem with this in the first place. The problem is that I noticed the offset inlay the instance I saw it. I've seen enough guitars in my life and usually, there are no such thoughts whatsoever — it's just a guitar, they are all basically the same. But here, I immediately thought, wait a minute? What's up with the bridge? Why it's so low? I have the right to ask such a question, and I did it. And keep in mind, it's a unique project and a unique guitar, not a production Martin or something, so it's not like you can have some expectations, so everything is up for discussion.
Made a quick photoshopped image comparing the 12th fret bridge and the 14th fret bridge:
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I am so happy to hear a new material from Mark. I've already been a little bit bored with it after many times listening to it over a past few days, but it's doesn't change the fact that is a good song and I really like it. PS: Love the cover of the new album, it's beautiful!
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HR1 just played "Ahead of the Game", the first time I've heard the song on the radio. :thumbsup
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You know nothing, Jon Snow. ;D
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You know nothing, Jon Snow. ;D
A black and white vintage photo would've been soooooooo nice :thumbsup
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Boswell guitars used a random bridge on their MK model, could be any bridge ;)
(https://i.ibb.co/Nm99B3J/mk1.jpg)
Regarding the placement of the bridge inlay: The Golden Ratio
(https://www.elegantthemes.com/blog/wp-content/uploads/2019/06/Ratio-1024x648.png)
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Regarding the placement of the bridge inlay: The Golden Ratio
(https://www.elegantthemes.com/blog/wp-content/uploads/2019/06/Ratio-1024x648.png)
Haha, that's of course a perfect way to describe it. I let ChatGPT write an article explaining the choice:
***
In crafting the guitar neck inlay with a slightly offset design, the deliberate incorporation of the Golden Ratio serves as a meticulously calculated decision rooted in the pursuit of aesthetic excellence and harmonic balance. The inherent allure of the Golden Ratio, with its mathematical precision and divine proportion, resonates seamlessly with the timeless elegance sought in instrument design. By strategically situating the inlay in a subtly asymmetric arrangement along the fretboard, an intentional departure from conventional symmetry is introduced. This departure not only captures the discerning eye but also stimulates a subconscious appreciation for proportionality in the observer. The offset design, intricately aligned with the Golden Ratio, thus becomes a poignant visual symphony, elevating the instrument beyond mere functionality to an artistic masterpiece that harmonizes both form and function with a meticulous balance that echoes the eternal beauty inherent in the Fibonacci sequence.
***
What about the bridge on the 14th fret tho? I actually like this idea. Not only does the body of a guitar act as water and make the bridge a lot more visible and pop, but the fact that the inlay is on the 14th fret, against all rules of guitar design (after all, the inlay is supposed to be on the 12th fret) signifies Mark's outstanding capability of braking any rules and going his own way. Also would make an awesome presentation. See, it's easy to justify anything.
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So, new week, new single? What do you think?
I am sure they will come up with some more tracks in the next 10 weeks. Can't wait to hear it!
LE
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"So, new week, new single? What do you think?
Too fast.
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So, new week, new single? What do you think?
I am sure they will come up with some more tracks in the next 10 weeks. Can't wait to hear it!
LE
Highly unlikely it’ll be as soon as a week following the release of the first single. Though with the way albums are marketed these days, no doubt multiple songs will made available prior to the release of the album itself. Personally I’ll avoid hearing any more new songs until the album is released. I always like to hear the first lead single but any more than that and I start to feel I’m spoiling my first listen to the album.
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"Personally I’ll avoid hearing any more new songs until the album is released. I always like to hear the first lead single but any more than that and I start to feel I’m spoiling my first listen to the album"
I always promise myself this too, but it's not that simple. The temptation is too big ;)
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Though with the way albums are marketed these days, no doubt multiple songs will made available prior to the release of the album itself.
Last Friday, Gary Clark Jr announced his next album for march 22th, and 4 songs were published the same day :
https://textes-blog-rock-n-roll.fr/gary-clark-jr-invite-stevie-wonder-et-george-clinton-sur-son-nouvel-album/
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So, new week, new single? What do you think?
I am sure they will come up with some more tracks in the next 10 weeks. Can't wait to hear it!
LE
Nowadays is a common practice, and some artists do it in different ways.
Peter Gabriel was releasing one track per month during a year more or less and when he released the last one, he announced the release date of the physical formats, for example.
Others release one track per week until the release date of the physical formats, some other one every 15 days, or per month.
I think that with DTRW, they released "Goon on you son" first and then some weeks before the album release date, "Back on the dance floor", if I recall well.
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So, new week, new single? What do you think?
I am sure they will come up with some more tracks in the next 10 weeks. Can't wait to hear it!
LE
Nowadays is a common practice, and some artists do it in different ways.
Peter Gabriel was releasing one track per month during a year more or less and when he released the last one, he announced the release date of the physical formats, for example.
Others release one track per week until the release date of the physical formats, some other one every 15 days, or per month.
I think that with DTRW, they released "Goon on you son" first and then some weeks before the album release date, "Back on the dance floor", if I recall well.
Yes, it’s very much the way new studio albums are marketed these days. The main lead single gets a release well in advance of the album, followed by a selection of songs that are made available over the course of the intervening time before the album release itself. I don’t really mind that, but personally I thought Peter Gabriel’s approach of releasing a song a month for about a year was a bit over the top and quite frustrating. I’m glad the run-up to the release of One Deep River is a little more sensible than that!
Official video for Ahead of the Game coming at 1730GMT today…
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Peter Gabriel did the same thing he did 20 years ago when the Up album was released. Whenever the moon was full, he shared one song.
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Peter Gabriel did the same thing he did 20 years ago when the Up album was released. Whenever the moon was full, he shared one song.
Really? I had no idea. But then I am not what you would call a dedicated follower of Peter’s, as much as I like his work.
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Peter Gabriel did the same thing he did 20 years ago when the Up album was released. Whenever the moon was full, he shared one song.
Really? I had no idea. But then I am not what you would call a dedicated follower of Peter’s, as much as I like his work.
I liked the idea of the full moon, but there are many people who think it spoiled the I/O premiere.
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Peter Gabriel did the same thing he did 20 years ago when the Up album was released. Whenever the moon was full, he shared one song.
Really? I had no idea. But then I am not what you would call a dedicated follower of Peter’s, as much as I like his work.
I liked the idea of the full moon, but there are many people who think it spoiled the I/O premiere.
Don't you think with this release strategy the premiere is kinda... Pointless by design? I followed it by the way and liked the idea. It's so refreshing to see something different these days especially with "legacy" artists. I think the internet is so developed today you can drop an album without announcements and it still will sell, be listened to and enjoyed, and people will share it with no long anticipation needed.
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:)
https://www.youtube.com/watch?v=gaAtqgbA5WA
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Lovely little video, no 'Geordie' scenes but I was thrilled just to see 'The Master' and band back in action personally!
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And that's how it should be on the album. Ian Thomas for starters.
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Plenty of film of newcomer Greg Leisz!
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That and same shirt he wore in the Live Roadrunning video.
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That.
Nah to the boring comment dmg - behave yourself! At least we've a video at long last!
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That.
Nah to the boring comment dmg - behave yourself! At least we've a video at long last!
Exactly :)
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That.
Nah to the boring comment dmg - behave yourself! At least we've a video at long last!
Exactly :)
We need two forums — for optimists/idealists and sceptics/realists :lol
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I like the video and enjoyed watching them play. A look inside British Grove is always great.
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I don't know if the guitar nerds around here have noticed that Mark's Ahead Of The Game strat tone is very "chorusy". Very similar to the Sultans tone from the first Straits record.
Of course, he is using a different guitar and pickups.
But, the main thing, is very similar.
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I have this riff in my head all the time.
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I don't know if I balance it by being a former camper on the positive side, at least some times, then over to the negative, and back again, and now I just feel...empty. Today, after not listening to the song during the weekend and not feeling like listening to it again, I thought what is wrong with me. Now we have a video! That itself should make me so happy! Instead I feel annoyed(!) and sad at the same time by the riff and the drums and the rythm.
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I don't know if the guitar nerds around here have noticed that Mark's Ahead Of The Game strat tone is very "chorusy". Very similar to the Sultans tone from the first Straits record.
Of course, he is using a different guitar and pickups.
But, the main thing, is very similar.
Yes, I see what you mean. But I think I hear some reverb and tremolo. I guesss that’s why he doesn’t use vibrato, because of the tremolo effect. Wonder If he finger picked on the recording. Sounds like a plectrum.
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That and same shirt he wore in the Live Roadrunning video.
Maybe an XXL version now ;)
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I have this riff in my head all the time.
Hahaha! Join the club!!
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That.
Nah to the boring comment dmg - behave yourself! At least we've a video at long last!
Exactly :)
We need two forums — for optimists/idealists and sceptics/realists :lol
And one for those who just cannot help moaning!!!
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I don't know if the guitar nerds around here have noticed that Mark's Ahead Of The Game strat tone is very "chorusy". Very similar to the Sultans tone from the first Straits record.
Of course, he is using a different guitar and pickups.
But, the main thing, is very similar.
Heavy Chorus with a smidge of tremelo tone I'd say...
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I don't know if I balance it by being a former camper on the positive side, at least some times, then over to the negative, and back again, and now I just feel...empty. Today, after not listening to the song during the weekend and not feeling like listening to it again, I thought what is wrong with me. Now we have a video! That itself should make me so happy! Instead I feel annoyed(!) and sad at the same time by the riff and the drums and the rythm.
Don't feel bad about it. We all grow older, and I perfectly understand that nothing will ever change about our MK, he's stopped "experimenting" since probably 2004 and solidified his formula in stone since he got his studio, and now it's been nearly 20 years of nearly identical-sounding albums and same old MK, so your lack of excitement is understandable. If Mark was granted immortality, I'm sure he'd be able to live with this formula forever with no problem, he has reached peak Knopfler.
With this said, he is a genius songwriter and guitar player, and while "Ahead Of The Game" is not exactly a genius song, even with all my negativity I know for a fact — there'll be greater songs, there'll be something for anyone, there'll be magic and classic Knopfler. You can't go wrong with this guy, just curb your expectations, hope for the best, and prepare for the worst. The best way not to be disappointed is not to have any expectations in the first place.
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I have this riff in my head all the time.
Funny, me too! I woke up this morning with it and still have it in my head.
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I have this riff in my head all the time.
Funny, me too! I woke up this morning with it and still have it in my head.
:)
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Heavy Chorus with a smidge of tremelo tone I'd say...
Technically speaking, i'll go a bit far.
I think there is no chorus, but a mirrored vibrato.
Two amps, one dry and the other one on 'vibrato mode'
To my ears, there are 2 reverbs (a short plate and an ambience one)
or... a very discrete slapback delay plus a reverb. Both placed on post-production.
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I have this riff in my head all the time.
Funny, me too! I woke up this morning with it and still have it in my head.
:)
Hi guys! I really like the riff, especially with this rock'n'roll rhythm which I appreciate a lot. He hasn't released a single with this upbeat beat since Cannibals. I like it a lot and it's quite catchy and... danceable. :)
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The song is growing on me, even the not-so-interesting solo, but it is a very average song. Strange choice for a single.
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About the video clip of this song...
Yesterday Guy said that the single was chosen by the record company, also he said before than these scenes were filmed a year ago, so, I think they must had mimed a certain amount of songs just in case any of them could had been the single.
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The song is growing on me, even the not-so-interesting solo, but it is a very average song. Strange choice for a single.
Maybe it is an average album and this is the best one on it.
LE
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The song has been going around in my head since I first heard it. It's an earworm - love the riff!! As dmg has said it looks like he's wearing the same shirt as he wore on RLRR - it was far too big then, but now it fits him! ;D
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With this said, he is a genius songwriter and guitar player, and while "Ahead Of The Game" is not exactly a genius song, even with all my negativity I know for a fact — there'll be greater songs, there'll be something for anyone, there'll be magic and classic Knopfler. You can't go wrong with this guy, just curb your expectations, hope for the best, and prepare for the worst. The best way not to be disappointed is not to have any expectations in the first place.
Totally agree. I was very disappointed with the release of Down The Road Wherever. Some songs I literally hated (Rear View Mirror), others I found 'ruined' by some sounds that seemed out of place (Back on the Dance Floor, Good on You Son, Trapper Man). It remains Mark's weakest album for me, but some gems have grown over time and it is not uncommon for me to put the CD on just for these. Matchstick Man moves me every time, and not only because of the precise meaning given to it during the 2019 tour, When you live is poignant and perfect throughout, One song at a time is the first one that struck me, and although with a few "flaws" here and there, it remains a great song, Drover's Road represents Mark's ability to tell beautiful stories to listen to, with simple words and a few chords.
I have good feelings about One Deep River, I like Ahead Of The Game despite its simplicity, but I'm sure it won't be one of the ones I'll be looking for in the album. Mark's 21 new tracks are a godsend and among them I will find, in time, my 'pearls', just as everyone here will find theirs. On this Mark has never let us down.
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Another one in the line of Matchstick man, One song at a time or even Pale imitation. Or Floating away if you want. Tons of self looking, rather than introspection. Being a Spaniard, lyrics meaning does not bang in my head as much as on an english spoken person, so I pay more attention to music. Hmmm, nice song but honestly I admit it´s one of the less good of the album.
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Another one in the line of Matchstick man, One song at a time or even Pale imitation. Or Floating away if you want. Tons of self looking, rather than introspection. Being a Spaniard, lyrics meaning does not bang in my head as much as on an english spoken person, so I pay more attention to music. Hmmm, nice song but honestly I admit it´s one of the less good of the album.
How do you know? Heard it already?
LE
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Mark's words about this songs apperaed on different media, like this one:
https://www.resident-music.com/productdetails&product_id=108264
"that all goes back to bands playing live. in some way, i was thinking about nashville, because when i first went out there, it must have been in the early '80s and all the bands in the bars downtown were playing the hits. and that's fine. what i was trying to say is that's an achievement to actually get to a place where you've got employment, and you've got yourself a gig. i mean, statistically, what are the odds of making it? if you stopped to think about that, you'd hardly take a step further, would you?"
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Yes we already had detected that in the other thread somewhere. ;D
LE
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I really like the song the more I hear it, I watched the video today with headphones on and it sounds really good, a lovely warm sound, the video looks good in black and white too, do we know if it was filmed by Henrik Hansen or not? :hmm
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Yes we already had detected that in the other thread somewhere. ;D
LE
I know, but I created this thread specifically for this song, as usual with every MK record that has a thread per song, and I thought that info should be in the correct place as well, lol
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Yes we already had detected that in the other thread somewhere. ;D
LE
I know, but I created this thread specifically for this song, as usual with every MK record that has a thread per song, and I thought that info should be in the correct place as well, lol
Is that going to happen for the Dire Straits albums too at some point?
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Yes we already had detected that in the other thread somewhere. ;D
LE
I know, but I created this thread specifically for this song, as usual with every MK record that has a thread per song, and I thought that info should be in the correct place as well, lol
Is that going to happen for the Dire Straits albums too at some point?
There were plans for that, but i guess that there were no time to do it.
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Ok, that's a shame.
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Yes, I agree. Very nice sound. And a nice melody too. Way to go, Mark!
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The song is growing on me, even the not-so-interesting solo, but it is a very average song. Strange choice for a single.
Maybe it is an average album and this is the best one on it.
LE
I'm sure there will be gems on it, I just don't expect the album to knock me out. Actually none of Mark's solo albums have done that. Plenty of gems when looking at individual songs of course.
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Not the best Mark song, I am expecting a bit more from him. I don't know if the band has fallen into a comfortable zone or if Guy has the reigns now but the song doesn't struck as a Mark construct. Yes the sound is unmistakable, but I have already listen this tune.
I do think the album will have more songs to be waiting for.
When a new MK song/album is out, I often say to myself, would I have liked it if I hadn't heard of Mark before? Would the song have made a way into my head? This one I think does not.
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Some songs I literally hated (Rear View Mirror), others I found 'ruined' by some sounds that seemed out of place (Back on the Dance Floor, Good on You Son, Trapper Man). It remains Mark's weakest album for me.
I have reservations about the soundscapes you mention, too. But you HATED Rear View Mirror?! Why? I absolutely LOVE it!
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Pretty boring studio bound B&W fare. Very similar to previous videos since Boom Like That and same shirt he wore in the Live Roadrunning video.
Don't criticize him for still wearing a shirt he wore in 2006. That's sustainability! :clap
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Found the video to be a bit depressing they all look so old.
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Found the video to be a bit depressing they all look so old.
I understand. But that is life.
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Found the video to be a bit depressing they all look so old.
I understand.
A bit of sadness, but also a bit of joy because this people are aging on company, doing music, living his late life as a sucessful musicians. It would be beautiful to age like that. I can´t ask for more.
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Don't feel bad about it. We all grow older, and I perfectly understand that nothing will ever change about our MK, he's stopped "experimenting" since probably 2004 and solidified his formula in stone since he got his studio, and now it's been nearly 20 years of nearly identical-sounding albums and same old MK, so your lack of excitement is understandable. If Mark was granted immortality, I'm sure he'd be able to live with this formula forever with no problem, he has reached peak Knopfler.
I understand your feelings, but i tend to think that "the problem" is a bit different.
KTGC is, in my opinion, a great album. Very different from the older ones. Mark is playing different and some songs are true gems.
Privateering is one of my fav MK's albums.
The main "problem" with the MK albums (since KTGC) is the lack of energy (except most of Privateering). The songs are flat and, to my point of view, lazy.
DTRW gets me in agony. Is the worse MK album ever.
The concerts was way worse.
There are almost the same songs tour after tour.
All songs played slower tour after tour.
I remember GF saying that the setlist was carefully well crafted during years of touring and they were very happy that MK choose the very right path.
Right Path = solidified his formula in stone
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Don't feel bad about it. We all grow older, and I perfectly understand that nothing will ever change about our MK, he's stopped "experimenting" since probably 2004 and solidified his formula in stone since he got his studio, and now it's been nearly 20 years of nearly identical-sounding albums and same old MK, so your lack of excitement is understandable. If Mark was granted immortality, I'm sure he'd be able to live with this formula forever with no problem, he has reached peak Knopfler.
I understand your feelings, but i tend to think that "the problem" is a bit different.
KTGC is, in my opinion, a great album. Very different from the older ones. Mark is playing different and some songs are true gems.
Privateering is one of my fav MK's albums.
The main "problem" with the MK albums (since KTGC) is the lack of energy (except most of Privateering). The songs are flat and, to my point of view, lazy.
DTRW gets me in agony. Is the worse MK album ever.
The concerts was way worse.
There are almost the same songs tour after tour.
All songs played slower tour after tour.
I remember GF saying that the setlist was carefully well crafted during years of touring and they were very happy that MK choose the very right path.
Right Path = solidified his formula in stone
Exactly! It's not good or bad, it's just the way it is... I think you can conduct an experiment and shuffle songs from any album recorded in British Grove Studios and ask people to which album/period they belong. They are so similar that even fans can confuse it sometimes, and when a new bonus track comes out you don't really know when it was recorded as it can be whichever year you want. You can bet the new album will not be different.
Same with tours. It's at the same time a remarkable consistency, but on the other hand — a bummer. It has to be done intentionally.
One of Mark's catchphrases is "There is no formula". Of course, he's saying it regarding songwriting, but it applies to his whole career it seems. The formula is don't mess up with the formula, whatever it is. And I don't think Mark even knows what it is, he's just comfortable and doing exclusively what he wants to do, and the consistency is the byproduct of that. If he'd been under more pressure like at the beginning of DS, the results could be better.
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
I said fans, not die-hard fans :lol
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
I said fans, not die-hard fans :lol
:D
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You can bet the new album will not be different.
Judging the book from the cover, i bet that the new album will be another mess like DTRW. Full of GF Noises and 'bee sounding' organs.
I trully hope that the Mark's Jazzy songs has stopped in 2019.
Same with tours. It's at the same time a remarkable consistency, but on the other hand — a bummer. It has to be done intentionally.
One of Mark's catchphrases is "There is no formula". Of course, he's saying it regarding songwriting, but it applies to his whole career it seems. The formula is don't mess up with the formula, whatever it is. And I don't think Mark even knows what it is, he's just comfortable and doing exclusively what he wants to do, and the consistency is the byproduct of that. If he'd been under more pressure like at the beginning of DS, the results could be better.
Yes.
He is comfortable with his results and, as you said, there is no pressure over him. He keeps the his formula.
There is another thing about his releases that i don't really like.
I explain:
When i started to do do a deep search about DS/MK music, at the time, there were very few "extra material" about him. There were the Golden Heart Demos and, about 2002, some live performances and bonus material from the RPD singles/special editions...
People like me, who have listened every unreleased/unnoficial/b-side.. material from DS/MK, wanted to hear new songs, even if these songs were poor or weak songs. Just for the fact to hear new material from MK.
The magic about Mark's music was that an artist with his magnitude has few disposal material. He is a recluse guy, with brings more and more curiosity about his work.
Albums like MM or LOG had 7 and 5 songs there, half of them are anthems for us.
Half of DS's material are gold. This is huge.
Seems to me that, the MK's production team discover that urgeness about his 'non releaseable' material.
What happens were, since the Get Lucky release, they started to release almost anything that Mark recorded since then.
So, there are too many songs from album since then.
The extra/deluxe/diamond... material is released together with the album, what is, in my opinion, a wrong strategy. It makes his new releases do loose strenght.
If the official ambum could have 12 well fitted and crafted songs, and the fillers was released months later as (Sessions for Album X)... well. Problem solved.
They could put all the trash inside these 'Sessions Releases'.
I coud imagine the Privteering album with 12 songs max and the Blues songs released months later (i know this was in MK's mind back then)
Even DTRW could be a great album if cutted by half.
I listened to n YT episode about DTRW and the host said: "Mark Knopfler trows away what could be as absolutely great album if there as very less songs on it"
Totally agree.
I hope that he starts to release EP's here and there from now.
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Thematically, we can compare this song to "Every Heart In The Room" right?
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Thematically, we can compare this song to "Every Heart In The Room" right?
Don't think so.
Every heart in the room, for me is about someone that is a great person, a beautiful soul, that everyone loves or would love.
Actually I always thought it was about his daughter Issy who is starting his career as actress.
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It's a pity that we rarely talk about lyrics because we have different views.
"Actually I always thought it was about his daughter Issy who is starting his career as actress"
I like it too, but you have complicated my view of this song jbaent ;)
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Yes.
He is comfortable with his results and, as you said, there is no pressure over him. He keeps the his formula.
The release strategy makes absolutely no sense and is so obviously money-grabbing that honestly, I feel ashamed about everyone involved in this, starting from Mark down to any minion just doing orders. What a stupid idea to release 10 versions with different songs just to have fans buying all the versions.
I definitely agree about quality over quantity. Dire Straits only had 60 songs, now in his solo career Mark has released close to 200 songs already. DS existed from 1977 to 1993−1995, Mark's solo career is from 1995 to this day, so his solo career existed for significantly less than double the time DS existed. Yet, he released significantly more than double the amount of songs.
But who's gonna say to him about it? Nobody. That happens when you have total control. You don't have anyone to say that your album cover is asymmetrical or banal, that the number of songs is probably too much, and that you probably don't need a double album. Mark is in total artistic freedom, which is the dream of any artist, and yet it's the enemy at the same time.
Very one-sided view of things, like a country with a single party, you only get a single view. Mark's one. Especially while having a co-producer that 100% agrees with you. So yes, not all fine and dandy in Mark's kingdom as far as fans are concerned, however for him — it's heaven, freedom, success and enjoyment. When Mark "suffered" instead, we undoubtedly got better treatment as fans.
By "suffering" I mean having a co-producer and manager who doesn't agree with you 100%, the need to establish your solo career and dream of dropping "The Voice and Guitar of Dire Straits" sticker from your albums for the rest of your life, in which Mark succeeded to 100%, can't argue with that. But those who suffer in this case, are us — fans. Deal with it 8)
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Ok, that's a shame.
Send me a pm about that
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It's a pity that we rarely talk about lyrics because we have different views.
"Actually I always thought it was about his daughter Issy who is starting his career as actress"
I like it too, but you have complicated my view of this song jbaent ;)
Mark himself is not a fan of discussing the lyrics, and on Guy's forum Guy famously (I mean famously in close circles) turns down any questions regarding lyrics.
Turns out that for Mark lyrics are personal and not something he likes to elaborate on, so naturally, everybody follows suit.
I enjoy the poetry and music of words more because I'm not a native speaker like a lot of people here.
If you want, there is always a ton of room for interpretation, but that's the idea.
Some things are obvious, some things are vague. Sometimes you're the windshield, sometimes you're the bug.
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About the video clip of this song...
Yesterday Guy said that the single was chosen by the record company, also he said before than these scenes were filmed a year ago, so, I think they must had mimed a certain amount of songs just in case any of them could had been the single.
They could have done like John Illsley's last album, VIII, in which the videos of the four singles were recorded in a single location, then the driving single of the entire album was the second, It"s a Long Way Back. But , as already said in other posts, I really like Ahead of the Game!!! :)
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
Follow the Ribbon? Was it a Tracker bonus? Or Privateering? Dunno!
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
Follow the Ribbon? Was it a Tracker bonus? Or Privateering? Dunno!
What about Time In The Sun? Also known as TITS?
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"...They are so similar that even fans can confuse it sometimes..."
Really? This has never happened to me
Follow the Ribbon? Was it a Tracker bonus? Or Privateering? Dunno!
What about Time In The Sun? Also known as TITS?
That was an exclusive on The Very Breast of Mark Knopfler.
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Seems clear to me it’s not about MK but about a less successful singer songwriter.
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Does anybody know what the line "It was a red light shining, love in vain" means? Is it related to the song "Love in Vain" by Robert Johnson(or maybe The Rolling Stones)?
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It's a pity that we rarely talk about lyrics because we have different views.
"Actually I always thought it was about his daughter Issy who is starting his career as actress"
I like it too, but you have complicated my view of this song jbaent ;)
Mark himself is not a fan of discussing the lyrics, and on Guy's forum Guy famously (I mean famously in close circles) turns down any questions regarding lyrics.
Turns out that for Mark lyrics are personal and not something he likes to elaborate on, so naturally, everybody follows suit.
I enjoy the poetry and music of words more because I'm not a native speaker like a lot of people here.
If you want, there is always a ton of room for interpretation, but that's the idea.
Some things are obvious, some things are vague. Sometimes you're the windshield, sometimes you're the bug.
Of course. It is important not to change the meaning of the song, so Mark sometimes explains the meaning. But most often he doesn't explain, and there are many meanings and symbols in his songs. Historical and cultural context is very important. Or, for example, what Xenophon writes "There was a red light, love in vain"
A simple song - lyrics are not simple and easy
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To me, the theme of the lyrics (endurance) is very similar to the idea behind Speedway At Nazareth. I guess the person/songwriter in this song isn't really "ahead of the game" but uses this phrase to empower himself and keep going?
LE
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To me, the theme of the lyrics (endurance) is very similar to the idea behind Speedway At Nazareth. I guess the person/songwriter in this song isn't really "ahead of the game" but uses this phrase to empower himself and keep going?
LE
Makes sense. The character is trying to encourage himself to keep going.
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Does anybody know what the line "It was a red light shining, love in vain" means? Is it related to the song "Love in Vain" by Robert Johnson(or maybe The Rolling Stones)?
Yeah probably a nod at that direction. Very nice touch.
The people in the lyrics crosses the railroad tracks don't they?
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Thanks for the tip about Love In Vain.
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I visited MKNews for the first time in ages and found that Terry has prepared the site with song snippets ("sound bites" from all songs (including bonus tracks) "coming soon", also the lyrics are obviously planned to be released before April 12th. The "bite" from AOFG ist 45 seconds long. I remember we had that the last time with Privateering. We had 30 seconds of all 20 songs very early before release date. I listened those one to death and was somehow irritated when I finally got the real album and suddenly the melodies went further on.. :lol
Then the usual question will come up: Listen to it or not listen to it. I don't WANT to but I fear I will be too weak to resist...
LE
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I visited MKNews for the first time in ages and found that Terry has prepared the site with song snippets ("sound bites" from all songs (including bonus tracks) "coming soon", also the lyrics are obviously planned to be released before April 12th. The "bite" from AOFG ist 45 seconds long. I remember we had that the last time with Privateering. We had 30 seconds of all 20 songs very early before release date. I listened those one to death and was somehow irritated when I finally got the real album and suddenly the melodies went further on.. :lol
Then the usual question will come up: Listen to it or not listen to it. I don't WANT to but I fear I will be too weak to resist...
LE
No, no, no, no and no. This thing you've described about getting used to the snippets ruined the songs for me for a long time. I'm not sure I still can get rid of it completely even 12 years later. But the worst is "radio" leaks of albums. The first leak of Down The Road was taken from the radio and it sounded so bad I thought to ignore the album altogether. But who knows what will ruin it next time, you never know :lol
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I have heard the single, now I don't want to hear anything else until I own the album.
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Yes, I know what you mean. I remember having had that the last time with STP. Since then, I already knew at least up to 4 or 5 songs before. The idea of unpacking the vinyl and spin it without knowing nothing but the single is a very nice one.
Redbud Tree was captured from a radio broadcast and sounded very compressed, so I was totally irritated to hear it "real" from the album. Same with One Cool Girl, I heard that from a Dutch radio recording, but loved to get both of them. It made the anticipation even growing more and more.
Last album that leaked completey was Get Lucky if i remember correctly.
LE
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Terry forgot about One Deep River:)
The album closes song One Deep River, not This One's Not Going To End Well.
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I won't listen to the song snippets, that would spoil my anticipation for the whole album although I'm very curious about the new songs.
But in the meantime I will listen to „Ahead Of The Game“ on repeat. The more you listen, the better it gets. ;)
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I also promise myself that I won't listen, but every day I check if there are lyrics and fragments. Human nature... :)
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Why would they do this? It’s not for me.
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I also promise myself that I won't listen, but every day I check if there are lyrics and fragments. Human nature... :)
:thumbsup
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After quite a few listens I can say that I love Ahead Of The Game I love the guitar riff, when I listen to the final part of the solo, after min 2:12 , it reminds me for an instant the black Pensa of water of love (live version Notting hillbillies)
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After quite a few listens I can say that I love Ahead Of The Game I love the guitar riff, when I listen to the final part of the solo, after min 2:12 , it reminds me for an instant the black Pensa of water of love (live version Notting hillbillies)
Yes, or this moment: 2:20-22 is soothing for me.
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After quite a few listens I can say that I love Ahead Of The Game I love the guitar riff, when I listen to the final part of the solo, after min 2:12 , it reminds me for an instant the black Pensa of water of love (live version Notting hillbillies)
Yes, or this moment: 2:20-22 is soothing for me.
Yes!! 2:20... ;)
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:)
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Then the usual question will come up: Listen to it or not listen to it. I don't WANT to but I fear I will be too weak to resist...
Nothing wrong with reading the lyrics, in my opinion. I'll definitely do that. Listening to snippets, however ... what's the point? Okay, you'll know how the album sounds, but it's too late to change that, anyway. ;) And since we're ALL going to buy the album regardless of its sound or any other qualities/weaknesses, why not wait until you get the full experience?
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I don’t want to read the lyrics. I want to hear them in context.
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I am surprised that almost all of you love this song and that is of course brilliant.
Personally I think it one of those quickly forgettable songs the more I listen to it. Cant wait for the other ones. :thumbsup
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I am surprised that almost all of you love this song and that is of course brilliant.
Personally I think it one of those quickly forgettable songs the more I listen to it. Cant wait for the other ones. :thumbsup
It's like the man (or woman) dying of thirst in the desert. That luke warm dirty well water they drink is the best damn water ever. :)
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I am surprised that almost all of you love this song and that is of course brilliant.
Personally I think it one of those quickly forgettable songs the more I listen to it. Cant wait for the other ones. :thumbsup
It's like the man (or woman) dying of thirst in the desert. That luke warm dirty well water they drink is the best damn water ever. :)
Dusty says it all.
When the album comes everybody will be running in separate directions to find "their" songs.
At the moment this is all we have.
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I am surprised that almost all of you love this song and that is of course brilliant.
Personally I think it one of those quickly forgettable songs the more I listen to it. Cant wait for the other ones. :thumbsup
I have to admit the more I listen to it the more boring I find it. Singles have regularly been among the weakest from the album for me so I'm eagerly waiting the release.
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I am surprised that almost all of you love this song and that is of course brilliant.
Personally I think it one of those quickly forgettable songs the more I listen to it. Cant wait for the other ones. :thumbsup
I have to admit the more I listen to it the more boring I find it. Singles have regularly been among the weakest from the album for me so I'm eagerly waiting the release.
It's nice, but forgettable. You'd think he'd try to create a sense of desperation or being part of a race given the theme of the song. A more fitting title would be "Time for a nap again" ;D
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My 84 year old father finds some of MK's latest releases a bit boring. I am getting there, I am nearly 50... ;)
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I don't remember if anybody commented about this...
The song starts different in the videoclip, with Ianto starting the song with some drumstick noises and then the band start playing, than in the streaming single, that the band starts directly playing.
I wonder if that videoclip start is like that in the record, or is only like that in the videoclip. It's not important really, but curious for me.
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I don't remember if anybody commented about this...
The song starts different in the videoclip, with Ianto starting the song with some drumstick noises and then the band start playing, than in the streaming single, that the band starts directly playing.
I wonder if that videoclip start is like that in the record, or is only like that in the videoclip. It's not important really, but curious for me.
I hope they recorded some (all?) of the songs live, not only mime them. Hope Mark was able to pull it off somehow, but I have to admit, this hope is very little, almost non-existent. If that was recorded simply for a music video, count-in just looks cool and sells the "liveness" of it even more.
"Laughs And Jokes And Drinks And Smokes" retained count-in on the record, don't think it suits the single as much. Not every song needs to retain the count-in, although nearly every song needs one. Recently I found this video with a count-in for "All My Loving". 1, 2, 3, 4 — 1 (2) "Close your eyes and I'll kiss you"...
https://www.youtube.com/watch?v=SHba5RO9clM
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I don't remember if anybody commented about this...
The song starts different in the videoclip, with Ianto starting the song with some drumstick noises and then the band start playing, than in the streaming single, that the band starts directly playing.
I wonder if that videoclip start is like that in the record, or is only like that in the videoclip. It's not important really, but curious for me.
I hope they recorded some (all?) of the songs live, not only mime them. Hope Mark was able to pull it off somehow, but I have to admit, this hope is very little, almost non-existent. If that was recorded simply for a music video, count-in just looks cool and sells the "liveness" of it even more.
"Laughs And Jokes And Drinks And Smokes" retained count-in on the record, don't think it suits the single as much. Not every song needs to retain the count-in, although nearly every song needs one. Recently I found this video with a count-in for "All My Loving". 1, 2, 3, 4 — 1 (2) "Close your eyes and I'll kiss you"...
https://www.youtube.com/watch?v=SHba5RO9clM
In the case of "Ahead of the game" the videoclip doesn't seems to be live further than the Ianto count-in, the rest sound exactly the same than the version on streaming services.
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Seems clear to me it’s not about MK but about a less successful singer songwriter.
Interestingly, I always suspect it's about Mark himself.
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Produced by Mark Knopfler and Guy Fletcher
Recorded and mixed by Guy Fletcher at British Grove Studios, London
Assistant Recording Engineers: Rowan McIntosh, Eve Morris, Edie Delafield, Luie Stylianou and Tom Coath
Mix Assistant: Luie Stylianou
Drums by Ian Thomas
Percussion by Danny Cummings
Upright bass by Glenn Worf
Electric guitar by Richard Bennett
Acoustic guitar by Greg Leisz
Piano by Jim Cox
Synths by Guy Fletcher
Guitars and vocals by Mark Knopfler
Mastered by Bob Ludwig at Gateway Mastering Studios, Portland, Maine
Miscellaneous Credits:
Recorded at British Grove Studios, London, UK