3 Chord Trick (Legacy)

[PensaGhost]

I can't find any bad attitude or wrong judgment in what Alan Clark wrote. I think he sums it up pretty accurate to be fair.

LE

I think he's very vague in what he says.  He could elaborate and say if his parts are based on something Mark had written, if he did it in collaboration with Mark, if he did these parts alone handed it to Mark and he went along with it or maybe Mark adapted Alan's suggestions.

This vagueness has always suggested to me his part in DS isn't quite as relevant as he seems to remember.

Mark wrote the melody.
Alan Clark is publicly not claiming credits.
Ends of the Alan's bashing case (on that matter).

LOL Mark wrote the whole song, not just the melody, Clark never claimed credits and never will because there's no way he can claim anything at all, this doesn't end the bashing case at all actually that's exactly why there's a case, that's he makes very vague
and completely unsupported by evidence claims after 35 years

[jbaent]

[dustyvalentino]

Mark wrote the melody.
Alan Clark is publicly not claiming credits.
Ends of the Alan's bashing case (on that matter).

Agreed 100%.

Let's get back to bashing AC for how awful what "Legacy" are doing is.


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[PensaGhost]

Let's get back to bashing AC for how awful what "Legacy" are doing is.

ahah

[Pottel]

Same story with the "wall kids" . They got the record for their efforts. After initially complaining they had received nothing

I find it's a complete different story : the kids sung the melody composed by Waters, they didn't "create" anything
Clare Torry sung an improvisation above Rick's piano lines. the vocal melody came entirely from his mind, not from Rick's one. He composed "only" the chord progression an piano lines, not the vocal melody.
Thta's why I find that she desserves credits, not the kids

True

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[dustyvalentino]

"We don't need no... Recognition"

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[Eddie Fox]

Alan didn't co-write the song. He, supervised by Mark if you will, came up with piano parts that were later recorded over the melody and the chord progression Mark wrote. That's exactly what LE, jbaent, JF, myself an others have been saying relentlessly over the last few pages lol

In my humble opinion Alan is a hell of a musician. As a human being, well, that's another story. I try to deal with things separetely.

[JF]

In my humble opinion Alan is a hell of a musician. As a human being, well, that's another story. I try to deal with things separetely.

 

[the visitor]

I had a nice chat with AC on FB today. I asked him if he co-wrote TR, his answer was:

" hi Vincent, I never said I co-wrote Telegraph Road, the reason being because I didn't. Mark wrote that song. What I did do was play a big part in it's evolution, in its arrangement by coming up with the piano parts while it was being written. Some people might argue that was co-writing; I don't."

I then asked him if he felt targeted by TOTT and talked to MK about it. The answer was:

"No, Vincent, I don't feel targeted personally, and no, I haven't talked to him about it."
"

At last, a quote from an actual source.  I've been mildly disgusted by the way this thread has focused on character assassination of AC as it has evolved, but that is all I will say on that point.

Getting back to facts, and to add MK's side of the story, here is a a link to an interview from a recently unearthed reel to reel recording from 1982 of MK speaking about the creation of the Love Over Gold album, and the importance of Alan's involvement in that.  The comment is within the first couple of minutes so you don't have to listen long.

"its really important to me to have say Alan in the band, who can write out the parts for me...and then you just really get attuned to arranging"

https://soundcloud.com/i-spy-2/dire-straits-mark-knoplfer-interview-1982-bbc-radio-trent/s-zhYYE

To my knowledge this is the first time this recording has been circulated.

Be nice.

 

[Eddie Fox]

Thanks a lot for posting it. Alan is one of the finest rock’n roll keyboardists I’ve come across and his playing played a very important role in the DS sound from LOG onwards. I won’t let his recent behavior cloud my judgement. I’m extremely disappointed in him for all this legacy bs but as a musician he’ll always have my respect and admiration.

[dmg]

Thanks a lot for posting it. Alan is one of the finest rock’n roll keyboardists I’ve come across and his playing played a very important role in the DS sound from LOG onwards. I won’t let his recent behavior cloud my judgement. I’m extremely disappointed in him for all this legacy bs but as a musician he’ll always have my respect and admiration.

I find his early contributions to DS songs quite infuriating tbh.  His additions to Sultans on the On Location tour  completely spoiled the song and the same can be said for others.  I have often thought that Mark "let him loose" creatively on this tour but "reigned him in" afterwards, realising that most of it just didn't work but it was too late to change while already on tour.

Regarding his recent behaviour, I am really disappointed in him, and I suppose this is why some of us have taken to heavy criticism of the man Visitor.  It has tainted his contribution to DS for me now and whenever I hear him play I no longer enjoy it like I used to.  These guys were all heroes to me but now I just don't like him. 

[ds1984]

SOS was played with keys up to 1996 and Alan was already so I guess Mark was happy with it.
Each tour Mark did some change on some song and not on some other so we can't really say that what happened on the OLT did not please him.
If you want to go that way who had this ugly idea in 2008 to make play the first half of TR by the folkies? Certainly not AC.
So if you bash AC then you have to take account what happened once he left.
And my bet is if Mark wasn't happy with one idea, AC or not, it was rejected.
Mark has always been the musical boss (after EB of course).

[herlock]

I personnally like the keyboard additions a lot.
True, the stripped-down, 4-piece 78/79 versions of the early songs had this unique charming pub atmosphere.
But the enhanced versions were amazing too. Best example to me is News - the keys and the Hammond organ changed this little tune into an epic tragedy ! Other examples are Lions, WDYTYG (which I think dmg you once said the best versions were in 81, which I agree although I think it is more thanks to the extra guitar solo than thanks to the keys), OUATITW, and of course Sultans. I love the bass-ass versions of Sultans with sax, although I have to admit than in 91/92 there was very little keyboards on it (more pedal steel).
Maybe you are right in a sense that in the OES tour Mark drastically reduced the contributions of both AC and GF on keys and synth compared to the BIA tour, where they were overused at any rate. So probably Mark is able to listen to criticism after all but then there was way too much pedal steel in the OES tour...

[dustyvalentino]

https://www.amarkintime.org/forum/index.php?topic=3021.msg80424#msg80424

According to "The Visitor" MK has "managed to claim the writing credits".

Forgive me for ignoring The Visitor's opinions, clearly a stooge with some connection to these tribute band leeches.

[dustyvalentino]

OK, I am man enough to admit when I am wrong and when I was trawling through his posts I found that he started this thread complaining about AC suggesting that JI wasn't good enough for The Straits.

https://www.amarkintime.org/forum/index.php?topic=2353.0

My apologies The Visitor. Happy new year.

You still could have posted the interview earlier though

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