A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: diremania on March 30, 2025, 03:17:19 PM
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Can anyone or does perhaps Chris W, elaborate on how the specific rehearsal for the OES tour go? I’m
Into the specific details regarding how the rehearsal was planned and conducted over the notorious three month time, during the summer of 1991?
Does anyone know the details?
Sorry if this allready has been covered in another thread
Txs
DM
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My memory is hazy.
I think it was a mix of trying out songs, like one or two times through, so mark could see how they felt and if they were something he wanted to work out in detail. I guess someone like me who hadn't played the songs before was given a live tape to revise from.
Also, songs that were definitely going in the set - classics plus the OES songs. They were just worked on in detail. Like down to the specific arrangement.
Calling Elvis evolved into the 15 minute epic over several days.
Mark was the finale arbiter. Alan and Guy were like musical directors suggesting ideas and reminding mark how a song was previously played.
I remember playing a few songs a couple of times and mark saying no, he didn't want to play them on the tour.
Of course, throughout the first leg (UK and Europe) we were still adding songs, taking songs away.
There was definitely an 'orchestration' type approach, very little improvised. Do this tom fill here, play that crash there.
Only the solos were improvised.
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Thanks Chris. That’s was the kind of details I was curious about.
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Thanks Chris. I guess that was so much long ago than you wouldn't have anything from that time, like those tapes or sheets with the setlists used for those sessions.
I remember reading in Palmer's book about MK having Danny playing shakers for hours until he decide to take out some of the content of one of them and being that the chosen.
I guess there would be many stories like that.
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Thanks Chris. These little details are gold to die hards like us!
Can you recall any songs rehearsed that never made it into the set?
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Not really. A few songs were tried, played once, and never tried again.
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Thank you very much, Chris!
I have got a question to the Romeo and Juliet guitar solo at the end of the song of the "On Every Street" tour.
Unfortunately, this beautiful solo is not included in R&J at the "On The Night" CD. I have heard versions of R&J from 1991 where Mark had played it and at the versions of 1992 I have heard it was not played anymore.
Do you know why Mark has stopped playing it?
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That solo is exactly the reason for me to prefer BIA’s Tour R&J, beautiful piano ending on OES tour, but less brilliant IMO.
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I thought there was always a solo.
It was switched to Paul F. So the solo was there, but played by Paul on pedal steel.
Checked both OTN DVD and Basel.
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Chris: do you remember how this, allegedly exhaustive rehearsal periode went? i.e. did you show up 6 days a week, from 10-18 at Bray studios, did you get "homework" for the day after rehearsal or was it some kind of surprise what Mark wanted to play and in which order? Did you rehearse with full sound/light, changes at all time, or how was it organized?
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Like I said, memory is hazy.
It was just the band in a hot dark room for quite a long time.
5 days a week, yeah, probably 10am-6pm, although these things are always fluid, some days shorter, others longer.
I seem to remember I didn't know what we were going to do each day. Maybe some days I was told the evening before to check out a song for the next day. Can't remember.
Towards the end, maybe the last week or last two weeks, we set up in a bigger room with the full production - monitors, PA and lights, so the crew could work on their set up.
None of this was that extraordinary to me.
Paul McCartney had his own rehearsal space. We had finished his new album, then set up in the rehearsal space. We probably spent a month just jamming, trying out songs from his repertoire, all the while making videos for the singes of the album, plus at least one documentary, plus magazine interviews. We kind of rehearsed for Paul's tour for 4-6 months, while doing tv appearances, interviews, videos and documentaries.
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Thank you Chris for your answers so far.
Can I please ask you a few more questions relating to this time - if you can remember!
There was an MTV special that had some 1991 rehearsal excerpts of Calling Elvis and Planet of New Orleans:
https://www.youtube.com/watch?v=QFnHKNyPVxY
Can you remember if these songs were filmed in full and if any others were also filmed?
There were 4 songs recorded for a Timothy White radio show broadcast in the US in March 1992:
https://www.youtube.com/watch?v=fwGjURIdd6o
Can you remember when these were recorded? Was it also during the tour rehearsals in the UK or was it done later in the US for the radio show?
Also, regarding the at the time "unreleased" songs played on the early part of the tour - Think I Love You Too Much and The Long Highway - it has been rumoured but unconfirmed that these may have been recorded for the On Every Street LP.
Can you remember pre rehearsals if you were played any studio versions of these songs to learn from or if it was mentioned at the time that they or any other tracks had been recorded for the OES lp and left off (or not used as b-sides)?
I appreciate it was a long time ago to remember such details, but thanks in advance.
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I thought the MTV interviews were filmed at the production rehearsals just before the tour, but the fan interviews are from outside Wembley Arena, Sept 1991, so I think it was all shot around the Wembley shows. The weather would confirm this.
Funny that John says the tour "has a much better vibe than the Brothers In Arms tour", better band etc...
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I can't remember recording the US radio show.
I also can't remember what we were given to learn I Think I love You Too Much etc...
Being a quite simple rock blues, we might have just played it by ear the first time through.
I 'auditioned' for DS by playing along to the album cuts at Air Studios as they were mixing the album. I don't remember playing anything that didn't end up on the album.
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I've always liked the version of Iron Hand from this session for Timothy White better than the album version. :)
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I can't remember recording the US radio show.
I also can't remember what we were given to learn I Think I love You Too Much etc...
Being a quite simple rock blues, we might have just played it by ear the first time through.
I 'auditioned' for DS by playing along to the album cuts at Air Studios as they were mixing the album. I don't remember playing anything that didn't end up on the album.
I always thought that the four songs aired at that US radio show were recorded during the same production rehearsals, as long as it contains "The Long Highway" which was an unreleased song that was played only twice, at the first and second show of the tour in Dublin, and then dissapeared and as far as the bootlegs we have, that are a lot, wasn't played anymore.
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amazing thread this
huge thnx to Chris W. for providing!
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I really liked Portobello Belle , but didn't we only play that a couple of times too (at Dublin)?
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I really liked Portobello Belle , but didn't we only play that a couple of times too (at Dublin)?
Almost all days in Dublin (I think it was 5 dates) and also one in Grenoble, France, at least that we know because recordings exists.
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I've always liked the version of Iron Hand from this session for Timothy White better than the album version. :)
And for me the version of The Long Highway is much better than the album version. It's longer and the acoustic guitar solo is just beautiful.
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I've always liked the version of Iron Hand from this session for Timothy White better than the album version. :)
And for me the version of The Long Highway is much better than the album version. It's longer and the acoustic guitar solo is just beautiful.
Yes, I like this version very much too :)
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Not really. A few songs were tried, played once, and never tried again.
Ticket to haven one off those songs??
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No idea.
I think it was mostly older songs, Pick Withers era.
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Isn't it just wonderful how Chris just couldn't give a f...k about all those irrelevant stuff that of course means the life to us Get-A-Lifers? Kudos to him for really honestly trying to answer all our fanboy questions...
LE
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I thought there was always a solo.
It was switched to Paul F. So the solo was there, but played by Paul on pedal steel.
Checked both OTN DVD and Basel.
Thank you very much for your reply, Chris! Appreciate your answers so much and it is very interesting to read your replies.
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Hi Chris, taking this opportunity and thanking you for your kindness in answering the questions here, I would like to ask you about the three songs from the OES album that were not played (as far as we know) during the tour: Ticket to Heaven, My Parties and How Long. Were these songs at least rehearsed? Do you have any memories about these specific songs? The same goes for ob-sides like Millionaire Blues and Kingdom Come.
Any thoughts on the songs above? Would any of them be suitable for a live performance, in your opinion? To date, no recording of them live with DS has ever surfaced. I have heard rumors that My Parties was played live in 1991 on the Australian tour, but... I doubt it.
About songs that were rehearsed and left aside for some reason, I believe that Setting me Up (from the first album) was a survivor, having appeared sporadically in some shows in 91 and much less in 1992, USA tour 92.
Here is just a personal point of view:
I missed some songs on the OES tour, Ride Across The River could be alternated with Planet of New Orleans, as well as The Man's Too Strong, Wild West End with Portobello Belle (this was played on rare occasions as well as So Far Away, both, probably survivors that gave a little sigh on the 91-92 tour). I can't imagine MK performing songs with the vibe of Lady Writer, Expresso Love, Down to the Waterline, Once Upon a Time in the West, Single Handed Sailor on the OES tour 91-92, I don't think any of them were rehearsed. :think
Finally, a song that was played at every show from 91-92 and that in my humble opinion could be replaced by another from the band's catalog was Two Young Lovers. Personally, I think it was not a good choice, I prefer the production that the band did for this song on the BIA tour 91-92.
Are there any songs that you didn't like in the repertoire?
Thanks for your attention, Chris. :wave
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I can't imagine MK performing songs with the vibe of Lady Writer, Expresso Love, Down to the Waterline, Once Upon a Time in the West, Single Handed Sailor on the OES tour 91-92, I don't think any of them were rehearsed. :think
Maybe Water of Love, as that was also played in '96 and during the NHB gigs.
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Isn't it just wonderful how Chris just couldn't give a f...k about all those irrelevant stuff that of course means the life to us Get-A-Lifers?
Well that's not exactly accurate.
It was 35 years ago. If I played a song once or twice 35 years ago it's not going to be a distinct memory. I have photographs from the tour I can't remember taking.
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I seem to remember 'My Parties' being rehearsed. Not sure for how long.
One song I remember being seriously considered and rehearsed was 'Water Of Love'.
As to any others, I can't remember. Pretty sure we never tried 'Ride Across The River' as I would remember the complex arrangement and time signatures.
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Isn't it just wonderful how Chris just couldn't give a f...k about all those irrelevant stuff that of course means the life to us Get-A-Lifers?
Well that's not exactly accurate.
It was 35 years ago. If I played a song once or twice 35 years ago it's not going to be a distinct memory. I have photographs from the tour I can't remember taking.
And that's absolutely understandable of course! I follow your insta account and see all the photographs and I am astonished about the detailed describtions often.
What I meant: apart from what was rehearsed, we can't assume that you know the complete Dire Straits catalogue, song titles, regulars from older tours etc. We as "fans" know every second MK ever recorded of course but can't expect you to do the same.
By the way, I was watching that two-part Interview with you on YouTube where you talk in detail about the McCartney time (not only tour but also beginnings) and about all the people you met etc. And it not only sounds like a great adventure and highlight for sure but really puts the whole DS tour thing in relation. DS maybe were big at that time, but it seems Paul really was "grand", several dimensions higher, if not musically, then as a human being in any case. Must have been a dream come true for you whereas it's sad that DS was just a job with hardly any good rememberings.
LE
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It wasn't 'just a job'.
I don't think I've done much in my career that was 'just a job'. I sat at home doing nothing for weeks at a time, rather than tour with a band I hated, or rather than recording advertising jingles or movie soundtracks.
I was obviously aware DS was an extremely prestigious gig. It would be a huge honour to play big stadiums, in front of 60,000 people.
I was extremely concerned about Mark's reputation for berating drummers, that I learned through the industry grapevine.
Funny.... someone here posted that MTV documentary link yesterday. I took a look and when I'm interviewed the first thing I say is that I was reluctant to join DS because I was 'burnt out from touring'. Which was basically the truth. I always loved making records the most. After I voluntarily left McCartney my entire aim was to go back to being a studio drummer, which I loved. That is why it was hard to agree to more than a year on tour with Dire Straits.
Anyway, yes you are right.
As a five year old I was obsessed with The Beatles. I could not believe it when I found myself in a room with Paul and Linda playing music (the audition process). When we started his album it was just me, Paul and Hamish Stuart. Very tight knit.
Paul was quick witted and hilarious. We spent a happy year making the album, laughing every day.
When we started tour rehearsals and Paul started pulling out all these classic Beatles songs I just couldn't believe it. I was going to play Back In The USSR, Hey Jude, The Long And Winding Road etc....
The first show (in Oslo) was electric. Likewise when we played the USA for the first time. You could see people in the front rows in tears, almost feinting. It was a religious experience for a lot of people. Paul hadn't toured for ten years and had never played so many Beatles songs. Some of those songs had never been performed live, as they were recorded after The Beatles stopped touring.
So although the DS tour wasn't 'just a job', it also wasn't anything like playing a Beatles song that had never been played live before WITH a Beatle.
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Oh man, playing those Beatles-classics with an actual Beatle. What a dream come true, Chris!
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Yes, best thing I've ever done. THE career highlight.
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Seeing Paul live in 2018 was a near religious experience for me (and I'm not religious).
Although looking at the state of the charts these days it's not so clear as to which will go first, rock and roll or Christianity. :hmm
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It wasn't 'just a job'.
I don't think I've done much in my career that was 'just a job'. I sat at home doing nothing for weeks at a time, rather than tour with a band I hated, or rather than recording advertising jingles or movie soundtracks.
I was obviously aware DS was an extremely prestigious gig. It would be a huge honour to play big stadiums, in front of 60,000 people.
I was extremely concerned about Mark's reputation for berating drummers, that I learned through the industry grapevine.
Funny.... someone here posted that MTV documentary link yesterday. I took a look and when I'm interviewed the first thing I say is that I was reluctant to join DS because I was 'burnt out from touring'. Which was basically the truth. I always loved making records the most. After I voluntarily left McCartney my entire aim was to go back to being a studio drummer, which I loved. That is why it was hard to agree to more than a year on tour with Dire Straits.
Anyway, yes you are right.
As a five year old I was obsessed with The Beatles. I could not believe it when I found myself in a room with Paul and Linda playing music (the audition process). When we started his album it was just me, Paul and Hamish Stuart. Very tight knit.
Paul was quick witted and hilarious. We spent a happy year making the album, laughing every day.
When we started tour rehearsals and Paul started pulling out all these classic Beatles songs I just couldn't believe it. I was going to play Back In The USSR, Hey Jude, The Long And Winding Road etc....
The first show (in Oslo) was electric. Likewise when we played the USA for the first time. You could see people in the front rows in tears, almost feinting. It was a religious experience for a lot of people. Paul hadn't toured for ten years and had never played so many Beatles songs. Some of those songs had never been performed live, as they were recorded after The Beatles stopped touring.
So although the DS tour wasn't 'just a job', it also wasn't anything like playing a Beatles song that had never been played live before WITH a Beatle.
Thank you very much for this interesting answer and going so deep into detail. Very appreciated.
LE
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we are a very very lucky bunch having chris taking the time to post in the forum,giving us all an insight into things we would never have known,many thanks chris
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Chris, with you obviously being an avid photographer, did you happen to document the rehearsals with some photographs as well?
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No, only the Calling Elvis shoot.
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Hi Chris. Just from a musicians point of view, how highly did you rate Mark's guitar playing ability from your vantage point?
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we are a very very lucky bunch having chris taking the time to post in the forum,giving us all an insight into things we would never have known,many thanks chris
Unbelievably lucky. I can't tell you how many fans of acts would love to have people like Chris (and Ed) not just answering questions, but also answering honestly, rather than just muttering platitudes.
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Hi Chris. Just from a musicians point of view, how highly did you rate Mark's guitar playing ability from your vantage point?
Ha-ha! I too have been thinking about asking Chris the same question for a few days.
If you could be bothered, Chris, I'd also love to know your opinion of Mark as a musician in general, his strengths and, let's say, limitations.
(Actually, maybe this should be a seperate topic?)
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Oh man, playing those Beatles-classics with an actual Beatle. What a dream come true, Chris!
In 91' or 92' (can't remember) I bought Trippin the Live Fantastic and it was a revelation to hear a combo of Paul bringing the Beatles live + the super amazing songs from (what I regard) as his brilliant solo album Flowers In The Dirt. Through various moves I lost the CD but I love digging it up on spotify. Flowers in the Dirt is full of tremendous songs.
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@chris: could you elaborate on how “days at the office” was when you arrived in a city for concert in the evening. E.g. did you split up in groups or did you just did whatever you felt for, and then just had a get-in time to meet up all of you for soundcheck? How did you cope with boredom after, say 10 month on the road..? Never struck me any the band members fell into alcohol or other abuse.. btw: was it allowed to drink alcohol before showtime by Mark?
Thanks for your insights Chris,
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The gruelling aspect was the travelling.
There was a lot of travelling and not many days off.
Fairly early on we stopped doing soundchecks. We often flew on private jets. So we'd leave a hotel and drive to an airport. Get on the jet and fly to the location of the show. we'd land and drive to the arena or stadium. Hang out for a couple of hours, then play the show.
After the last note was played we'd already be in cars driving to a hotel, or driving to the air5port to fly Late night) to another location.
There were no drink or drug orders. Most people were sensible and professional. NO ONE wanted to be THE ONE to screw up a show!
I might have a beer during the show, along with bottles of water. I might have a couple of beers after the show.
It was exhausting flying on the same day as a long show, maybe flying again that day.
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Was (only) all backline then rushed packed and loaded into trucks and immediately send away to the next city (overnight transportation) to get there in time for the next days concert? While the stage/PA/lights could be dismantled and trucked away to next venue (leap frogging) ? Or did you all have redundant backline kits?
Thanks Chris
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Was (only) all backline then rushed packed and loaded into trucks and immediately send away to the next city (overnight transportation) to get there in time for the next days concert? While the stage/PA/lights could be dismantled and trucked away to next venue (leap frogging) ? Or did you all have redundant backline kits?
Thanks Chris
It is known DS had three stages moving around during the concert so when they were playing one city another stage with his lighting, sound etc was being set up in the next city adlnd another one was travelling to the next.
If that's not right, please Chris and/or Ed correct me.
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Usually the lights and sound stay with the band gear.
Yes, it takes days to build the stage and rigging. So they were leap frogged around, at least a few days ahead of the show.
This is pretty normal, even for the early 90's.
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Was (only) all backline then rushed packed and loaded into trucks and immediately send away to the next city (overnight transportation) to get there in time for the next days concert? While the stage/PA/lights could be dismantled and trucked away to next venue (leap frogging) ? Or did you all have redundant backline kits?
It was all one package. Lights, sound, band gear.
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Was (only) all backline then rushed packed and loaded into trucks and immediately send away to the next city (overnight transportation) to get there in time for the next days concert? While the stage/PA/lights could be dismantled and trucked away to next venue (leap frogging) ? Or did you all have redundant backline kits?
It was all one package. Lights, sound, band gear.
Hi Chris. New to posting on this forum, though been reading it for many years, so would like to thank you for coming in and taking the time to answer all the questions, it has been massively interesting. As a huge DS/MK fan it's sad to hear that your experience with the band was not the happiest.
You have alluded to sound issues caused by the design of the stage set for the OES tour, so I was wondering when you guys actually saw it all for the first time, whether you had any input into the design (I guess Mark/John must have done?), and how much time you had to resolve any problems at the production rehearsals? Whilst the stage looked quite cool, presumably the other band members must have had similar problems, particularly Guy who must have had his head quite close to your bass drum?
I saw a couple of shows on that tour and they were impressively loud - something I always remember is the sound (well, not just the sound, you actually felt them) of the drums on Calling Elvis at the Sheffield Arena, which seemed like they were literally shaking the place apart.
And speaking of CE - I'd be interested to know how the whole disappearing curtain opening came about? Having seen it live, I can confirm it was an amazing way to begin a concert. Obviously it needed a song that opened "with a bang" (as it were) to work properly. I guess the stage/lighting designer must have come up with the concept and then you adapted CE to fit?
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I presume Mark and John signed off on the stage.
We set up on it a week or two (?) before the first show.
The main problem being that the drums were not the central engine room of the band, but up and away at the back, high up.
Yes, both Guy and Alan had loud drums at ear height, so perspex screens were built around the drums and percussion.
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I presume Mark and John signed off on the stage.
We set up on it a week or two (?) before the first show.
The main problem being that the drums were not the central engine room of the band, but up and away at the back, high up.
Yes, both Guy and Alan had loud drums at ear height, so perspex screens were built around the drums and percussion.
Thanks Chris. What was it like having a percussionist alongside you and did it change the way you played at all?
And ….last question…..you have said the OES tour wasn’t the happiest time for anyone, but what were the highlights of it? Were there any at all lol? Thinking any memorable shows/locations or experiences etc.
As a personal highlight, that extended live version of Tunnel of Love is easily my most favourite song - especially the guitar playout - and seeing you guys do it at Gateshead 92 was the best fifteen minutes of live music I have ever seen.
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Oh man, playing those Beatles-classics with an actual Beatle. What a dream come true, Chris!
In 91' or 92' (can't remember) I bought Trippin the Live Fantastic and it was a revelation to hear a combo of Paul bringing the Beatles live + the super amazing songs from (what I regard) as his brilliant solo album Flowers In The Dirt. Through various moves I lost the CD but I love digging it up on spotify. Flowers in the Dirt is full of tremendous songs.
same here! loved that album back then. TIME TO CHECK IT OUT AGAIN. thnx for the reminder...
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Danny was great. A nice person and an incredible percussionist. He definitely made my job easier.
Highlights? there were so many on McCartney, nothing on the DS tour could really match it.
Going to Australia for the first time? Driving ourselves around Italy on the final leg of the tour.
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Danny was great. A nice person and an incredible percussionist. He definitely made my job easier.
Highlights? there were so many on McCartney, nothing on the DS tour could really match it.
Going to Australia for the first time? Driving ourselves around Italy on the final leg of the tour.
the question was not to compare with the amazing macca, but what were the actual positive highlights on the OES tour?
we are now all well aware of what a drag a lot of it was. but surely SOME of it must have been good/fun/mindblowing etc..?
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Danny was great. A nice person and an incredible percussionist. He definitely made my job easier.
Highlights? there were so many on McCartney, nothing on the DS tour could really match it.
Going to Australia for the first time? Driving ourselves around Italy on the final leg of the tour.
I wonder weather it already in the rehearsal was starting to become “depressing”? If you’d remember ? In that case, starring into a 12 month tour, must have been a nightmare..
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the question was not to compare with the amazing macca, but what were the actual positive highlights on the OES tour?
I understood the question.
I gave you my answer....
Touring in Italy, especially driving ourselves with Chris White and Paul Franklin in the car.
Mark and John were depressed in Australia because they didn't quite sell out as many shows as they had in 1985. I was having a great time. Walking through the Sydney streets from our hotel to the arena for the shows. Experiencing a different culture on the other side of the planet.
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the question was not to compare with the amazing macca, but what were the actual positive highlights on the OES tour?
I understood the question.
I gave you my answer....
Touring in Italy, especially driving ourselves with Chris White and Paul Franklin in the car.
Mark and John were depressed in Australia because they didn't quite sell out as many shows as they had in 1985. I was having a great time. Walking through the Sydney streets from our hotel to the arena for the shows. Experiencing a different culture on the other side of the planet.
i just wanted the nitty gritty details. thnx.
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The Summer 1992 leg was probably the most fun.
Lovely weather, huge crowds, big outdoor venues.
On the OES tour in general, I had played almost all the same cities and venues with McCartney two years earlier, so not very much was new.
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The Summer 1992 leg was probably the most fun.
Lovely weather, huge crowds, big outdoor venues.
On the OES tour in general, I had played almost all the same cities and venues with McCartney two years earlier, so not very much was new.
Thank Chris. To be fair, you had answered my original question but it’s also good to read some more detail.
I would imagine that for most musicians, working with a legend like Paul McCartney - especially playing Beatles songs with him - would be hard to top.
And having had a short time working somewhere where the thought of going in every day was just depressing I just hope it wasn’t quite so bad as that for you, or any of the band or crew working on the OES tour.
And thanks again for taking the time to give us your thoughts on these questions.
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Hi Chris. I am sure you just missed my question earlier in this thread. Just from a musicians point of view, how highly did you rate Mark's guitar playing ability from your vantage point?
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Hi Chris. I am sure you just missed my question earlier in this thread. Just from a musicians point of view, how highly did you rate Mark's guitar playing ability from your vantage point?
No offence intended but, I understand very clearly why Chris didn't answer your question.
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People in the past have asked me how much I was paid.
I reserve the right to answer questions I'm happy to answer.
Mark is obviously (and rightly) a world class guitarist. What difference does my opinion make?
I don't believe in music as a sport, top ten lists, or even awards like The Grammy's and Rock and Roll Hall Of Fame.
It's all too subjective.
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I didn't think you would have any issue answering my question. Thanks Chris.
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People in the past have asked me how much I was paid.
I reserve the right to answer questions I'm happy to answer.
Mark is obviously (and rightly) a world class guitarist. What difference does my opinion make?
I don't believe in music as a sport, top ten lists, or even awards like The Grammy's and Rock and Roll Hall Of Fame.
It's all too subjective.
I’ve noticed that you played with headphones on. Was that for click (tempo) and did you do this with macartney too or how did that come about?
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I had a click for the first three songs (I think it was).
It just set the show off on the right foot every night.
They were Sony EarPods type things, not the hi-tech solutions we have today.
On McCartney I played 'Coming Up' to a click, due to all the loops and samples. But the rest of the show was wild, running free.
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Chris I was wondering you played with Paul McCartney at the Knebworth festival in 1990 and the Dire Straits also. Did you met Mark that day or someone else from the band? Came there the idea maybe to ask you for the OES tour?
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The McCartney band flew in and out pretty quickly (helicopter).
I didn't see anyone else play. I wanted to watch Pink Floyd.
I believe John at least saw some of our show and that influenced the invite to go on tour with DS.
But I never asked anyone about it.
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I had a click for the first three songs (I think it was).
It just set the show off on the right foot every night.
They were Sony EarPods type things, not the hi-tech solutions we have today.
On McCartney I played 'Coming Up' to a click, due to all the loops and samples. But the rest of the show was wild, running free.
How was your monitor signal mixed, e.g. lots of bass and marks vocal? Did the stage design had an impact on your monitor mix? Sounds like the stage sound volume must have been at the same level as the afterburner on a jet 🫨🫨
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I can't remember. Mostly drums.
Marks voice and guitars (all) for sure. Alan - who I had to follow for a few important cues.
There was enough volume on stage that you could hear plenty without monitors.
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I remember seeing and hearing you in Dortmund in 91 and twice the summer of 92 in Copenhagen, and still remember the splash of your snare.. it was very firm and distinctive.. actually the whole Horizon set sounded out of the world
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Great drums :thumbsup