A Mark In Time
Mark Knopfler Discussion => One Deep River / The Boy => Topic started by: Knopflerfan on April 21, 2024, 01:33:56 PM
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ALL COMERS
There’ll be one or two in every crowd
One or two lads being loud
Having themselves a weekend
Come out the beer tent with their mates
Look over where we stand and wait
Going to want to be showing off to the girlfriend
Over to the booth they’ll come and stand
One’s going to want to put up his hand
But he’s maybe had a drink
Never seen a real ring
He can take on his pals, keep on his shirt
We don’t want locals getting hurt
Our people on the show are all the real thing
We were here back then since way back when
In the long hot summers
Here back then and we’re back again
And taking on all comers
All comers
You keep your hands up
And your expectations slim
And you never underestimate
The man who’s climbing in
Well it’s a hard way to earn a pound alright
You’ll maybe get three or four fights a night
Maybe more on a weekend
But we want to see them back in here
When we come round again next year
May it never change, just like old friends
We were here back then since way back when
In the long hot summers
Here back then and we’re back again
And taking on all comers
All comers
Guitars, Vocals: Mark Knopfler
Bouzouki: Richard Bennett
Acoustic Guitar: Greg Leisz
Synths: Guy Fletcher
Piano: Jim Cox
Bass Guitar: Glenn Worf
Drums: Ian ‘Ianto’ Thomas
Percussion: Danny Cummings
Whistle, Uilleann Pipes: Mike McGoldrick
Fiddle: John McCusker
A link to the history of the boxing booths to which MK tells us about in this beautiful tune:
https://www.boxinghistory.org.uk/boxingbooths.html
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Fantastic song! Loving how there is even a boxing bell sound made by Ian Thomas at the beginning. Would have been fantastic live song like already stated.
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Fantastic song! Loving how there is even a boxing bell sound made by Ian Thomas at the beginning. Would have been fantastic live song like already stated.
I agree, very Border Reiver isn't it? Blew my mind hearing and seeing this at the ODR promo event in London! Something very special about this track! The video is a treat with Mssrs Mcgoldrick and Mccusker!!!
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All Comers has the toe tapping folk melodies of Border Reiver with the Strat sound, solo and break down section of WII. Brilliant song!
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I can hear a lot elements of Boom, Like That in the song, not only in the lead guitar part.
It´s a great tune, like it very much.
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Love it. Would have been a perfect album opener and a perfect live show opener. Put Why Aye Man, One Song at a time, Border Reiver and What it is in a blender, add a sprinkling of Tunnel of Love magic and you get this. Fantastic. Strange TOL hasn't been mentioned more in the press work etc on the EP given fairground theme.
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Love it. Would have been a perfect album opener and a perfect live show opener. Put Why Aye Man, One Song at a time, Border Reiver and What it is in a blender, add a sprinkling of Tunnel of Love magic and you get this. Fantastic. Strange TOL hasn't been mentioned more in the press work etc on the EP given fairground theme.
Agreed. When I heard it I didn't think of WII nor WAM, but yes of a blend between Border Reiver and One Song a Time. Yes it would have been the perfect opener!
And yes, when we talk Spanish City we think TOL, strange it didn't get a word!! TOL is the still the martyr song which didn't deserve this fate...
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Guys, I'm getting the EP next weekend. :'(
Can I get a file of the song from someone? Thanks in advance
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I have now lost hope with the shop in my city....he told me for next week, If anyone has any rips of the tracks I would be very grateful!
Thank you!!
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I can hear a lot elements of Boom, Like That in the song
yes, Boom like that with Whistle and Uilleann Pipes. Awesome :o
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Just listening to the boy whilst having supper. The chorus line with the band singing 'taking on all comers' is very similar singing to a sea shanty...
Also lovely to hear MK letting rip on the Sig Strat during the solo....
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Yeah, the backing vocals remind me of Privateering.
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Yeah, the backing vocals remind me of Privateering.
Yes, you are right..
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The I get a link for the ep songs? Two more week till I receive the vinyl :-(
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Yeah, the backing vocals remind me of Privateering.
Also Oklahoma Ponies
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Love it. Would have been a perfect album opener and a perfect live show opener. Put Why Aye Man, One Song at a time, Border Reiver and What it is in a blender, add a sprinkling of Tunnel of Love magic and you get this. Fantastic. Strange TOL hasn't been mentioned more in the press work etc on the EP given fairground theme.
Agreed. When I heard it I didn't think of WII nor WAM, but yes of a blend between Border Reiver and One Song a Time. Yes it would have been the perfect opener!
And yes, when we talk Spanish City we think TOL, strange it didn't get a word!! TOL is the still the martyr song which didn't deserve this fate...
The perfect mix. You both nailed it. The WII drums in the middle part up to the build up is a nice nod. :thumbsup
This song is just so incredibly good. It ticks boxes from almost every release since 1996 and onwards.
This IS MK's music to me and one of his best ones ever imho.
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Immediately after i heard it for the first time in London i said to Vesper and Ingrid, its a mix between Border Reiver and What it Is.
Indeed very nice song. He still has it, not only this song, but also the One Deep River album.
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Awesome track. I find it interesting that it is a folky driven song that ended up being the one that ticks all the boxes for most of us.
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Killer song indeed! Would be my number 1 opener for a gig… :lol
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Killer song indeed! Would be my number 1 opener for a gig… :lol
Would so work as an opener!!
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I can finally hear those synths:) Amazing track and one of the best in all of MK's work.
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This would have been an amazing opener for the album, this is easily the most exciting song Mark has written in the past 15 years. I love Trapper Man as an opener, despite some artistic choices I wouldn't have made, and I don't care too much for Laugh and Smokes, but this is a real other level. The intro is amazing Sailing to Philadelphia atmospheres with strong melodies reminiscent of those early 2000s as well and it's got Celtic MK maturity. There's an urgence to this song much of his last work was missing.
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"There's an urgence to this song much of his last work was missing"
Can you elaborate on this thread? :)
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"There's an urgence to this song much of his last work was missing"
Can you elaborate on this thread? :)
I feel that it is reflected in most of songs since Privateering that they have come from the comfort of writing at home and working in his own studio. Especially the last three albums have been lush and rather relaxed. This song leaves me wishing for a live rendition, an extended version, airplay even. It comes with an energy and excitement in arrangement and way of playing most of his last work did not have for me. I guess that's what I meant by urgence? The topic of the song and the delivery of "taking on all comers" adds a lot to that feeling of course. The song's a fighter.
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"There's an urgence to this song much of his last work was missing"
Can you elaborate on this thread? :)
I feel that it is reflected in most of songs since Privateering that they have come from the comfort of writing at home and working in his own studio. Especially the last three albums have been lush and rather relaxed. This song leaves me wishing for a live rendition, an extended version, airplay even. It comes with an energy and excitement in arrangement and way of playing most of his last work did not have for me. I guess that's what I meant by urgence? The topic of the song and the delivery of "taking on all comers" adds a lot to that feeling of course. The song's a fighter.
I understand. I was a little surprised why only one song on the One Deep River album was played by John McCusker and Michael McGoldrock. I'm glad they played more on the bonus tracks, and All Comers is a masterpiece.
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Guys, I'm getting the EP next weekend. :'(
Can I get a file of the song from someone? Thanks in advance
I'm in the same situation. I live in Brazil. If someone can send the ep songs to me as well, please do so! Thanks!
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All Comers is one of the best songs in recent years. Nice melody, up-tempo, with a folky taste and well written lyrics.
Border Reiver has a menage à trois with Done With Bonaparte and What It Is and this song is born.
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
Yes that's right, MK follows the lead in this one!
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
Yes that's right, MK follows the lead in this one!
MK neither plays the lead in his masterpiece Done with Bonaparte! ;D
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
He is still playing along with the folkies and does have a solo of his own.
I feel this song could easily have come straight from the Get Lucky era.
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I wonder when they will publish the whole movie.
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What a great track this song would have been a killer live!!
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I wonder when they will publish the whole movie.
Around the time that digital download will be available?
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
Doesn't bother me - great song/arrangement...
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I've listened to this song several times and I have to say it's super!! Beautiful sound and, even if it has a folk appeal, the sound of the guitar makes it wonderful, thanks also to a fast rhythm. Absolutely gorgeous!!! :D
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I always come back to this masterpiece of a song. Once I start listening I can hardly stop. This is the MK sound I love so much. It doesn't get any better.
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I wonder when they will publish the whole movie.
Again we saw all three videos as one at the album launch in London. There were great snippets of the band talking and laughing together in between songs.
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And song is so great that nobody seems to be disturbed by the fact that the main lead parts are played by folkies and not by MK's lead.
He is still playing along with the folkies and does have a solo of his own.
I feel this song could easily have come straight from the Get Lucky era.
And a nice typical MK solo too with the trademark reasonably fast few notes in places!
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I always come back to this masterpiece of a song. Once I start listening I can hardly stop. This is the MK sound I love so much. It doesn't get any better.
The sound of the MK Sig Strat - quite beautiful!
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That song is my perfect opener for a three-day-residence of MK at the Royal Albert Hall. One can dream, eh? ;-)
Btw, Mr. Gilmour will be there in October.
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That song is my perfect opener for a three-day-residence of MK at the Royal Albert Hall. One can dream, eh? ;-)
Btw, Mr. Gilmour will be there in October.
6 date residence noted for Mr G!
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This song is just so incredibly good. It ticks boxes from almost every release since 1996 and onwards.
Agreed - it has a lot of energy and some very classic MK guitar work along with the violin which sounds straight out of his first few solo albums. The lyrics flow so well and are top-notch too. A great song and definitely one of my favorites from the new album and EP
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I read on Wikipedia that the show is Australian thing but on the following link you find it says it's born in England, which is natural to believe so. Anyone who can tell more about its history in England, is it still alive today?
https://boxing.fandom.com/wiki/Tent_boxing
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It's the British 'Boxing Booths' that Mark tells about in 'All Comers'
Boxing booths
Fairground booths were an important part of boxing in Britain and enabled many aspiring professionals to hone their skills against a wide assortment of challengers.
The booth fighters typically signed up for several months and travelled with the booth from town to town. They were given food and lodgings and paid a small wage for their services. The bulk of their income (small though it was) was earned through ‘nobbings’, coins thrown into the ring by spectators as a show of appreciation after they had fought.
When the booth arrived at a new location it was the boxers’ job to erect the ring, tent and platform, to be dismantled later and loaded onto a lorry when the booth departed. They were also called upon to second other boxers or time-keep when not in action themselves.
The booth in action
Hughes's boxing boothHughes's boxing booth.
The blare of a trumpet or banging of a drum summoned an expectant crowd to the boxing booth in readiness for a new ‘house’, meaning a new set of fights. The booth boxers stood on a platform in front of an ornately decorated facade, often depicting ring heroes of yesteryear. A man called the ‘barker’ or ‘spieler’ introduced each fighter, told the crowd something of his record and reputation then, dangling a pair of well-worn boxing gloves, called for a challenger from the crowd, to whom the gloves would be thrown. If the challenger lasted three rounds, he would win a small monetary prize.
Challengers were sometimes unskilled young men looking to impress friends or girlfriends or sailors or soldiers who had imbibed too much ale. Such an opponent usually needed to be ‘carried’ by the booth fighter, so the crowd had a worthwhile spectacle. Additionally, however, when the local fighting men got wind that a booth was in town, they would turn up to test their skill against the booth boxers, and thereby much experience was gained.
If no challengers were found for a particular boxer, there was usually a ‘plant’ hidden within the crowd, who’d challenge the said fighter and the pair would perform a staged fight or ‘gee’ fight, unbeknown to most onlookers. Once the challengers had been found, the crowd filed inside a marquee, paying an admittance fee as they passed, then that set of contests got underway.
The booth fighters were obliged to take on ‘all comers’, which often meant conceding age and weight. The booths were a nursery for fledgling boxers but also attracted well-established pros, who would use the booth to remain in shape, pass on their knowledge to the younger boxers and pick up fights in the various towns and districts they visited.
Champions such as Freddie Mills, Benny Lynch, Tommy Farr, Joe Beckett, Jim Driscoll and Jimmy Wilde were products of boxing booths; but sadly the booth tradition began to die out after the BBB of C passed a rule barring its license-holders from performing on booths. There are no active booths in Britain today.
https://www.boxinghistory.org.uk/boxingbooths.html
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Thank you!
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It's the British 'Boxing Booths' that Mark tells about in 'All Comers'
Boxing booths
Fairground booths were an important part of boxing in Britain and enabled many aspiring professionals to hone their skills against a wide assortment of challengers.
The booth fighters typically signed up for several months and travelled with the booth from town to town. They were given food and lodgings and paid a small wage for their services. The bulk of their income (small though it was) was earned through ‘nobbings’, coins thrown into the ring by spectators as a show of appreciation after they had fought.
When the booth arrived at a new location it was the boxers’ job to erect the ring, tent and platform, to be dismantled later and loaded onto a lorry when the booth departed. They were also called upon to second other boxers or time-keep when not in action themselves.
The booth in action
Hughes's boxing boothHughes's boxing booth.
The blare of a trumpet or banging of a drum summoned an expectant crowd to the boxing booth in readiness for a new ‘house’, meaning a new set of fights. The booth boxers stood on a platform in front of an ornately decorated facade, often depicting ring heroes of yesteryear. A man called the ‘barker’ or ‘spieler’ introduced each fighter, told the crowd something of his record and reputation then, dangling a pair of well-worn boxing gloves, called for a challenger from the crowd, to whom the gloves would be thrown. If the challenger lasted three rounds, he would win a small monetary prize.
Challengers were sometimes unskilled young men looking to impress friends or girlfriends or sailors or soldiers who had imbibed too much ale. Such an opponent usually needed to be ‘carried’ by the booth fighter, so the crowd had a worthwhile spectacle. Additionally, however, when the local fighting men got wind that a booth was in town, they would turn up to test their skill against the booth boxers, and thereby much experience was gained.
If no challengers were found for a particular boxer, there was usually a ‘plant’ hidden within the crowd, who’d challenge the said fighter and the pair would perform a staged fight or ‘gee’ fight, unbeknown to most onlookers. Once the challengers had been found, the crowd filed inside a marquee, paying an admittance fee as they passed, then that set of contests got underway.
The booth fighters were obliged to take on ‘all comers’, which often meant conceding age and weight. The booths were a nursery for fledgling boxers but also attracted well-established pros, who would use the booth to remain in shape, pass on their knowledge to the younger boxers and pick up fights in the various towns and districts they visited.
Champions such as Freddie Mills, Benny Lynch, Tommy Farr, Joe Beckett, Jim Driscoll and Jimmy Wilde were products of boxing booths; but sadly the booth tradition began to die out after the BBB of C passed a rule barring its license-holders from performing on booths. There are no active booths in Britain today.
https://www.boxinghistory.org.uk/boxingbooths.html
Thank you :)
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A question for the musicians among you (I'm not one myself): Can you tell whether Ianto played to a click on All Comers? It seems to me that there's a slight rhythmical disconnect between different instruments, as if they'd been held back somehow. For lack of a better description, the music doesn't seem to flow as freely as it did on the comparable One Song at a Time.
Is it just me or do others get the same impression? And if so, what could be the reason?
Btw, I've always thought that Privateering (the song, in its album version) suffered from the same problem. (If you want to call it a problem; it's still a great song.)
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A question for the musicians among you (I'm not one myself): Can you tell whether Ianto played to a click on All Comers? It seems to me that there's a slight rhythmical disconnect between different instruments, as if they'd been held back somehow. For lack of a better description, the music doesn't seem to flow as freely as it did on the comparable One Song at a Time.
Is it just me or do others get the same impression? And if so, what could be the reason?
Btw, I've always thought that Privateering (the song, in its album version) suffered from the same problem. (If you want to call it a problem; it's still a great song.)
It's recorded a little bit too slow, in my humble opinion. You could call it laid-back, and it's actually super hard to play it that way and not feel like you have to increase the tempo. Privateering (the song) suffered mostly from this on the 2015 tour; it was way too slow. In 2013, it was much better. I felt the same with What It Is in 2005 when Danny took over; the song just dragged and was not 'pointy' enough. Must admit, while I loved Danny, I always really liked the way Chad played the hi-hat (What It Is, Silvertown, Hill Farmer's, 5:15, etc.).
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A question for the musicians among you (I'm not one myself): Can you tell whether Ianto played to a click on All Comers? It seems to me that there's a slight rhythmical disconnect between different instruments, as if they'd been held back somehow. For lack of a better description, the music doesn't seem to flow as freely as it did on the comparable One Song at a Time.
Is it just me or do others get the same impression? And if so, what could be the reason?
Btw, I've always thought that Privateering (the song, in its album version) suffered from the same problem. (If you want to call it a problem; it's still a great song.)
It's recorded a little bit too slow, in my humble opinion. You could call it laid-back, and it's actually super hard to play it that way and not feel like you have to increase the tempo. Privateering (the song) suffered mostly from this on the 2015 tour; it was way too slow. In 2013, it was much better. I felt the same with What It Is in 2005 when Danny took over; the song just dragged and was not 'pointy' enough. Must admit, while I loved Danny, I always really liked the way Chad played the hi-hat (What It Is, Silvertown, Hill Farmer's, 5:15, etc.).
Thanks, that might indeed explain what I feel when I listen to it.
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By the way, I felt the same about Piper To The End in 2013. Perfect in 2010, too slow in 2013. Mark always plays a tiny little bit rushed (on purpose, to create tension), but in 2013 in the end solo, you can hear the band is definitely too slow for his solo.
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By the way, what I was trying to point at here is particularly evident in the part with Mark's solo. Sounds almost a bit clumsy at that point (a word that I have a hard time using for MK). Ianto, at the same time, doesn't seem to get that groove quite right.
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I've never liked Ianto's drumming. Doesn't fit MK's style at all and I feel that a lot of the songs got terribly worse when he came in, in 2013.
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I've never liked Ianto's drumming. Doesn't fit MK's style at all and I feel that a lot of the songs got terribly worse when he came in, in 2013.
Couldn't say that. I love his drumming on On Song at a Time, for instance, or on Seattle. But he hasn't quite found a way to make this song work, in my opinion.
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I've never liked Ianto's drumming. Doesn't fit MK's style at all and I feel that a lot of the songs got terribly worse when he came in, in 2013.
Couldn't say that. I love his drumming on On Song at a Time, for instance, or on Seattle. But he hasn't quite found a way to make this song work, in my opinion.
I was referring to his live work, not so much in studio. To me, there's a huge difference in power and energy in the drumming between the 2005-2010 tours and the Privatracker tour 2013-2015. Songs like HFB, SFA, R&J, PTTE sound like they're on medicine, I just can't explain.
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I was listening to Tracker and Down the Road Wherever this weekend, and was (once again) impressed with the rhythm of Laughs and Jokes and One Song at a Time -- two songs that are somehow comparable to All Comers. Unlike those two songs, All Comers seems to be stiff and stumbling somehow, it doesn't quite find its groove. Don't you agree? I keep wondering why that is -- maybe it's due to several takes being stitched together. I dunno. It's a bit of a pity, because the song as such is really good.
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I was listening to Tracker and Down the Road Wherever this weekend, and was (once again) impressed with the rhythm of Laughs and Jokes and One Song at a Time -- two songs that are somehow comparable to All Comers. Unlike those two songs, All Comers seems to be stiff and stumbling somehow, it doesn't quite find its groove. Don't you agree? I keep wondering why that is -- maybe it's due to several takes being stitched together. I dunno. It's a bit of a pity, because the song as such is really good.
All Comers is just one perfect song.
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I was listening to Tracker and Down the Road Wherever this weekend, and was (once again) impressed with the rhythm of Laughs and Jokes and One Song at a Time -- two songs that are somehow comparable to All Comers. Unlike those two songs, All Comers seems to be stiff and stumbling somehow, it doesn't quite find its groove. Don't you agree? I keep wondering why that is -- maybe it's due to several takes being stitched together. I dunno. It's a bit of a pity, because the song as such is really good.
All Comers is just one perfect song.
I agree All Comers is absolutely perfect! Certainly OSAAT is good too but I'm afraid AC has the edge for me....
In fact also, I have had no desire to listen to anything else but One Deep River, The Boy and all the bonus tracks
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I listened to All Comers again today, and I ALWAYS have a similar impression to Rail King - it's a good song, but something is off, and my feeling is it's the drums.
First, they sound thin, and the song could have used some more punch, both sound-wise and playing-wise. Some more fills would have seemed natural.
Second, I would agree with the suggestion above that the song is played too slowly. The recurring musical motif seems slighlty off in a way that is hard to pinpoint, but the tempo could be it. Maybe the rhythm should have been adapted also.
As much as I like Laughs and Jokes, which is great, I'm afraid I'm strongly in the camp of not having a favourable impression of Ian. My feeling is that live, he was not able to play Danny's signature stuff (Sonny Liston, Speedway, etc.) anywhere near Danny, sometimes playing simplified solutions - and he was the replacement! On record, the difference is not as obvious, but sometimes he just seems stuck on autopilot (One Song at a Time?) and I "don't get the energy from the drums", as someone once put it.
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I was listening to Tracker and Down the Road Wherever this weekend, and was (once again) impressed with the rhythm of Laughs and Jokes and One Song at a Time -- two songs that are somehow comparable to All Comers. Unlike those two songs, All Comers seems to be stiff and stumbling somehow, it doesn't quite find its groove. Don't you agree? I keep wondering why that is -- maybe it's due to several takes being stitched together. I dunno. It's a bit of a pity, because the song as such is really good.
All Comers is just one perfect song.
:clap :clap :thumbsup
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I was listening to Tracker and Down the Road Wherever this weekend, and was (once again) impressed with the rhythm of Laughs and Jokes and One Song at a Time -- two songs that are somehow comparable to All Comers. Unlike those two songs, All Comers seems to be stiff and stumbling somehow, it doesn't quite find its groove. Don't you agree? I keep wondering why that is -- maybe it's due to several takes being stitched together. I dunno. It's a bit of a pity, because the song as such is really good.
All Comers is just one perfect song.
I agree All Comers is absolutely perfect! Certainly OSAAT is good too but I'm afraid AC has the edge for me....
In fact also, I have had no desire to listen to anything else but One Deep River, The Boy and all the bonus tracks
You are not alone, I do the same!
I've been listening to Mark's new music since the release and don't get tired of it. There is nothing wrong but all is right for me.
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This is probably my favorite of all the new songs. As much as I like it though, I find the vocals to be quite muddy. Way too much echo or reverb or something, Mark sounds like he's in the next room. I played the song for someone right after it came out and as he was listening he said, "I love the tune but I really can't understand a word he's saying".
And now that you mention it, the drums are kind of weak.
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Contrary to most of other opinions, this song has grown worse to the rest, and it's because the more I listen to it, the more obvious it sounds.
And I mean obvious because it sounds to me like a trick that if MK wanted, he can use it everytime he needs something to sound like a hit, this song has the feeling of "What it is" with touches of rythmic parts of "Boom like that" with touches of "Border reiver", things that are in stock for him, like a formula of create a hit, something that was common when in DS and something that he's been using less usually in his solo career, but he used it when it was needed a song sounding like a hit, a formula. I've been happy with him avoiding that formula in the last records, I think the last time he used it was on "Border reiver" and it was kind of hidden behind the folk flavour but here it is again with "All Comers", that, also said, it's rare he uses the hit formula for a song that is going to be on an EP exclusive for RSD and just digital release, with very very little promotion, which makes very little sense.
However, from "The Boy" ep, this song is the one I like the less and very usually a skipper for me.
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Contrary to most of other opinions, this song has grown worse to the rest, and it's because the more I listen to it, the more obvious it sounds.
And I mean obvious because it sounds to me like a trick that if MK wanted, he can use it everytime he needs something to sound like a hit, this song has the feeling of "What it is" with touches of rythmic parts of "Boom like that" with touches of "Border reiver", things that are in stock for him, like a formula of create a hit, something that was common when in DS and something that he's been using less usually in his solo career, but he used it when it was needed a song sounding like a hit, a formula. I've been happy with him avoiding that formula in the last records, I think the last time he used it was on "Border reiver" and it was kind of hidden behind the folk flavour but here it is again with "All Comers", that, also said, it's rare he uses the hit formula for a song that is going to be on an EP exclusive for RSD and just digital release, with very very little promotion, which makes very little sense.
However, from "The Boy" ep, this song is the one I like the less and very usually a skipper for me.
I know exactly what you mean but I don't think that MK thinks in these categories.
I guess it's more like he has a certain assortment of sounds and parts he uses for certain moods and sceneries, going through the motions instead of exploring new musical grounds. (Nothing to blame him for I want to add.)
LE
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I just listened to it again, and really think if this song has a problem, it's in the rhythm. Drums, voice, guitar -- all three of them seem to struggle with it somehow, as if unsure about how to approach it. It just doesn't groove like Border Reiver, What it Is, One Song at a Time, Laughs and Jokes or even Oklahoma Ponies, all songs that follow a similar formula.
What I would really love to know is why that is, but I'm not musically literate enough to find out. Was it just a somewhat unsuccessful performance? Or the result of being given orders ("play like this") instead of follow instincts? Or the comping of several tracks/takes? I'll probably never know ...
PS: I'm not complaining about the new material in general. I'm listening to the album, the EP and the bonus tracks all the time.
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I just listened to it again, and really think if this song has a problem, it's in the rhythm. Drums, voice, guitar -- all three of them seem to struggle with it somehow, as if unsure about how to approach it. It just doesn't groove like Border Reiver, What it Is, One Song at a Time, Laughs and Jokes or even Oklahoma Ponies, all songs that follow a similar formula.
What I would really love to know is why that is, but I'm not musically literate enough to find out. Was it just a somewhat unsuccessful performance? Or the result of being given orders ("play like this") instead of follow instincts? Or the comping of several tracks/takes? I'll probably never know ...
One really wonders how this song would sound with a different drum beat. The melody as sung by Mark features rather many notes and a somehwat unusual rhythm, whereas the drums seem to provide a basic, straight forward beat.
Compare this to Laughs & Jokes, where Ian's beat is the perfect accompaniment.
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One really wonders how this song would sound with a different drum beat.
Yes, exactly. Ianto almost sound as if he had been forced to play it that way. Not quite "feeling" it.
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I don't understand a single word you are saying.
The song is perfectly ok.
:hmm
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One really wonders how this song would sound with a different drum beat.
Yes, exactly. Ianto almost sound as if he had been forced to play it that way. Not quite "feeling" it.
I think that drums/drumming is the main issue about Mark's music since Chad left the band.
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Actually, I'd still love to know the answer to my original question here, which was:
Was Ianto playing to a click track on this song?
If one of the musos among you can tell, let me know!
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Was Ianto playing to a click track on this song?
If my little experience on studio can answer to this question, so... Yes! Ianto is playing with a click-track.
Well, There can be exceptions, but everyone records with a click-track
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Was Ianto playing to a click track on this song?
If my little experience on studio can answer to this question, so... Yes! Ianto is playing with a click-track.
Well, There can be exceptions, but everyone records with a click-track
Is that so? I seem to remember drummers (or other bands) saying that they'd refuse to play to a click-track. I could see why ... it must have a serious impact on how the drumming feels, right?