(11) Wherever I Go (feat Ruth Moody) (6:24)

[yontwocrows]

Please, another hint. I've the same problem, and i'm dying. I know this three notes pretty well, and i even know a few next notes that are not played here. I would guess it's an allusion to DS Times, not to MK solo, right? But I'm not sure.

Back to toupee-lo

Ah, yes similar. But in the meantime i fell more reminded of the intro of it never rains, although the tempo is faster.

[pete_w]

... super-slow pace, Ruth's whispering voice, the 80's sax and, oh, that massage room synth intro courtesy of Guy.

... I'd feel quite anxious about Guy having produced the whole album ...

Considering the fact that Mark quite happily wears the elderly-gentleman-farmer label now, I think Guy's soft pop / easy listening sensibilities will suit Mark well. "... horses, sunsets / sweet nothings - the seaside with yachts" is also art. Some could call it bland, but there's no accounting for taste, I guess.

[Rail King]

... super-slow pace, Ruth's whispering voice, the 80's sax and, oh, that massage room synth intro courtesy of Guy.

... I'd feel quite anxious about Guy having produced the whole album ...

Considering the fact that Mark quite happily wears the elderly-gentleman-farmer label now, I think Guy's soft pop / easy listening sensibilities will suit Mark well. "... horses, sunsets / sweet nothings - the seaside with yachts" is also art. Some could call it bland, but there's no accounting for taste, I guess.

Nicely put. But then Mark used to make fun of those "sweet nothings", right? The painter in that song laments the fact that "seaside with yachts" is what people want from him. Anyway, it's certainly not what I want from Mark, and I'm glad he usually stays above that level of blandness. As for Guy's influence, I just think he may be a skilled technician, capable keyboard player and nice chap overall, but an awful style advisor, and it's Mark's biggest fault not to realize that.

[foma]

... super-slow pace, Ruth's whispering voice, the 80's sax and, oh, that massage room synth intro courtesy of Guy.

... I'd feel quite anxious about Guy having produced the whole album ...

Considering the fact that Mark quite happily wears the elderly-gentleman-farmer label now, I think Guy's soft pop / easy listening sensibilities will suit Mark well. "... horses, sunsets / sweet nothings - the seaside with yachts" is also art. Some could call it bland, but there's no accounting for taste, I guess.

Nicely put. But then Mark used to make fun of those "sweet nothings", right? The painter in that song laments the fact that "seaside with yachts" is what people want from him. Anyway, it's certainly not what I want from Mark, and I'm glad he usually stays above that level of blandness. As for Guy's influence, I just think he may be a skilled technician, capable keyboard player and nice chap overall, but an awful style advisor, and it's Mark's biggest fault not to realize that.

Golden words, man. I can't listen 'Dream of Drowned Submariner' because of its pop-style delayed words in middle part. I 100% sure it was Guy influence.

[pete_w]

Nicely put. But then Mark used to make fun of those "sweet nothings", right? The painter in that song laments the fact that "seaside with yachts" is what people want from him. Anyway, it's certainly not what I want from Mark, and I'm glad he usually stays above that level of blandness. As for Guy's influence, I just think he may be a skilled technician, capable keyboard player and nice chap overall, but an awful style advisor, and it's Mark's biggest fault not to realize that.

Oh, sure, Mark's never given a skilletful of crapola about what others want from him artistically, but as he approaches life's final stages, I don't think we can expect him to  put on leather pants and sing she tastes like a peach anymore (be a bit creepy in fact). Let's just hope Guy hasn't turned this completely into The Ultimate Spa Resort Soundtrack 11. He can keep that for his own solo records.

[border_reiver]

... super-slow pace, Ruth's whispering voice, the 80's sax and, oh, that massage room synth intro courtesy of Guy.

... I'd feel quite anxious about Guy having produced the whole album ...

Considering the fact that Mark quite happily wears the elderly-gentleman-farmer label now, I think Guy's soft pop / easy listening sensibilities will suit Mark well. "... horses, sunsets / sweet nothings - the seaside with yachts" is also art. Some could call it bland, but there's no accounting for taste, I guess.

Nicely put. But then Mark used to make fun of those "sweet nothings", right? The painter in that song laments the fact that "seaside with yachts" is what people want from him. Anyway, it's certainly not what I want from Mark, and I'm glad he usually stays above that level of blandness. As for Guy's influence, I just think he may be a skilled technician, capable keyboard player and nice chap overall, but an awful style advisor, and it's Mark's biggest fault not to realize that.

Golden words, man. I can't listen 'Dream of Drowned Submariner' because of its pop-style delayed words in middle part. I 100% sure it was Guy influence.

But Guy has been a major sidekick for so long that his opinions and influences are weaved into MK's. And because of that Guy is a proper part of the "MK sound".

But when I feel like hearing the standalone MK sound without Guy I usually play the solo from Sonny Landreth's "Congo Square" 

Oh yeah! This is MK for me:

[border_reiver]

Let's just hope Guy hasn't turned this completely into The Ultimate Spa Resort Soundtrack 11. He can keep that for his own solo records.

    

A mere five posts into AMIT and already an awesome guy!

[superval99]

... super-slow pace, Ruth's whispering voice, the 80's sax and, oh, that massage room synth intro courtesy of Guy.

... I'd feel quite anxious about Guy having produced the whole album ...

Considering the fact that Mark quite happily wears the elderly-gentleman-farmer label now, I think Guy's soft pop / easy listening sensibilities will suit Mark well. "... horses, sunsets / sweet nothings - the seaside with yachts" is also art. Some could call it bland, but there's no accounting for taste, I guess.

Nicely put. But then Mark used to make fun of those "sweet nothings", right? The painter in that song laments the fact that "seaside with yachts" is what people want from him. Anyway, it's certainly not what I want from Mark, and I'm glad he usually stays above that level of blandness. As for Guy's influence, I just think he may be a skilled technician, capable keyboard player and nice chap overall, but an awful style advisor, and it's Mark's biggest fault not to realize that.

Golden words, man. I can't listen 'Dream of Drowned Submariner' because of its pop-style delayed words in middle part. I 100% sure it was Guy influence.

But Guy has been a major sidekick for so long that his opinions and influences are weaved into MK's. And because of that Guy is a proper part of the "MK sound".

But when I feel like hearing the standalone MK sound without Guy I usually play the solo from Sonny Landreth's "Congo Square" 

Oh yeah! This is MK for me:

Thanks for that clip, BR!    I usually turn on "Blue Tarp Blues" for my fix!   

[border_reiver]

Thanks for that clip, BR!    I usually turn on "Blue Tarp Blues" for my fix!   

Just a tad off topic at the moment

But remember that the BTB parts were cut at British Grove with GF in the vicinity

And the funny thing was that the recording of BTB almost went on like a tennis match. Sonny sent his material for MK to fill inn and when he got it back from Mark, well Sonny thought it was so good that he had to re-record his own parts.

So the great deal with Congo Square is that MK went over to Louisiana and Sonny Landreth and the moss laden tree-surroundings of Breaux Bridge. It's just pure MK grit coming from a gumbo of Louisiana culture and playing with musicians from those parts.

No tremolo twangs, soothing flutes, Vox Continentals or delayed song parts

[LoveExpresso]

In Opposition to some forumers I must say that I have indeed high Hopes that Guy gives BACK some of the tasteful synth elements that used to be trademarks of MK's work for so long. Speedway,  Wanderlust, Junkie Doll, Sands of Nevada, Private Investigations were all benefiting from it. The snippet of Basil is very promising in that department. Ans on Taormina he seems to play percussion as well. That's what I would call fresh and back to DS Sound if any.

LE

[foma]

http://tabs.ultimate-guitar.com/m/mark_knopfler/wherever_i_go_crd.htm

As it often happens with mainly piano songs, chord voicings are quite varied.
Some guitar chords are crucial, though, and played through the song identically.
Basically, you can always simplify fancy chords to first letter (e.g. Cadd9 to C).

If you want to see how bad piano songs could be for a guitar player, check out Sting's 'Practical Arrangement':
http://tabs.ultimate-guitar.com/s/sting/practical_arrangement_tab.htm

 

[jbaent]

In Opposition to some forumers I must say that I have indeed high Hopes that Guy gives BACK some of the tasteful synth elements that used to be trademarks of MK's work for so long. Speedway,  Wanderlust, Junkie Doll, Sands of Nevada, Private Investigations were all benefiting from it. The snippet of Basil is very promising in that department. Ans on Taormina he seems to play percussion as well. That's what I would call fresh and back to DS Sound if any.

LE

Fully agree. And with Vicente Amigo record he demonstrated not only his skills as producer and engineer but also the feeling that it

[pete_w]

Tierra sounds very nice. No doubt that Guy knows his craft. But he's a mellow fellow. Nothing wrong with that, but his personality is reflected in his production. Also nothing wrong in that, but in combination with the quiet farmer gentleman of rock n roll things may get a little into elevator territory. Which might be what Mark desires.

[Rail King]

Let's just hope Guy hasn't turned this completely into The Ultimate Spa Resort Soundtrack 11. He can keep that for his own solo records.

    

A mere five posts into AMIT and already an awesome guy!

Hehehe, yes, fingers crossed!

But to be fair, and in response to jbaent's comment: Yes, there ARE songs where Guy's influence is strong, and that still do it for me. "Rolling on" would be an example, from the Emmy record. Or "Seattle". "Basil" might turn out to work like that, too - I surely hope so. However, stuff like "Congo Square" and a great many songs from his solo career prove that MK wouldn't need any synth make-up to make his sound complete. The songs are strong enough to stand on their own, and great musicians is all it takes to fill them with life. Speaking of which, how about adding some Paul Franklin and Jim Cox to "Wherever I Go"?

[Rail King]

Tierra sounds very nice. No doubt that Guy knows his craft. But he's a mellow fellow. Nothing wrong with that, but his personality is reflected in his production. Also nothing wrong in that, but in combination with the quiet farmer gentleman of rock n roll things may get a little into elevator territory. Which might be what Mark desires.

That (getting into elevator territory) is the fear I have with every new album. However I just can't and refuse to believe that this is what Mark Knopfler wants.