A Mark In Time
Previous Albums => Privateering (2012) => Topic started by: Banjo99uk on August 14, 2012, 11:32:39 PM
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Theyve just posted the full song. Its awesome.
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Theyve just posted the full song. Its awesome.
And I
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Awesome, indeed !
I love the men's virile backing vocals !
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Wow very good acouustic job!! All this hand claps, hey hey thing, backing vocals, effects... makes the song more effective.
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Listening the album version for the first time, seems quite good. ;)
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Whoa, great! Pirates of the Carribean IV, here we go :) :) :)
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Truly nice!
Almost like Man's Too Strong played by more folk oriented band. Like it!
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;D
Thanks for letting us know, such a fantastic composition... love the 'chain gang' style production - very industrial :)
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I can't hear any clapping though...
AAAAH, now, yes... took me some time, quite background... (WHAT ARE YOU SAYING??? ;D)
When the first instrumental part starts (the band part I mean), it sounds quite comped... And I wonder what the synths sound at the very end has to do with it all... Couldn't it have been the last "breath" of Mike's Uilleann Pipes to end the song?
And I had hoped for some more powerful drumming at the end like the Hannover live version for example.. But you can't have it all... :)
But all in all great tune, Mark covered the singing pretty perfect on stage, nearly no difference in phrasing and pronouncing which is quite unusual with Mark.
LE
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REALLY LOVE IT!!!
Although I had listened to every live version on youtube for hundreds of times, I've found it surprisingly... BEAUTIFUL!! :D
Great, great Mark!
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Thanks for letting us know...but I
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http://www.markknopfler.com/media/audio/Privateering.mp3
But no sign of the rest of the album like the time with GL! ;D
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Thanks for the link JeroenvG !
Do you have the link for Redbud Tree as well? :P
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I found it!
http://www.markknopfler.com/media/audio/01_RedbudTree.mp3
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I think i just wet myself listening to this.
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As good as expected!
Sounds a little strange tho when the band comes in, as said.
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man's too strong indeed.
pls people refrain from sharing info with us like our newborn friend jus did, bout wetting himself. there is only so much i can take on an empty stromach :-)
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just kidding of course
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Thanks for the 2 links. Is their a way of downloading them, or will I have to just record the audio from my PC.
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Thanks for the 2 links. Is their a way of downloading them, or will I have to just record the audio from my PC.
I think if you stand on the link with your mouse en press the rightbutton you can click on save link (as). For me it worked, hope it works for you too!
Thanks for the link, great to listen to Privateering, love it! :D
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Thanks for the 2 links. Is their a way of downloading them, or will I have to just record the audio from my PC.
I think if you stand on the link with your mouse en press the rightbutton you can click on save link (as). For me it worked, hope it works for you too!
Thanks for the link, great to listen to Privateering, love it! :D
Thanks, stupid me didnt realise it was that easy.
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Better than the live versions.
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Good, but I like more the live outro, it has more agressive drums...the backing vocals are great!
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I still cringe when he starts humming. :disbelief What exactly is he humming? Is he making something up or what? I can't make head nor tail of it.
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To me this song is a typical shanty style. The instrumentation, style of singing, humming, "hey heying" in the chorus and general atmosphere fit this genre quite well. Sea shanties were generally sung as work songs, helping sailors perform actions on board that required group effort like hoisting the top sail or the anchor but have later evolved into maritime theme songs, not necessarily meant to help during work but just to tell stories about sailing in the old good days. Wikipedia has a nice article on this: http://en.wikipedia.org/wiki/Sea_shanty
I wouldn't be surprised if traditional British shanties were the inspiration for MK to tell the story this way.
Interestingly, another song from MK's repertoire that could be considered shanty (although this time not sea shanty) is Railroad Worksong.
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To me this song is a typical shanty style. The instrumentation, style of singing, humming, "hey heying" in the chorus and general atmosphere fit this genre quite well. Sea shanties were generally sung as work songs, helping sailors perform actions on board that required group effort like hoisting the top sail or the anchor but have later evolved into maritime theme songs, not necessarily meant to help during work but just to tell stories about sailing in the old good days. Wikipedia has a nice article on this: http://en.wikipedia.org/wiki/Sea_shanty
I wouldn't be surprised if traditional British shanties were the inspiration for MK to tell the story this way.
Interestingly, another song from MK's repertoire that could be considered shanty (although this time not sea shanty) is Railroad Worksong.
Very interesting, thanks!!
Ps: after the redbud tree lyrics, Wikipedia give us another trace of the american civil war period....
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:disbelief Don't understand why they made the Privateering sample on MK.com at such a low mp3 bitrate. It makes the song sound awful at certain parts of the song. The part with the band seems very distorted and muddy. Hope it isn't that bad on the real disc.
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Hey, where is it ?? Am I blind ??? At work I could at least watch the link (it was under the link to Redbud Tree, right?) And now I
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Thanks to Jeroen
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Love it :)
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96kbps is not very nice at all... Still, I think we are being a little greedy here.
We can all bask in the glory of vinyl quality soon :D (for the deluxe fans here)
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Hey, where is it ?? Am I blind ??? At work I could at least watch the link (it was under the link to Redbud Tree, right?) And now I
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Ah yes, thank you !!!
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I can't hear any clapping though...
AAAAH, now, yes... took me some time, quite background... (WHAT ARE YOU SAYING??? ;D)
When the first instrumental part starts (the band part I mean), it sounds quite comped... And I wonder what the synths sound at the very end has to do with it all... Couldn't it have been the last "breath" of Mike's Uilleann Pipes to end the song?
And I had hoped for some more powerful drumming at the end like the Hannover live version for example.. But you can't have it all... :)
But all in all great tune, Mark covered the singing pretty perfect on stage, nearly no difference in phrasing and pronouncing which is quite unusual with Mark.
LE
Totally agree, LE. The band break-in sounds comped (well, it is comped), and the synth at the end is utterly useless. Any pipe, accordion or even the harmonium would have done the job better. Sometimes I wonder if Guy Fletcher just had his way, or if Mark really wants him to add synths. After Shangri-La and Kill to Get Crimson, I was hoping that Mark would finally abandon synth sounds – they just don't fit his songs, I think – but with Get Lucky, they came back, and now here they are again, damaging this wonderful song. They don't ruin it, of course - the song is way too strong for that - but still. Why in world ... when it comes to production, Mark, Guy and Chuck could learn a bit or two from the Dylan crew ...
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What guitar does MK use in Privateering?
Is it the Martin or the National?
I would say Martin as it sounds more like Marbletown.
And it's true, there's a similarity with The man's too strong. I'd love to hear it live !
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What guitar does MK use in Privateering?
Is it the Martin or the National?
I would say Martin as it sounds more like Marbletown.
And it's true, there's a similarity with The man's too strong. I'd love to hear it live !
As in Haul Away, he seems to abandon the National for perhaps the Martin or some other acoustic. I prefer these in sound for the songs because we could hardly hear Mark's National in the live shows, but I doubt we'll hear them like that live because they rely on higher accuracy playing and more energy!
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Though the compression - quality is low at MK.com of this song, i think this is one of the greatest sound designs Knopfler ever has created.
It
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I must admit that since I heard it complete this songs has nearly become a skipper for me - instead the live on stage version would have been the best. I don't know what these "industrial" hammering sounds have to do it, and the background singing is funny the first two times but annoys me in the meantime - too silly and not rhythmic enough (to make an audience sing along...). Also the synth ending disturbs me. The singing is great, the guitar part is great, but some of the live versions are better done. Would have been nice to have them in an official downloadable version. Probably too much Fletcher influence.
LE
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i think exactly different on this song ;)
the "industrial" hammer are the sabres of the pirates, the chains of the ships, ... many levels to discover
this will be great on my big loudspeakers and vinyl player
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The synth sound is not a synth, is the pipes played by McGodrick. When you push the bag, the pipe make a sound, then you play notes and that sound becomes music, when not playing notes, or stopping playing, the pipes do that sound.
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I love both the album version and also the live ones and when Mark does the little humming bits, I can't resist joining in! I believe the pipes sound is called the drone btw!
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i think exactly different on this song ;)
the "industrial" hammer are the sabres of the pirates, the chains of the ships, ... many levels to discover
this will be great on my big loudspeakers and vinyl player
Interesting take on the song! I find the design intriguing, too, I just don't think it works too well with those fade-outs and the synth in the end. It's amazing that Mark would record a song like that with both guitar and voice tracked live, simultaneously. He'd better stick with that "natural" approach and not let Guy Fletcher interfere too much. Or maybe he really asks for the synths and all? I don't know. All I know is that they don't fit his music in my opinion.
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The synth sound is not a synth, is the pipes played by McGodrick. When you push the bag, the pipe make a sound, then you play notes and that sound becomes music, when not playing notes, or stopping playing, the pipes do that sound.
JBaent, are you sure about this? That sound that accompanies the guitar to the very end, coming from the pipes? I'd LOVE to believe this, but I find it hard. Are you 100% sure? Oh, you know what, I'll just ask Guy Fletcher himself.
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... I can hear "the drone", and you might be right about that, but that's not the very last sound in the song we talk about, I believe. The pipes (or whatever it is) are there for quite some time, while the "synth" sound can only be heard at the very end.
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... I can hear "the drone", and you might be right about that, but that's not the very last sound in the song we talk about, I believe. The pipes (or whatever it is) are there for quite some time, while the "synth" sound can only be heard at the very end.
I have just listened again and I think it is a synth sound at the very end, not a drone.
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... I can hear "the drone", and you might be right about that, but that's not the very last sound in the song we talk about, I believe. The pipes (or whatever it is) are there for quite some time, while the "synth" sound can only be heard at the very end.
I have just listened again and I think it is a synth sound at the very end, not a drone.
Honestly, I just listened to the whole song once, and it sounded very clear as "the drone", I recall the song being performed live with pipes, so I thought it was the drone from the pipes...
I can be wrong, maybe asking Guy its the best solution.
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I've asked him, let's see. And listen to the last couple of seconds - that's what we mean. The synth stays on longer than the guitar.
It's just a detail, of course, but one that comes up again and again. The synths are also the reason why I have mixed feelings about "The Dream of the Drowned Submariner". This will be a great tune, no doubt, but it sound like something from the OES period. Synths are a dead thing, and you can hear it. No point in using them unless you want to sound industrial.
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MK has been using synths sounds here and there in all his records, always serving the song... Sometimes you dont notice, or you notice very little of it...
Thats the key, use that sounds when you need them. Not spreading that sounds around everything.
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Has he used synths on "Shangri-La"? If he did, he did so VERY carefullly! I don't mind synths as long as I don't hear them ... :lol
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Has he used synths on "Shangri-La"? If he did, he did so VERY carefullly! I don't mind synths as long as I don't hear them ... :lol
Probably in that record they dont use them. Guy mentioned that only organic sounds were used in that record, thats what it makes it so special to me...
They played in that record a real harmonium, Guy also said he
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Yeah, exactly! I love the sound of "Shangri-La" more than anything. And whoever says that a good Mark Knopfler album needs synths: What about his first one, "Dire Straits"? :lol
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Yeah, exactly! I love the sound of "Shangri-La" more than anything. And whoever says that a good Mark Knopfler album needs synths: What about his first one, "Dire Straits"? :lol
It has synths... At least thats what I heard... The intro of Down to the waterline, something like bells in Lions (or was it In the gallery?), very soft, very on the back of the songs... Its not credited, like the piano in Wild west end. Probably played by Muff Winwood himself or the engineer of the record, who knows.
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Alright then, more of those inaudible synths, please! :lol
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Yeah, exactly! I love the sound of "Shangri-La" more than anything. And whoever says that a good Mark Knopfler album needs synths: What about his first one, "Dire Straits"? :lol
It has synths... At least thats what I heard... The intro of Down to the waterline, something like bells in Lions (or was it In the gallery?), very soft, very on the back of the songs... Its not credited, like the piano in Wild west end. Probably played by Muff Winwood himself or the engineer of the record, who knows.
No no no >:(
there's no synth in 2 firsts albums
Intro of DTTW is played by Mark on guitar, to sound like boat horn
few notes on Piano on WWE could have been played by Mark, David or Muff winwood
There's also an organ on the In the gallery chorus
but definitely no synths ! (like 5 first Queen albums ;))
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I personally have no problem with synths. As with any instrument, it's a case of using them in such a way that is appropriate to the arrangement. Just as the material on Shangri-La doesn't generally lend itself to electronic sounds, synths work brilliantly on many of the songs on On Every Street and both albums, though totally different, work just as well for me. They can add a lot of depth to a song and utterly transform it and of course the pallette of sounds is pretty much unlimited!
I've deliberately avoided hearing any snippets from Privateering (other than Redbud Tree) as I don't want to spoil listening to it when it comes out, but I'll be interested to hear how much synth activity there is on there. MK has been gradually bringing them back in since Kill to Get Crimson. The gentle synth pad you can hear at the beginning of The Car Was the One is subtle but very effective.
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I personally have no problem with synths. As with any instrument, it's a case of using them in such a way that is appropriate to the arrangement. Just as the material on Shangri-La doesn't generally lend itself to electronic sounds, synths work brilliantly on many of the songs on On Every Street and both albums, though totally different, work just as well for me. They can add a lot of depth to a song and utterly transform it and of course the pallette of sounds is pretty much unlimited!
I've deliberately avoided hearing any snippets from Privateering (other than Redbud Tree) as I don't want to spoil listening to it when it comes out, but I'll be interested to hear how much synth activity there is on there. MK has been gradually bringing them back in since Kill to Get Crimson. The gentle synth pad you can hear at the beginning of The Car Was the One is subtle but very effective.
How much synth activity on Privateering? Not much, fortunately! The only snippets with synths seemed to be Redbud Tree (the pling-pling thing), Privateering and The Dream of the Drowned Submariner.
I agree that the synths kind of work on On Every Street (and what a great album it is), and The Car Was the One is one of my all-time favourites - in spite of the synth work. Still, I believe that great songs like that one would have worked without synths easily, an maybe even better. Privateering is the best example so far: The synth at the end is nothing but disturbing to me, completely useless. And worse: It kind of destroys the "handmade" feel the song has.
My problem with synths is simply this: They're a cold, dead thing. No human touch, and that's what I miss. Of course, if you WANT to make music that sounds sterile, cold, industrial, whatever (and I'm not saying that's necessarily a bad thing), then synths will be very helpful. But that's just not the corner Mark is in these days. He's music - as far as I can tell - is all about authenticity, if you will, it's handcrafted, warm-hearted, very "human". I just don't see how the synths fit in here. If he uses them occasionally, they sound like an awkward left-over from the 80's.