A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: xxFordiexx on September 29, 2014, 03:23:46 AM
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Quite simply one of the best interviews I've ever listened to. So interesting with plenty of DS chat. Sorry if you've already heard it but I hadn't and wanted to share in case you hadn't too. https://soundcloud.com/simon-vine-podcaster/terry-williams-interview-march
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Thanks! What a nice guy and, as you say, very interesting.
"Two take Tel!"
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The fact that this guy have no any affiliation with any of DS tribute bands automatically makes him a nice guy.
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I must admit I didn't understand all precisely, but it seems that the fact that he was remplaced by Omar Hakim on the BIA studio recordings were not Mark's fact (as it was common said, but due to the fact that Terry wasn't happy with his drumming on songs, right ? well Mark was maybe not happy with it too, but I inderstood That Terry proposed him to be remplaced, and not reverse...
so it's a proof of humbleness, one of best human quality IMHO, and therefore a nice guy
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Thanks for sharing. Very interesting!
Here is the link to the italian concert with all the great rock n rollers. At 2:02:18 onwards you can see the handsigns of BB King, that were described by Terry Williams to signal the breaks and the restart of the rhythm pattern. At the end there is the jam. Great fun but imho a bit too much.
https://www.youtube.com/watch?v=P_zywFj7vrk (https://www.youtube.com/watch?v=P_zywFj7vrk)
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I must admit I didn't understand all precisely, but it seems that the fact that he was remplaced by Omar Hakim on the BIA studio recordings were not Mark's fact (as it was common said, but due to the fact that Terry wasn't happy with his drumming on songs, right ? well Mark was maybe not happy with it too, but I inderstood That Terry proposed him to be remplaced, and not reverse...
so it's a proof of humbleness, one of best human quality IMHO, and therefore a nice guy
From what I know it was Neil Dorfsman's wish and Mark vetoed it for some time.
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Yep he is such a genuine guy and I have been lucky enough to have a nice chat with him on Facebook before too. Lovely man
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I must admit I didn't understand all precisely, but it seems that the fact that he was remplaced by Omar Hakim on the BIA studio recordings were not Mark's fact (as it was common said, but due to the fact that Terry wasn't happy with his drumming on songs, right ? well Mark was maybe not happy with it too, but I inderstood That Terry proposed him to be remplaced, and not reverse...
so it's a proof of humbleness, one of best human quality IMHO, and therefore a nice guy
From what I know it was Neil Dorfsman's wish and Mark vetoed it for some time.
ah interesting, I didn't know that. Before hearing Terry's itw I thought it was Mark who didn't like his drumming and asked to change the drummer, because he didn't want to make "music with the snare drum" at the time (ironically, the 3 hits of the albums are all with a prominent snare sound)
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"Drumming For Nothing
Once all of the album's backing tracks had been completed, it was time to move on to the overdubs, and it was at that point, about a month into the project, that Knopfler realised all of the drum parts
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thanks for info. it's interesting to hear Terry's version though
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The story from Classic Tracks makes me feel sad. But I do recall Mark's comment about drums at the Boothbay Concert: "The best drums are no drums." Right there on the dvd, for those of you who have it. I'm sure it was light-hearted; it certainly was said in a light-hearted way. There were no drums at that concert. IMO he has had several great drummers over the years, including Danny Cummings.
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The exact sentence was "It takes a really good drummer to be better than no drummer at all", which is a bit more balanced a statement :) And yes, it was light-hearted.
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Thanks, I knew I misquoted, but was too lazy to go check it out, myself. Same Idea, but yes, MK said it so much better.
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Thanks! I really enjoyed this interview with Terry. He seems such a nice man. :)
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And again, Mark once more appears not as the friendliest man... Although Terry really tries to be polite, between the lines you can read that Mark could not cope with Terry saying he doesn't like the way the studio work turned out and sent him home..
LE
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doesn't start playing for me (the interview) but that youtube vid, boy, for Terry to be playing with what must have been many of his childhood hero's...awesome..
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Very interesting - thanks for the link!
Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
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I like the tone in his voice when he asks the interviewer "have you ever seen Dire Straits live?"
Whereas I find disgusting the "joke" the interviewer does about the circumstances of the death of Jeff Pocaro.
Nice:
"Definitily no drugs. Glasses of wine or whatever, but we weren't heavy drinkers. We weren't party animals. We weren't boring, don't get me wrong.
We didn't have groupies. A bunch-of-old -men-playing-serious-music-kind-of-attitude" ;D
LE
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And again, Mark once more appears not as the friendliest man... Although Terry really tries to be polite, between the lines you can read that Mark could not cope with Terry saying he doesn't like the way the studio work turned out and sent him home..
LE
yes, and on the contrary it seems that Alan Clark was friendlier, at least with Terry...maybe I understood wrong, but I heard that Terry spent a lot of time with him having fun playing in pubs, right ?
it's always interesting to hear the History that we know from the "official" side from another point of view, and more, from an "inside" point of view, so to say
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At 2:02:18 onwards you can see the handsigns of BB King, that were described by Terry Williams to signal the breaks and the restart of the rhythm pattern.
yes it's a common way for "oldschool" musicians, like Chuck berry and all...
For his 60th birthday, BB King played with EC, SRV, Collins, Etta James, etc... in LA
during "Let the good times roll", it's funny to hear that Etta James wanted to start the breaks one verse earlier, and the drummers don't follow her...
She tries the handsigns like BB King, at 1:49, but it doesn't work...
She has to try again and then it's ok... surely because BB King gave the GO
BB King is the chief, and you can't pass over his leadership ;D
http://www.youtube.com/watch?v=d-ILh9F5BBM
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Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
100% agree
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At 2:02:18 onwards you can see the handsigns of BB King, that were described by Terry Williams to signal the breaks and the restart of the rhythm pattern.
yes it's a common way for "oldschool" musicians, like Chuck berry and all...
For his 60th birthday, BB King played with EC, SRV, Collins, Etta James, etc... in LA
during "Let the good times roll", it's funny to hear that Etta James wanted to start the breaks one verse earlier, and the drummers don't follow her...
She tries the handsigns like BB King, at 1:49, but it doesn't work...
She has to try again and then it's ok... surely because BB King gave the GO
BB King is the chief, and you can't pass over his leadership ;D
http://www.youtube.com/watch?v=d-ILh9F5BBM
Ha Ha, yes, she stepped in too early
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Thanks so much for sharing this. Very interesting interview, the kind of which I have been longing to hear fior years.
Terry comes across as a very humble man who was faithful to the Straits. Nice touch to hear he even went to see them during the OES tour. A big mistake not to use him but then I think he was better off out of it.
Would be good to hear from Alan an interview of the same ilk now that his band have parted company.
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Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
100% agree
This more or less the same as Joop de Korte said about the EOS tour, something like "Mark felt bored with it from day one"
About drummer, who Mark referred about his playing on Sultans of Swing as "spoiling* it for years"?
* : this is not the exact word used.
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Quite simply one of the best interviews I've ever listened to. So interesting with plenty of DS chat. Sorry if you've already heard it but I hadn't and wanted to share in case you hadn't too. https://soundcloud.com/simon-vine-podcaster/terry-williams-interview-march
for some reason it simply will NOT start playing for me. is anyone able to help me out?
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Quite simply one of the best interviews I've ever listened to. So interesting with plenty of DS chat. Sorry if you've already heard it but I hadn't and wanted to share in case you hadn't too. https://soundcloud.com/simon-vine-podcaster/terry-williams-interview-march
for some reason it simply will NOT start playing for me. is anyone able to help me out?
This link only works for people who don't turn R&J into a pee break at MK's concert :P
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Quite simply one of the best interviews I've ever listened to. So interesting with plenty of DS chat. Sorry if you've already heard it but I hadn't and wanted to share in case you hadn't too. https://soundcloud.com/simon-vine-podcaster/terry-williams-interview-march
for some reason it simply will NOT start playing for me. is anyone able to help me out?
This link only works for people who don't turn R&J into a pee break at MK's concert :P
but terry has no part in that??
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Quite simply one of the best interviews I've ever listened to. So interesting with plenty of DS chat. Sorry if you've already heard it but I hadn't and wanted to share in case you hadn't too. https://soundcloud.com/simon-vine-podcaster/terry-williams-interview-march
for some reason it simply will NOT start playing for me. is anyone able to help me out?
This link only works for people who don't turn R&J into a pee break at MK's concert :P
but terry has no part in that??
:hmm ???
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Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
100% agree
When OES was released, my DS fan friends hated it as "not real DS".
As for me, I was so blown away by the masterpieces on the album (the addictive tittle track, the haunting PONO, the very moving Iron Hand, the erotic YAYF) that I could easily forgive the mistakes (the commercial Heavy Fuel, the too much country orientated songs).
As for the tour, I have mixed feelings about it. On the one hand, it was my first time seeing DS live, so I have found memories. Also Mark's guitar playing was the best ever. On the other hand, Mark's bad mood, the lack of keyboards compared to the BIA tour (yes, I love keynoards !) and the overall "over commercialized" feeling put me off. Can't decide whether it was the best or the worst of tours. Probably both. Telegraph road is a good example: most impressive end solo, but that seems like a show off exercise showing no respect for the song: too rushed, no intro, no emotion, obscene amount of pedal steel.
The OES album and tour are a big paradox to me. A mixture of very best and very worst.
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@Pottel: Don't know if you have already fixed the issue. Maybe this is helpful?
From souncloud help:
"Always make sure that your browser and Flash player are updated to the latest versions; if you've installed any flash or ad-blocking plugins in your browser, please add soundcloud.com to the exceptions list in the plugin settings.
Also, always try to reload the page first and double-check using a different browser as in most cases, playback hiccups are only temporary. "
and Safari causes also problems:
https://discussions.apple.com/thread/5983245?tstart=0 (https://discussions.apple.com/thread/5983245?tstart=0)
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Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
100% agree
When OES was released, my DS fan friends hated it as "not real DS".
As for me, I was so blown away by the masterpieces on the album (the addictive tittle track, the haunting PONO, the very moving Iron Hand, the erotic YAYF) that I could easily forgive the mistakes (the commercial Heavy Fuel, the too much country orientated songs).
As for the tour, I have mixed feelings about it. On the one hand, it was my first time seeing DS live, so I have found memories. Also Mark's guitar playing was the best ever. On the other hand, Mark's bad mood, the lack of keyboards compared to the BIA tour (yes, I love keynoards !) and the overall "over commercialized" feeling put me off. Can't decide whether it was the best or the worst of tours. Probably both. Telegraph road is a good example: most impressive end solo, but that seems like a show off exercise showing no respect for the song: too rushed, no intro, no emotion, obscene amount of pedal steel.
The OES album and tour are a big paradox to me. A mixture of very best and very worst.
I think it's a fantastic album. Honestly I listen to it far more often than BiA. I guess there has to be something wrong with OES since so many people dislike it, but I just don't hear it :)
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Argh...what was he about to say about Hal Lindes @ 1:06:48? :hmm Sounds like it was edited out.
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I think it's a fantastic album. Honestly I listen to it far more often than BiA. I guess there has to be something wrong with OES since so many people dislike it, but I just don't hear it :)
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I agree and listen to it probably more than any album. I have always put it down to the fact that it wasn't what people expected from DS with some country influenced songs etc. I remember when it came out I was very disappointed and wanted to hear songs like ones from the first album again but it wasn't until a few years later that I really grew into it.
BIA for me was always just an album for the masses; an album full of singles. The most untypical of DS albums there is. Still has some great songs on it though!
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@Pottel: Don't know if you have already fixed the issue. Maybe this is helpful?
From souncloud help:
"Always make sure that your browser and Flash player are updated to the latest versions; if you've installed any flash or ad-blocking plugins in your browser, please add soundcloud.com to the exceptions list in the plugin settings.
Also, always try to reload the page first and double-check using a different browser as in most cases, playback hiccups are only temporary. "
and Safari causes also problems:
https://discussions.apple.com/thread/5983245?tstart=0 (https://discussions.apple.com/thread/5983245?tstart=0)
simple as that, thnks ytc!!
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Argh...what was he about to say about Hal Lindes @ 1:06:48? :hmm Sounds like it was edited out.
I agree this part of the interview sounds like it was cut just at the point he was about to talk aboit why Hal departed during the BIA recording. Sounds like the story wasnt heading in a happy direction and Terry, who comes across as a very professional person, didn't feel it was his place to talk about Hals departure in an interview. I think we can infer from this though Hals exit may not have been a happy one.
I have now listened to the interview a couple of times.
Like I have said, Terry comes across as a very professional operator in terms of the way he deals with recording scenarios and BIA is no exception.
In terms of his role in Brothers In Arms, what is clear is that the recording process was essentially a new way of working for all involved. As Terry mentions in the interview, this was the first digital recording made by a band and the Sony digital recorders had to be shipped in from the States. What is also clear now is that the album was constructed around a 'timecode' or digital 'click track' (ditigal metronome). This enabled the synthesisers and sequencers (also pretty new at that time), through MIDI to link into the recording process and record in time, and trigger musical events or sequences.
Up to that time, the role of the drummer was to set the tempo for the song. But emerging digital technology could do away with that. So from what it sounds like, a least some of the album was built 'backwards' with drums being added on after guitars, keyboards etc. As Terry describes, he hated this approach of playing to a click track. He was a drummer used to cutting the drums in 'two takes' then walking away. So for him, the recording process of Brothers in Arms must have been very frustrating indeed.
Whilst he says there was no animosity between him and MK, he must have felt at least a little bruised. Particularly when it was Paul Cummins the tour manager who was givent the task of sending him home (and not MK), and even more so when Omar Hakim stepped off the plane that was taking him home, a drummer who Terry himself had spoken of to MK in recent conversations on the subject of New York jazz.
To me this all seems a little harsh, but as Terry says in the interview 'a lot of people probably wouldn't understand the story'. We also have to remember that it wasn't just Terry who was replaced for parts on this record. There are two additional bass guitarists credited on the album, one being Tony Levin (who plays on One World) and the other being Neil Jason (what track does he play on??). We also know that Hal was replaced by Jack Sonni during these sessions. So you could argue that even at this stage we are seeing an MK solo production approach.
Later in the interview we hear that after the end of the BIA tour Terry didn't consider himself to be in a band again, only a session drummer. So he obviously loved his time with Dire Straits, and to me he remains the true drummer of the band in their heyday.
Great interview.
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I think it's a fantastic album. Honestly I listen to it far more often than BiA. I guess there has to be something wrong with OES since so many people dislike it, but I just don't hear it :)
I agree and listen to it probably more than any album. I have always put it down to the fact that it wasn't what people expected from DS with some country influenced songs etc. I remember when it came out I was very disappointed and wanted to hear songs like ones from the first album again but it wasn't until a few years later that I really grew into it.
BIA for me was always just an album for the masses; an album full of singles. The most untypical of DS albums there is. Still has some great songs on it though!
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That makes sense :) . It's a shame to hear about all the "bad mojo" that seems to have surrounded the recordings of OES though
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We also have to remember that it wasn't just Terry who was replaced for parts on this record. There are two additional bass guitarists credited on the album, one being Tony Levin (who plays on One World) and the other being Neil Jason (what track does he play on??).
If I remember correctly John Illsley broke his arm or wrist because of jogging in Hyde Park (?) and was not able to play the bass guitar?
And Terry also had some nice words about his invitation to the Mandela gig, after the "heydays", and was phoned by Mark directly if I remember the interview right?
LE
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Also Mark's guitar playing was the best ever.
not sure about that. it's all matter of taste in the end
- his playing was fast ? yes in songs like TR or Sultans, but he played fast in eraly days and Alchemy for example
- his playing was more "technical" ? I find far harder to play things like skateaway riff, or single handed sailor rhyhtm part than solos on heavy fuel, calling elvis and so on
- his playing had improve in old songs ? the riff in setting me upwas ruined since 90 imho. the real groove was in 78-79, and more tricky. the playing in this song during NHB and OES tour was with less taste.
- all that "chicken" picking he played during 78-83 era was ommitted during OES tour. playing in Alchemy is complicated and tastefull at the same time. playing during OES tour si too much technical, and souns sometimes "cold" to me
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BIA for me was always just an album for the masses; an album full of singles. The most untypical of DS albums there is. Still has some great songs on it though!
it has a legendary status, and it made disvover DS music to many people, including me.
I always thought that DS would have become more "cult" if OES hadn't been released (or at least under mark's solo name).
this comeback gave them a bad image in rock music, you know what I mean : the commercial comeback, and it's a shame because it's the last image they gave to the public.
If they had never come back, the band would have reached another status I think, more "estimable" in many people minds, like "the band who split up after BIA, at their peak", with mandela being their last public appareance, not the "band who split up after their last deal with Philips or whatever".
like Herlock, I have mixed feelings about OES tour. It was the first time I saw DS, I expected so much, and I can say "I was there", but in the same time I was disapointed. Sometimes I think that if I never had seen them live, I would have kept a "fantasm" of THE band I love, by listen and watching gigs from LOG and BIA tour. These were the tours I would have loved to be !
I enjoyed my 96 gig far far far more than my 92 one
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BIA for me was always just an album for the masses; an album full of singles. The most untypical of DS albums there is. Still has some great songs on it though!
it has a legendary status, and it made disvover DS music to many people, including me.
I always thought that DS would have become more "cult" if OES hadn't been released (or at least under mark's solo name).
this comeback gave them a bad image in rock music, you know what I mean : the commercial comeback, and it's a shame because it's the last image they gave to the public.
If they had never come back, the band would have reached another status I think, more "estimable" in many people minds, like "the band who split up after BIA, at their peak", with mandela being their last public appareance, not the "band who split up after their last deal with Philips or whatever".
like Herlock, I have mixed feelings about OES tour. It was the first time I saw DS, I expected so much, and I can say "I was there", but in the same time I was disapointed. Sometimes I think that if I never had seen them live, I would have kept a "fantasm" of THE band I love, by listen and watching gigs from LOG and BIA tour. These were the tours I would have loved to be !
I enjoyed my 96 gig far far far more than my 92 one
An interesting few points there and I can fully empathise with you on all of them!
Firstly, BIA was the album that first brought DS to my attention too. Or perhaps, more accurately the song MFN first of all. We shouldn't forget just how well OES sold so people must have liked it really.
I remember the 1996 concert pretty well and thought that although I enjoyed it, I didn't think the set worked very well with too much film music slowing down proceedings and the DS one I saw in 1991 was much better (although my memories are quite vague now of that).
When listening to a '96 bootleg today, how often do you find yourself listening to Last Exit to Brooklyn? FFW to the start of R&J instead for me. I also didn't like the band. Is it just that we're used to the '96ers now but it just clicked with me when I heard that Ed had referred to them as "The Dullards."
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Calling them "The Dullards" seems to say much more about Ed than about the "pants". They are just musicians after all, they don't have to be great natural scientists nor have to be candidats for the nobel prize..
However, indeed they are "just" musicians - and everytime Mark calls them "best in the world" it is somewhat embarrassing. They never were able to show what they are able to do because they only play their parts.. and, honestly, a band HAS to play great and tight together after they have done all these tracks hundreds of times together. Nobody ever gets the chance to do a real "solo", I mean it is just playing your part. Every top 40 musician or every other studio musician should be able to do it they way they do it. If it was for fun, I would laugh about it, but Mark seems to be serious in announcing Mike McGoldrick as the "best wood flute player in the world" and so on.. c'mon...
LE
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Terry pretty much confirms OES was a contractual obligation album thrown together by MK out of necessity - which is exactly what it sounds like.
100% agree
When OES was released, my DS fan friends hated it as "not real DS".
As for me, I was so blown away by the masterpieces on the album (the addictive tittle track, the haunting PONO, the very moving Iron Hand, the erotic YAYF) that I could easily forgive the mistakes (the commercial Heavy Fuel, the too much country orientated songs).
As for the tour, I have mixed feelings about it. On the one hand, it was my first time seeing DS live, so I have found memories. Also Mark's guitar playing was the best ever. On the other hand, Mark's bad mood, the lack of keyboards compared to the BIA tour (yes, I love keynoards !) and the overall "over commercialized" feeling put me off. Can't decide whether it was the best or the worst of tours. Probably both. Telegraph road is a good example: most impressive end solo, but that seems like a show off exercise showing no respect for the song: too rushed, no intro, no emotion, obscene amount of pedal steel.
The OES album and tour are a big paradox to me. A mixture of very best and very worst.
I think it's a fantastic album. Honestly I listen to it far more often than BiA. I guess there has to be something wrong with OES since so many people dislike it, but I just don't hear it :)
Same for me. Calling Elvis, On Every Street, When it Comes to You, You and Your Friend, The Bug, Fade to Black ... it doesn't get any better than that, sound-wise, song-wise, playing-wise. And then the tour. Yes, it may have been too "big" for it to really be loved, but just listen to, say, the live version of You and Your Friend. Mark Knopfler never, ever was better than that. And look at his face while playing
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Calling them "The Dullards" seems to say much more about Ed than about the "pants". They are just musicians after all, they don't have to be great natural scientists nor have to be candidats for the nobel prize..
However, indeed they are "just" musicians - and everytime Mark calls them "best in the world" it is somewhat embarrassing. They never were able to show what they are able to do because they only play their parts.. and, honestly, a band HAS to play great and tight together after they have done all these tracks hundreds of times together. Nobody ever gets the chance to do a real "solo", I mean it is just playing your part. Every top 40 musician or every other studio musician should be able to do it they way they do it. If it was for fun, I would laugh about it, but Mark seems to be serious in announcing Mike McGoldrick as the "best wood flute player in the world" and so on.. c'mon...
LE
Who's the best wood flute player in the world, then, in your opinion? ;)
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Hi, Rail King, nice to see you back..
I knew that would coming up - Mike was just an example. What I mean is more, there must be a lot of flute players in the world, and "the best" is a categorie
that fits with sports but not with music. How many wood flute players did Mark have in an audition before he knew Mike is the best? Only because they are in his band, they are the best in the world? Not really. So many great guitar players, so many drummers.. so many bands.. really Richard the best guitar player? Ianto the best drummer in the world?
Hope you get what I mean. It is just about the category itself that I feel uncomfortable with.
LE
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C'mon people, it's Mark's world, he said in his world everybody's got a christmas present and a quality shoe, so every musician is the best.
:lol
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There is one band member who is the best in the world.
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?
LE
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?
LE
Someone who will cook your dinner and do the washing up, fix your bicycle or your watch and paint your house.
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?
LE
Someone who will cook your dinner and do the washing up, fix your bicycle or your watch and paint your house.
I was actually thinking of the main man but that is funny! :lol
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jbaent, with this joke i think you've nailed it. The doc is imo a bit underrated. He puts a lot of effort in the whole project, don't know a musician who does the same for his band. I mean the whole package (Tour diary / Fan contact / Producing / Song arranging together with Mark / Saving all the tracks / Demo and notes for the musicians / playing keyboard / photograph / filming / tour cookbook and the list goes on...)
So, "the best" is a very weak category and i think Mark has the right to say it, because for his situation they are probably the best... There is no objective way to label somebody as "the best". And i think it is also a good sign of appreciation. I think it's good to hear that the band leader / the boss likes what you do. So i don't feel uncomfortable with it, although i understand what you're saying, LE
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Mark is not even the best songwriter by means of popularity in comparison with Sir Elton, Sir Paul and another Sirs, by complicity of songs or by means of moving the world like Dylan or Simon or Elton do, he's not the best guitar player in comparison with 999999 guitarists from lists by magazines of the same amount, not the best singer in comparison with Shirley Bassey and tons of other UK and worldwide genius singers, BUT for us he's the number one! And vice versa. Mark's musicians are the best for him just like he's the best for us, that's all.
And Guy seems like 'best of the best', simply because they work together more than even Illsley was in the band. So it means something.
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OES is among my n
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Mark is not even the best songwriter by means of popularity in comparison with Sir Elton, Sir Paul and another Sirs, by complicity of songs or by means of moving the world like Dylan or Simon or Elton do, he's not the best guitar player in comparison with 999999 guitarists from lists by magazines of the same amount, not the best singer in comparison with Shirley Bassey and tons of other UK and worldwide genius singers, BUT for us he's the number one! And vice versa. Mark's musicians are the best for him just like he's the best for us, that's all.
And Guy seems like 'best of the best', simply because they work together more than even Illsley was in the band. So it means something.
Perfectly said.
LE
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Having seen John and Mike many times outside of MK's band, I do understand why he would rate them so highly. John and Mike, together with the wonderful John Doyle are truly mesmerising! :)
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When listening to a '96 bootleg today, how often do you find yourself listening to Last Exit to Brooklyn?
actually I listen to it entirely each time, like a love idea or father and son
I find they were perfect intros for the songs, and LastExiToBrooklyn fits more with Romeo and Juliet than father and son with HFB for example.
even father and son fit more with golden heart than HFB imho. on 2013 recording I don't hear the "link" between F&S and HFB, it doesn't sound right to me
I would love seing mark playing more film stuff, and not only songs, but also intsrumentals. they are lots that could fit in live gigs imho :
freeway flyer
working on it
an american hero
metroland theme
irish boy
irish love
etc...
and almost all could be embed in oather songs
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JF, you are absolutely right about the link between Father & Son and Hill Farmer. From the first show 2013, when Richard started to "chop" into John's and Mike's playing, I thought, well, he will sort that out in a couple of shows.. but it stayed the same until the end of the tour. It is pretty lame and not very clever and artistic made... but the surprise moment maybe is what Mark had in mind.. I also think it is just about having a song that features Mike (and John). I guess it is really that easy. Some songs have to be in the set to give every band member a place to show his quality.
LE
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The first time I heard F&S live again in 2013 I though "wow GH is back"... no it wasn't but I was glad that HFB remained in the setlist (although this song order was not that great)
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Because of my Newcastle decision for 2015 ;D I listened to the 2010 Newcastle show lately and that one was followed then by Glasgow 2010 and Wurzburg 2010.. .I must really say that I generally prefer the 2010 shows musically and set wise -- and that has also to do with the drumming. HFB and Sultans (and Coyote!) were so great and dramatic, whereas HFB 2013 never really got it in my opinion.. there might be one or two or three really great versions but 2010 almost all versions were great.
LE
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Because of my Newcastle decision for 2015 ;D I listened to the 2010 Newcastle show lately and that one was followed then by Glasgow 2010 and Wurzburg 2010.. .I must really say that I generally prefer the 2010 shows musically and set wise -- and that has also to do with the drumming. HFB and Sultans (and Coyote!) were so great and dramatic, whereas HFB 2013 never really got it in my opinion.. there might be one or two or three really great versions but 2010 almost all versions were great.
LE
I do recall that the Glasgow show had particularly good versions of HFB and Coyote. Perhaps the best of the tour.