A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: Brunno Nunes on November 19, 2024, 04:38:04 AM
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Attention, I will say in advance that this publication is intended only for Bootleg collectors. If you find it boring, do not continue, do not waste your time, I recognize that it may be boring for those who are not used to what I will TRY to explain in a language that is not mine.
On April 08, 2017 I published a topic here on the forum with the title: "Deciphering an enigma- Bootleg "Paris 22/06/1983", where I brought a discovery I had made about this bootleg and started a debate that must have been especially interesting for bootleg collectors,
https://www.amarkintime.org/forum/index.php?topic=5824.0
Today, I will do the same, this time, about the bootleg 1983.05.30 - Luxembourg 1983 (Centre Sportif, Differdange), later, some light on an obscure bootleg with the title: 1983.xx.xx - Once upon a time in 1983 (Unknown date and place).
There is an anachronism in the Bootleg Luxembourg 1983.
The recording "Luxembourg 83" has a false place and date, it cannot be on the date 1983.05.30, because the recording contains all the characteristics of the bootlegs that precede the Frankfurt bootleg 21-05-83. The version of Portobello Belle on the recording "Luxembourg 83" has a pattern WITHOUT a bridge with Tunnel of Love, therefore, it is a recording that precedes the way the band was playing on 1983.05.30.
This will require a little attention and knowledge of some details and characteristics that are scattered in bootlegs of the LOG tour 83, but I should leave here a small script to guide and explain how I reached certain conclusions.
Taking into account THREE FACTS that I identified:
(ALWAYS PAY ATTENTION TO THE DATES and the format of the songs, this is fundamental to understand)
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1- The versions of Portobello Belle during the LOG tour 82-83 have the following variations and characteristics: 0.1-Live in 1982: When Mark sings the last phrase of the song, always starts with a guitar solo by Hal Lindes, followed by Hammond by Alan Clark, (absence of sax); 0.2-versions in Australia, New Zealand and Japan, after singing the last phrase of the song... a guitar solo by Hal Lindes, followed by a sax solo by Paul Williamson and Hammond by Alan Clark;0.3- between Kassel 1983.05.15 and 1983.05.31 - Brussels, guitar solo by Hal Lindes, followed by a Hammond solo by Alan Clark and a sax solo by Mel Collins; The bootleg 1983.06.13 -0.4 Den Bosch 1983 is the first recording to contain the definitive DEFINITIVE adjustment for Portobello Belle - HAMMOND solo + GUITAR + SAX, (better known format, due to the version on the MFN compilation RELEASED IN 1988) and follows this pattern until the end of the tour, at Alchemy.
2- The bootleg Frankfurt 21-05-83 is the last recording to contain a version of Portobello Belle WITHOUT a bridge with Tunnel of Love. Up until now, Tunnel of Love started with Terry Williams and then Alan on his piano, there is literally a pause between both songs up until this point in the tour, that is, between the first bootleg available from the beginning of the LOG tour, live in Sheffield 01.12.82, until Frankfurt 21-05-83, Portobello Belle has an ending without the famous bridge that we know from famous bootlegs like Paris 83, which makes a transition full of atmosphere, quite inspired with a sax solo extending at the end of PB to create a transition to TOL.
https://www.youtube.com/watch?v=d9P0gEzQ9Vg&list=PLMYFn59KME_WH8qdnGmwdKPpMqV1Ov20b&index=21
3- The Bootleg Zürich 1983.05.24 is the first recording to contain a bridge that transitions between Portobello Belle and Tunnel of Love and this continues until the end of the tour with Alchemy.
https://www.youtube.com/watch?v=8hTRlmppbwQ&t=4460s
Now that I have shed light on these small details, but whoever analyzes them will see that they are decisive, I hope to have made it easier to understand the paths I took in my "die hard" research, to confirm what I discovered about the bootleg 1983.05.30 - Luxembourg 1983 (Centre Sportif, Differdange), which was named and dated incorrectly.
Based on the tour dates on the wonderful On Every Bootleg website
https://www.oneverybootleg.nl/tourdates_1982_1983.htm
My guess is that this recording is possibly one of these shows:
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Broendbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
16.05.1983 Sporthalle Cologne Germany
Maybe even 22.05.1983 Eisstadion Mannheim Germany
These concert dates above predate the Zürich 1983.05.24 bootleg, which is the first recording to CONTAIN a bridge that transitions between Portobello Belle and Tunnel of Love, they have not yet been catalogued as bootlegs, but are strong candidates for being the recording misnamed as 1983.05.30 - Luxembourg 1983 (Centre Sportif, Differdange). There is definitely no actual recording of the show on 1983.05.30 - Luxembourg 1983 (Centre Sportif, Differdange).
I also noticed about the recording named 1983.05.30 - Luxembourg 1983- false place and date:
There is a version that contains Tunnel of love (cut) at 11:56 min and another version with Tunnel of love (cut) at 12:04 min.
There is also a version of this recording that was wrongly named Frankfurt 21-05-83.
Anyway, you should realize that for it to be 1983.05.30 - Luxembourg 1983, it would have to have other characteristics.
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I analyzed the bootleg 1983.xx.xx - Once upon a time in 1983 (Unknown date and place) and found that it has the characteristic of a bridge that makes a transition between Portobello Belle and Tunnel os Love, but it still does not contain the definitive DEFINITE adjustment for Portobello Belle - solo HAMMOND + GUITAR + SAX, that is, it maintains the same pattern between the bootlegs Zürich 1983.05.24 and 1983.05.31 - Brussels 1983 (Forest National, Brussels, Belgium), which are bootlegs that have a bridge that makes a transition between Portobello Belle and Tunnel os Love, but it still does not contain the definitive DEFINITE adjustment for Portobello Belle - solo HAMMOND + GUITAR + SAX. Therefore, I can conclude that this is a recording of one of these shows:
24.05.1983 Hallenstadion Zürich Switzerland
25.05.1983 Patinoire des Vernets Geneva Switzerland
26.05.1983 Patinoire des Vernets Geneva Switzerland
27.05.1983 Palais des Sports Grenoble France
28.05.1983 St. Jakob Sporthalle Basel Switzerland
30.05.1983 Centre Sportif Differdange
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As you can see, there are many nuances and details that cover the universe of a Dire Straits tour, only in their songs I was able to point out some variables within the same tour, and I guarantee that I am summarizing, highlighting the most important points to show how I realized that there was something wrong, anachronistic with the recording Luxemburg 1983. Deals like these are spread throughout the tours in different ways and I have everything mapped out in my mind and typed files, where I put my analyzes and perspectives, for those who know One day, I can organize and give a broader destiny... :think :wave
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amzing job ! :clap :clap :clap
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Ok. I'm starting to analyze this thread :)
Thanks Brunno:)
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question, could it simply be that Portobello belle was spliced in from another show from the time you mention in your analysis, but that the rest of the show is correct?
i find it a bizarre choice of locations to use as a "fake"
going to listen to the show and to the audience chatter now. Luxemburg slang is VERY particular.
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listening to it now..will report back.
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question, could it simply be that Portobello belle was spliced in from another show from the time you mention in your analysis, but that the rest of the show is correct?
i find it a bizarre choice of locations to use as a "fake"
going to listen to the show and to the audience chatter now. Luxemburg slang is VERY particular.
No, because I analyzed the entire show and only highlighted Portobello Belle and Tunnel Of Love, as they contain more relevant and substantial aspects. I could mention aspects and characteristics of other songs in the show, but that would be quite long and tiring for most people. So, I am particularly confident in my analysis, to substantiate it, I delved deep into the musical processes of how the band changed arrangements, additional nuances...
For now, I only know that the recording named Luxemburgo 83 is fake, I cannot confirm any show or date with precision, but I can identify the period, the dates above not yet cataloged as bootlegs. The same thing with the bootleg 1983.xx.xx - Once upon a time in 1983, through my analysis, I realized which period of the tour this recording belongs to.
Now, if you or anyone else can look at the two recordings and try to identify some more clues that help identify the origin of the recording, you are always welcome, my limitation is the language, but my specialty is the aspects that I mentioned in the posts. :wave
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I have analyzed all the shows I mentioned, in fact, I have listened to all these bootlegs many, many times, they are very familiar, I usually analyze the tours through the bootlegs, this is a fun for me that at the same time I have always taken seriously. 🙌🏻
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at the beginning of private inv. there is some audience chatter close to the taper. to me it sounds like a swiss (Zürich?) dialect. can a swiss person check?
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at the beginning of private inv. there is some audience chatter close to the taper. to me it sounds like a swiss (Zürich?) dialect. can a swiss person check?
How wonderful, Pottel, thanks for checking,🙌🏻 this further substantiates my research, more substance, my instinct was right!
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obviously a luxemburgian should listen to that part as well as it seems to be the only spot on the bootleg with audible audience chatter
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The recording with the name Luxemburgo 83 has all the characteristics of the songs that make up the following tour period: (based on analysis of the recordings)
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Brondbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
15.05.1983 Eissporthalle Kassel Germany
16.05.1983 Sporthalle Cologne Germany
18.05.1983 Stadthalle Vienna Austria
19.05.1983 Stadthalle Linz Austria
20.05.1983 Olympiahalle Munich Germany
21.05.1983 Festalle Frankfurt Germany
We have recordings of:
15.05.1983 Eissporthalle Kassel Germany
18.05.1983 Stadthalle Vienna Austria
19.05.1983 Stadthalle Linz Austria
20.05.1983 Olympiahalle Munich Germany
21.05.1983 Festalle Frankfurt Germany
So it's a recording from one of these dates:
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Brondbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
16.05.1983 Sporthalle Cologne Germany
Maybe even 22.05.1983 Eisstadion Mannheim Germany, but most likely it's a recording from 23.05.1983 Hallenstadion Zürich Switzerland, once we have the recording from the following night, 24.05.1983 Hallenstadion Zürich Switzerland and In it we can already see for the first time a bridge between PB and TOL. If you hear someone speaking in Swiss at the beginning of PI it is quite possible that Luxembourg 83 is actually 23.05.1983 Hallenstadion Zürich Switzerland, however, the speech of someone in the audience is not very reliable to define the place, since it could be a tourist and these countries are small and close, unlike a continental country like Brazil and the United States, where the people speak the same language.
It is becoming clearer.
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Just to point out, once again.
As for the bootleg 1983.xx.xx - Once upon a time in 1983 (Date and location unknown), it could be any of the dates below from uncatalogued bootlegs, including the real 30.05.1983 Centre Sportif Differdange Luxembourg. The recording has all the characteristics of this period of the tour, which corresponds to 24.05.1983 Hallenstadion Zürich Switserland to 12.06.1983 Ijsselhal Zwolle The Netherlands
So, it could be the following dates not yet catalogued:
25.05.1983 Patinoire des Vernets Geneva Switserland
26.05.1983 Patinoire des Vernets Geneva Switserland
27.05.1983 Palais des Sports Grenoble France
28.05.1983 St. Jakob Sporthalle Basel Switserland
30.05.1983 Centre Sportif Differdange Luxembourg
01.06.1983 Forest National Brussels Belgium
12.06.1983 Ijsselhal
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
Because you were asking for soundboard bootlegs, which are very few and everyone knows them, so there isn't much to discuss.
As for audience tapes, that's another cookie. I mean, Vienna 83 or Stuttgart 85, for example, are as good as any soundboard concert.
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
Because you were asking for soundboard bootlegs, which are very few and everyone knows them, so there isn't much to discuss.
As for audience tapes, that's another cookie. I mean, Vienna 83 or Stuttgart 85, for example, are as good as any soundboard concert.
Right. I accept the argument :) Not necessarily a console but are as good as any soundboard concert.
Vienna 83 or Stuttgart 85 :thumbsup
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sometimes a sounboard recording can be worse than an audience one
for example Cleveland 85 has an awful sound/mix
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
Because you were asking for soundboard bootlegs, which are very few and everyone knows them, so there isn't much to discuss.
As for audience tapes, that's another cookie. I mean, Vienna 83 or Stuttgart 85, for example, are as good as any soundboard concert.
I confess that I hadn't seen your topic, but I agree with what was mentioned here. If we are talking about audience bootlegs, there are precious moments that are worth gold in every tour, but, always subjective to each person's taste, on the other hand, there is a very interesting counterbalance which is the historical character that defines the importance of the event (bootleg), for example, Boston 79, or Roundhouse 78 because they have exclusive songs, which are rarely or never repeated like In My Car, Me and My Friends, Move it away, from (Birmingham Barbarella's, 4th July 1978), versions with curious errors like the version of Sultans of Swing, where Mark makes a curious mistake and manages to solve it in an interesting way with the band, present in the bootleg Copenhagen- 8.11.79, or the curious version of Solid Rock in Uniondale 1992 28.02.92 with the missing synthesizer introduction, in the format of the original formation, versions from 79... Anyway, these are some examples of what we can analyze.
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Always fascinated by your posts Brunno and detailed analysis of the audio...much appreciated 👏
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
Because you were asking for soundboard bootlegs, which are very few and everyone knows them, so there isn't much to discuss.
As for audience tapes, that's another cookie. I mean, Vienna 83 or Stuttgart 85, for example, are as good as any soundboard concert.
I confess that I hadn't seen your topic, but I agree with what was mentioned here. If we are talking about audience bootlegs, there are precious moments that are worth gold in every tour, but, always subjective to each person's taste, on the other hand, there is a very interesting counterbalance which is the historical character that defines the importance of the event (bootleg), for example, Boston 79, or Roundhouse 78 because they have exclusive songs, which are rarely or never repeated like In My Car, Me and My Friends, Move it away, from (Birmingham Barbarella's, 4th July 1978), versions with curious errors like the version of Sultans of Swing, where Mark makes a curious mistake and manages to solve it in an interesting way with the band, present in the bootleg Copenhagen- 8.11.79, or the curious version of Solid Rock in Uniondale 1992 28.02.92 with the missing synthesizer introduction, in the format of the original formation, versions from 79... Anyway, these are some examples of what we can analyze.
I'm pretty sure he was drunk during that Copenhagen gig. I remember an interview with him where he was refleting on the 78/79 period and said something like "doesn't matter whether you had too many pints in Denmark or ... "
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Always fascinated by your posts Brunno and detailed analysis of the audio...much appreciated 👏
The Visitor, I'm glad to know that you enjoyed this analysis, and I really try to delve as deep as possible to share this type of information with everyone who is interested in it. My intuition is to preserve the historical legacy of DS with maximum precision of the data and location of these registers. :wave
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Brunno I was counting on your opinion in the Bootlegs thread I started a few weeks ago. But I was more concerned with good quality concerts recorded from a console. It would be fun to propose and arrange such a list with absolute bootleg classics that you must have.
But the topic didn't get much attention I don't know why :(
https://www.amarkintime.org/forum/index.php?topic=8979.0
Because you were asking for soundboard bootlegs, which are very few and everyone knows them, so there isn't much to discuss.
As for audience tapes, that's another cookie. I mean, Vienna 83 or Stuttgart 85, for example, are as good as any soundboard concert.
I confess that I hadn't seen your topic, but I agree with what was mentioned here. If we are talking about audience bootlegs, there are precious moments that are worth gold in every tour, but, always subjective to each person's taste, on the other hand, there is a very interesting counterbalance which is the historical character that defines the importance of the event (bootleg), for example, Boston 79, or Roundhouse 78 because they have exclusive songs, which are rarely or never repeated like In My Car, Me and My Friends, Move it away, from (Birmingham Barbarella's, 4th July 1978), versions with curious errors like the version of Sultans of Swing, where Mark makes a curious mistake and manages to solve it in an interesting way with the band, present in the bootleg Copenhagen- 8.11.79, or the curious version of Solid Rock in Uniondale 1992 28.02.92 with the missing synthesizer introduction, in the format of the original formation, versions from 79... Anyway, these are some examples of what we can analyze.
I'm pretty sure he was drunk during that Copenhagen gig. I remember an interview with him where he was refleting on the 78/79 period and said something like "doesn't matter whether you had too many pints in Denmark or ... "
It is possible, since at that time Mark was emotionally unwell and tense due to the breakup of his relationship with his girlfriend at the time, in the middle of the Communiqué tour. Interestingly, the versions are much more intense at that time than at any other time, I believe that he released his fury, or whatever his feeling was, in his performance, so it is true that this was reflected even in It Never Rains, the song emulates the echoes of that period, for me it is clear.
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People don't have to be emotionally unwell inevitably when they get pissed, especially when they are young or immature. I guess Mark was drunk or stoned on stage very often during the first couple of years until let's say 1982/1983. Werchter comes to mind or Rockpalast and others. After all those years following him I think I developed a pretty good eye for his mimic and behaviour. Also during the Alchemy Show more or less the complete band seems intoxicated, while for example the first TV Sultans BBC clip or Wembley Arena 1985 gig show him sober and very focussed at work.
LE
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I appreciate a lot Bruno's investigations but I get lost very early...
Is there any conclusion?
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I appreciate a lot Bruno's investigations but I get lost very early...
Is there any conclusion?
Yes it's hardcore get-a-life material for sure :lol ;D :wave
I was lost after the first two paragraphs, but that's just me.
LE
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Brunno is the master in finding accurate details among bootlegs and recordings :clap :clap
I always learn many things reading his posts :thumbsup :wave
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As you can see, there are many nuances and details that cover the universe of a Dire Straits tour, only in their songs I was able to point out some variables within the same tour, and I guarantee that I am summarizing, highlighting the most important points to show how I realized that there was something wrong, anachronistic with the recording Luxemburg 1983. Deals like these are spread throughout the tours in different ways and I have everything mapped out in my mind and typed files, where I put my analyzes and perspectives, for those who know One day, I can organize and give a broader destiny... :think :wave
I wonder how many more errors like this can there be from our favorite bootlegs :think
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I appreciate a lot Bruno's investigations but I get lost very early...
Is there any conclusion?
I will repeat the conclusion I reached about the bootleg known as Luxembourg- 1983.05.30: This recording has all the characteristics of the songs that make up the following tour period:
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Brondbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
15.05.1983 Eissporthalle Kassel Germany
16.05.1983 Sporthalle Cologne Germany
18.05.1983 Stadthalle Vienna Austria
19.05.1983 Stadthalle Linz Austria
20.05.1983 Olympiahalle Munich Germany
21.05.1983 Festalle Frankfurt Germany
We have recordings of:
15.05.1983 Eissporthalle Kassel Germany
18.05.1983 Stadthalle Vienna Austria
19.05.1983 Stadthalle Linz Austria
20.05.1983 Olympiahalle Munich Germany
21.05.1983 Festalle Frankfurt Germany
So it is a recording from one of these dates:
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Brondbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
16.05.1983 Sporthalle Cologne Germany
22.05.1983 Eisstadion Mannheim Germany
23.05.1983 Hallenstadion Zürich Switzerland
But most likely it is a recording from 23.05.1983 Hallenstadion Zürich Switzerland, since we have the recording from the following night, 24.05.1983 Hallenstadion Zürich Switzerland and in it we can already see for the first time a bridge between PB and TOL. According to Pottel, there is someone in the audience speaking in a dialect that seems to be Swiss, which could be a clue that reinforces my perspective.
How did I come to this conclusion? I am so familiar with these bootlegs that I can easily identify patterns contained in the songs. I analyzed in depth how the band performed the arrangements of each song in each period of each tour from 78-92, so I mapped all these patterns. Based on this, I can easily identify that a bootleg with this date (05/30/1983) would have to have certain patterns in the songs of the setlist that corresponded to this period of the tour, which does not occur with the Luxembourg bootleg - 1983.05.30. This was cataloged incorrectly, it is a historical error, and went unnoticed until a crazy person like me came along and identified this detail. That is why I mentioned the anachronism, it has patterns of a show from a period that slightly precedes this date.
Basically that.
Conclusion:
I don't know exactly which recording is Luxembourg- 1983.05.30, but I'm sure it's actually one of these shows:
11.05.1983 Ernst Merck-Halle Hamburg Germany
12.05.1983 Brondbyhalle Copenhagen Denmark
14.05.1983 Deutschlandhalle Berlin Germany
16.05.1983 Sporthalle Cologne Germany
22.05.1983 Eisstadion Mannheim Germany
23.05.1983 Hallenstadion Zürich Switzerland
But most likely it's a recording of23.05.1983 Hallenstadion Zürich Switzerland, that's my guess. :wave
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The same thing happened on April 8, 2017, when I posted a thread here on the forum titled: "Deciphering a Bootleg Enigma "Paris 06/22/1983", a discussion that must have been especially interesting for bootleg collectors like me and so many others here.
https://www.amarkintime.org/forum/index.php?topic=5824.0
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I appreciate a lot Bruno's investigations but I get lost very early...
Is there any conclusion?
The other conclusion is that the bootleg Once upon a time in 1983 XX.XX.83, which until then, its date and location were a mystery, is a strong candidate to be the real 30.05.1983 Centre Sportif Differdange Luxembourg, the recording has all the characteristics of the tour period between 24.05.1983 Hallenstadion Zürich Switserland to 12.06.1983 Ijsselhal Zwolle Netherlands
Thus, it could be the following dates not yet catalogued:
25.05.1983 Patinoire des Vernets Geneva Switzerland
26.05.1983 Patinoire des Vernets Geneva Switzerland
27.05.1983 Palais des Sports Grenoble France
28.05.1983 St. Jakob Sporthalle Basel Switzerland
30.05.1983 Centre Sportif Differdange Luxembourg
01.06.1983 Forest National Brussels Belgium
12.06.1983 Ijsselhal
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Brunno is the master in finding accurate details among bootlegs and recordings :clap :clap
I always learn many things reading his posts :thumbsup :wave
Thank you very much for the recognition, dear JK, language limitations can sometimes hinder the understanding of something so meticulous, but I strive to bring light to my shared experience, I would not like to keep my discoveries and experiences to myself. My way of dealing with these recordings is that I see each tour as a book, each show is almost like a chapter in a book that is being developed until it changes to a new chapter and reaches the end. Looking back at the LOG tour 82-83, the last chapter ends with Alchemy. Today I understand well the paths taken by the band until reaching the result of each version of Alchemy, especially the version of Sultans of Swing, or Once Upon a Time in the West. I mention these because they are songs that the band had been playing live for the longest time, since 1978. So, each tour can give us a different experience with any song, neither worse nor better. That's not what it's about, it's just a different experience. For me, each tour has a unique flavor, a new dimension of the band or artist. In the case of Dire Straits, it's like a little movie, and that's what always makes it an exciting and intense experience for me. I think that being a disciple of Knopfler on the guitar, as well as an enthusiast of his sound, helped me a lot to actively listen to these recordings. It seems to me that it broadens the angle of perception of certain details. That's just a hypothesis.
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As you can see, there are many nuances and details that cover the universe of a Dire Straits tour, only in their songs I was able to point out some variables within the same tour, and I guarantee that I am summarizing, highlighting the most important points to show how I realized that there was something wrong, anachronistic with the recording Luxemburg 1983. Deals like these are spread throughout the tours in different ways and I have everything mapped out in my mind and typed files, where I put my analyzes and perspectives, for those who know One day, I can organize and give a broader destiny... :think :wave
I wonder how many more errors like this can there be from our favorite bootlegs :think
It's rare, but it's possible. So far I've managed to identify two. Whenever I discover something new about this, I'll bring it here for anyone who might be interested.
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As you can see, there are many nuances and details that cover the universe of a Dire Straits tour, only in their songs I was able to point out some variables within the same tour, and I guarantee that I am summarizing, highlighting the most important points to show how I realized that there was something wrong, anachronistic with the recording Luxemburg 1983. Deals like these are spread throughout the tours in different ways and I have everything mapped out in my mind and typed files, where I put my analyzes and perspectives, for those who know One day, I can organize and give a broader destiny... :think :wave
I wonder how many more errors like this can there be from our favorite bootlegs :think
It's rare, but it's possible. So far I've managed to identify two. Whenever I discover something new about this, I'll bring it here for anyone who might be interested.
I am interested and also like such nuances and details. Thank you Brunno and respect.
ps. great shirt :)
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As you can see, there are many nuances and details that cover the universe of a Dire Straits tour, only in their songs I was able to point out some variables within the same tour, and I guarantee that I am summarizing, highlighting the most important points to show how I realized that there was something wrong, anachronistic with the recording Luxemburg 1983. Deals like these are spread throughout the tours in different ways and I have everything mapped out in my mind and typed files, where I put my analyzes and perspectives, for those who know One day, I can organize and give a broader destiny... :think :wave
I wonder how many more errors like this can there be from our favorite bootlegs :think
It's rare, but it's possible. So far I've managed to identify two. Whenever I discover something new about this, I'll bring it here for anyone who might be interested.
I am interested and also like such nuances and details. Thank you Brunno and respect.
ps. great shirt :)
Thank you for the recognition. I'm happy to know that there are people who are interested in this aspect of the band. Analyzing the bootlegs and exploring this universe so rich in details is the best way to get to know the band we love.
I gave a replica of this shirt to Alan Clark when he came to Brazil with DSL. I had the opportunity to watch him perform with DSL on two occasions, in 2017 and 2019. It was an incredible experience for me, because in addition to watching those songs with him playing those wonderful and atmospheric sounds of his instrument (a luxury), I recommend it to anyone who can watch it. I was able to talk a little with him and the entire band on both occasions. They are true gentlemen, very kind.
I fulfilled a dream of meeting a great musical hero in person, and I have great respect and admiration for the art of this master.
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obviously a luxemburgian should listen to that part as well as it seems to be the only spot on the bootleg with audible audience chatter
^i thought we had quite a few swiss members here?