A Mark In Time
Previous Tours => 2011 Mark Knopfler & Bob Dylan Tour => Topic started by: JF on December 05, 2011, 04:08:09 PM
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I remember few weeks ago someone posted on GF forum a link to a Sonny Liston 2011 version which contained the third man theme.
I can't find it anymore
can someone post it again please ?
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According to Guy's forum, it was the Luxembourg version:
I caught a bootleg of SONNY LISTON at Rockhal Luxembourg - 10.21.2011" Mark plays the new blue Gibson. Well to my ear this guitar sounds fabulous at this venue with this song. We even got a touch of The third Man film theme at one stage!
http://www.youtube.com/watch?v=3D3vb8SJCf4
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Many thanks Superval :)
Well I don't hear the third man theme at all ???
http://www.youtube.com/watch?v=n4JpDUMXBqo
or is it at 5:27 ?
http://www.youtube.com/watch?v=3D3vb8SJCf4
well I don't think it's a volontary quote, it's just 3 continued notes
stranger in the night at the end of Calling Elvis in 2001 was a real quote
(or was it a Hendrix quote ? as Jimi played it at the end of Wild thing ;))
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It may be the phrase around 6.02, but it's very vague! BTW Don't forget the post on the forum was from dear old Roland! ::) ;D
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Well if it's this lick, it's not special for the Luxembourg gig, Mark play it on all versions in 2011, and also on the last tour where he played the song, 2008 if memory serves ?
And I guess he even played it already in 2006, on live roadrunning
And I don't know who is "dear old Roland", but I won't joke about age for sure, I'm not very young too :D
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Hey, there's sort of an extra solo in there. Cool.
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Yes, I know it's played on every version, but Roland may not have heard it before. I affectionately called him "dear, old Roland" - he posts frequently on Guy's forum and probably isn't old at all, but his posts can be quite entertaining, to say the least! ;D
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always wonder what his beef is.
mr. know-it-all really.
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In the meantime, I pity him a little bit to be honest. He seems to feel very much at home at Guy's forum without being too much noticed by Guy. But then again, one could say the same about me... :lol :lol
LE
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I'm 99.999999% percent sure that's not a musical quote. Mark is just moving the chord down and up a half step. Just good ol' Roland with his very odd comments. I still prefer him though over the Brazilians ... Will some of those guys EVER learn? Sorry, didn't mean to get started.
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I agree Jackal, I'm 100% sure ;D
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agree with jackal too...
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I'm 99.999999% percent sure that's not a musical quote. Mark is just moving the chord down and up a half step. Just good ol' Roland with his very odd comments. I still prefer him though over the Brazilians ... Will some of those guys EVER learn? Sorry, didn't mean to get started.
Whats wrong with Brasil (or brasilians) dude? >:(
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ferguitar, don't know if you follow Guy Fletcher's forum. If you see what a number of Brazilians post, you'll understand.
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I've always felt sorry for the South American fans where MK obviously has quite a large fan base. They've only ever had one visit from MK (in 2001) and from the sound of the bootlegs they were very enthousiastic. They've stayed loyal all that time despite having very different styles of music available to them. If, from time to time some people seem rude we must try to understand other cultures where it may not be deemed rude.
I also feel sorry for our Australasian cousins who have been ignored lately.
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I think the problem with those posts, are their belief, that they have an adequate knowledge of English, and that the reason they don't get any proper answers is pure rudeness, when in reality it is lack of understanding from the receiver's part, due to pure English. (I do as well). Any way what a great movie "The third man" is. One of my all time favourites! Orson Wells steals the attention, even with only a few, mostly obscure, minutes of presence! Maybe the reference in Sonny Liston is as obscure!
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or is it at 5:27 ?
Definately it's not the "third man theme" lick. It's one of the Mark's very own licks, which he steal from "Mississippi Blues" thought ;D
On 0:09 and many-many times it can be heard here:
http://www.youtube.com/watch?v=TTXah51r55g
On 6:02 of Sonny Liston vid is, as Mark would say, "stuff", which can be born in the studio or rehearsal . I didn't notice any quotes here, just cool old-fashioned jazzy chords voicing. Which is btw not moved by halfstep completely
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I like Brazillians, but they can get a bit itchy.
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I like Brazillians, but they can get a bit itchy.
I don
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spanish people are the worst Jbaent, ever been there? in spain?
horrible!!
;D
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On second thoughts I don't know about these Brazilians; they all seem a bit nuts! ;)
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ferguitar, don't know if you follow Guy Fletcher's forum. If you see what a number of Brazilians post, you'll understand.
Yes, i follow his site, and i post there too, sometimes. LOL, we have 200 million people living here, dont judge the whole country by 2 or 3 morons. Anyway, they are trolls, and very successful ones ;D. There are some posters there who actually made sense and tell things as they are, and they annoy the hell out of the fan boys/asslickers police!! Very funny me thinks. God forbid someone says something "bad" about MK.
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If, from time to time some people seem rude we must try to understand other cultures where it may not be deemed rude.
LOL, what the hell dude? Those freak brasilians were rude and they know it, what is this talk about "other cultures"? Its rude here, its rude in England, its rude everywhere. Its not like we are animals. Dont be condescending.
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If, from time to time some people seem rude we must try to understand other cultures where it may not be deemed rude.
LOL, what the hell dude? Those freak brasilians were rude and they know it, what is this talk about "other cultures"? Its rude here, its rude in England, its rude everywhere. Its not like we are animals. Dont be condescending.
See what I mean! :)
I was trying to be nice.
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What I think is crazy is that anyone can think that they can use Google Translate to produce perfectly understandable translations. GT is OK for very simple sentences that really can be understood in only one way ("Insert the CD in the CD player."), but when you write in a very informal way, use slang, use "jargon", etc. you can be sure that mistranslations are very likely. And some (note that I say "some") of those Brazilians particularly, and several others for whom English is not their native language, keep posting again and again translations that don't make any sense. Then of course you have those that are plain rude. I too like to provoke Guy sometimes to disagree and to criticize him and Mark at times, but being rude is just stupid. I don't get these people.
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If, from time to time some people seem rude we must try to understand other cultures where it may not be deemed rude.
LOL, what the hell dude? Those freak brasilians were rude and they know it, what is this talk about "other cultures"? Its rude here, its rude in England, its rude everywhere. Its not like we are animals. Dont be condescending.
See what I mean! :)
I was trying to be nice.
Get off your high horse dude, thats the worse kind of rudeness, trying to be superior. Are you implying that the behavior of those brasilians are not considering rude here in Brasil? Jeez......
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What I think is crazy is that anyone can think that they can use Google Translate to produce perfectly understandable translations. GT is OK for very simple sentences that really can be understood in only one way ("Insert the CD in the CD player."), but when you write in a very informal way, use slang, use "jargon", etc. you can be sure that mistranslations are very likely. And some (note that I say "some") of those Brazilians particularly, and several others for whom English is not their native language, keep posting again and again translations that don't make any sense. Then of course you have those that are plain rude. I too like to provoke Guy sometimes to disagree and to criticize him and Mark at times, but being rude is just stupid. I don't get these people.
I agree, but those people are trolls. But the fan boys are worse.
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I had my bad times at Guy's forum with these Brazilians already, too, some months ago. Thinking today about it, I come to the conclusion that there is one little thing that makes the difference: I think, apart from the rudeness, it is that these guys (on Guy's forum, not all "these guys" over in Brazil to be more correct) are just too ... demanding. They indeed seem to think that MK owes them something because they were buying his records. So I buy your record, now you have to play what I want you to. And that leads to this rudeness. They are always complaining about everything, about set lists, about the absence (or length) of guitar solos, about the tempo of the songs, about the songs itself, about the band members, about Danny, about Ian not being Danny and god knows what else. That's the annoying thing for my part. And it is quite arrogant to make such resolute comments without being able to use the forum language in the right way. Asking questions is one thing, uttering one's opinion also, but being negative and aggressive all the way is really disturbing. News of the day!
LE
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Get off your high horse dude, thats the worse kind of rudeness, trying to be superior. Are you implying that the behavior of those brasilians are not considering rude here in Brasil? Jeez......
dmg doesn't need anybody to talk for him but I'm gonna do it anyway ;D.
He doesn't know if it's considered rude in Brazil or not, as he's never been there and doesn't know any brazilians (I assume). He was just guessing. So no need to get upset or accusing him of being trying to be superior (or is it because you feel inferior?), just say that these dudes are also considered rude in Brazil because that's what they are.
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So, looks like we all agree that Mark's lick was not a reference to the Third Man Theme, then.
Anyone for tennis?
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TENNIS! Now that is a sport I haven't played for nearly 20 years! Table tennis , on the other hand I haven't played for 15 years!
But Jackal, listen to the Chris Rea album of the same title, at least it's first side is above average!
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table tennis! good idea!
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annyone for tennis ?
made me think of Cream..... more than Chris Rea ;)
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Get off your high horse dude, thats the worse kind of rudeness, trying to be superior. Are you implying that the behavior of those brasilians are not considering rude here in Brasil? Jeez......
dmg doesn't need anybody to talk for him but I'm gonna do it anyway ;D.
He doesn't know if it's considered rude in Brazil or not, as he's never been there and doesn't know any brazilians (I assume). He was just guessing. So no need to get upset or accusing him of being trying to be superior (or is it because you feel inferior?), just say that these dudes are also considered rude in Brazil because that's what they are.
I don't know any Brazilian and I won't comment.
I know dmg and he is one of the nicest guys I've ever met.
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[quote author=Jean-Fran
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It was course this more than anything else:
http://www.youtube.com/watch?v=zmcrreUVBeo
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Get off your high horse dude, thats the worse kind of rudeness, trying to be superior. Are you implying that the behavior of those brasilians are not considering rude here in Brasil? Jeez......
(or is it because you feel inferior?), .
LOL, i love how you guys operates in this forum! Anywayzers, since you are a girl (and swedish ) ill let you off the hook!!
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thanks but I am not Swedish, am I still off the hook? ;D
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thanks but I am not Swedish, am I still off the hook? ;D
Rollergirl, name your nationality right now, otherwise you are still on the hook! ;D No wonder Swedish women are always off the hook. Everybody imagines tall blond women with angel faces and features and quite "devilish" erotic appetite. ;) Like they are getting any by being polite and forgiving while posting in AMIT forum... :disbelief
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Rollergirl, dont say a word ! Keep your country secret !
If I were from the same country, I would surely keep it secret . ::)
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Yes I know, and love Monty Pythons too :)
Anyone for tennis is a Cream single from 68, wheels of fire era, but didn't make it on the album
http://www.youtube.com/watch?v=MB2f6-U72Zk
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[quote author=Jean-Fran
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Rollergirl, dont say a word ! Keep your country secret !
If I were from the same country, I would surely keep it secret . ::)
I agree, especially if you are from Europe. ARgggg. ::)
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I also have never seen that Cream TV clip before, so thanks from me, too.
I was fortunate enough to see Cream in their first major gig at "The 6th National Jazz & Blues Festival" in 1966. Previously held in Richmond, the festival moved to the Royal Windsor Racecourse that year. Although the festival was slowly evolving from jazz towards rock, it was put on by the National Jazz Federation, which operated out of London's Marquee Club, of which I was a member back then. I got sent a handbill for the festival, which I still have. Looking through the artists, I think i must have got a Day Ticket for Sunday, 31 July (cost 12/6d or roughly 62 pence!). Cream were not listed on the handbill as Cream but under their separate individual names - Eric Clapton, Jack Bruce and Ginger Baker. I guess that the handbill was printed before they had settled on the name Cream for the group.
I thought they played three songs - in the rain, as I recall - got a huge ovation and the audience was told that, as a new group, they only had those songs. More likely, the organisers wanted to keep to the timetable. Anyway, more recently, I have found a contemporary newpaper report, which says they did four numbers - "Spoonful", "Sleepy Time", "Train Time" and "The Toad" (!). Another report says that they rehearsed for this first appearance in a church hall but I believe they also played a small club in Manchester as a warm-up gig.
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awesome story TWM, give us more.
62p....omg...
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The way the festival was arranged, the afternoon concerts were mainly jazz-based and the evening concerts were mostly blues/r'n'b/soul performers, though the split was not aways precise. Please bear in mind that the organisers didn't always stick to the artists advertised on the handbills and personal memories can be fallible.
With this said, the same concert is listed as: Georgie Fame; The Action; Diane and Nicky; The Alan Bown Set; The Harry South Orchestra featuring Tubby Hayes; Bluesology; The Blue Flames; Eric Clapton - Jack Bruce - Ginger Baker. I cannot recall Diane and Nicky at all nor, I regret to say, Bluesology, though the latter would probably have included Reg Dwight at the piano, back then. I can't recall whether Georgie Fame played with his Blue Flames but he did play with the Harry South Orchestra.
Incidentally, we also went to the Derek & the Dominoes tour in the early 1970s, attending the show in Glasgow. I still have the programme book I bought at that show.
If you're interested in reports of old shows, let's go back to the roots of the blues. These are from my notes written in the 1965 American Folk Blues Festival programme book, which I attended in late 1965:-
Part One:
1. J B Lenoir: Alabama Blues/I Feel So Good (with Freddie Below) / Remove The Rope From Around My Neck
2. Big Walter Shakey Horton: Crazy About You baby/ The Blues Is A Feeling/ instrumental (all with the group - Freddie Below, Buddy Guy, Jimmie Lee and Eddie Boyd)
3. Lonesome Jimmy Lee: Rosalee (with Freddie Below)
4. Eddie Boyd: Twenty-Four Hours / Come On Home Where You Belong / Five Long Years (all with group)(
5. Buddy Guy: Love My Baby / Got An Angel For A Baby / Out of Sight
Part Two:
1. Doctor Ross: My baby Done Wrong / I Feel So Good I Wanna Boogie / Mama Gone Told Me - Blues In The Night / Fox Chase
2. Roosevelt Sykes: Night Time Is The Right Time / Please Don't Talk About Me When I'm Gone / Run This Boogie / Pinetop's Boogie
3. Mississippi Fred McDowell: Glory Hallelujah / I Want Jesus To Stand By Me / See What My Lord Has Done
4. Big Mama Thornton (accompanied by the group): 24 Hours Of The Day / The Night Time Is The Right Time / Hound Dog
The last named may well have been the "finale" with all of the performers.
Unfortunately, I don't have notes for the previous year's show that I also attended but the 1965 programme book lists the following as the performers in 1964 (in order of appearance):
Sonny Boy Williamson*, Sunnyland Slim, Hubert Sumlin, Willie Dixon, Clifton James, Lightnin' Hopkins, Sleepy John Estes, Hammie Nixon, Sugar Pie Desanto, John Henry Barbee*, Howlin' Wolf.
Hammie Nixon played with Sleepy John Estes, as I recall, rather than in his own right. My memory also suggests that the two asterisks mean that John Henry Barbee fell ill and went home and that Sonny Boy Williamson substituted. I don't recall Barbee as performing at the show I attended but I think Sonny Boy did. I can recall Sugar Pie Desanto on stage dancing beside and/or around Howlin' Wolf but, if my memory is right, this was probably the finale. Howlin' Wolf, you see, topped the bill (a large man who prowled the stage and growled his lyrics in a rather menacing way) and the recently-deceased Hubert Sumlin, who played on a lot of the Wolf's records, appeared in his own right as well as supporting other artists on the tour - as I recall. anyway.
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omg, awesome, wonderful, fabulous, a dream 8)
how lucky you are to been gone to these gigs :)
my fav EC's era : Cream / Bind faith / Derek & dominoes
If I had a time machine.......
woodstock, Monterey, flower power, prog rock, british blues boom, psyche rock,
Hendrix, Floyd, Beatles, Stones, Clapton, Led Zep, Who, Santana, CSN&Y, Doors, Deep Purple, Genesis, Yes, Queen, Dylan......
......aaaarghh.....Why was I born in 71 ? :(
yes I know, some of them are still alive and touring, but it's not the "real" thing you know :(
When I read you review about you BEING THERE during this legendary rock era.......well it's just a dream for me :'(
Love your stories twm, tell us more more more :D
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You've got to remember that it's all very exciting sounding in retrospect but at the time I often wonder just how much all this cultural extravaganza (for want of a better description) was taken for granted and just seen as like going to see a popular band nowadays.
But as J-F says knowing what we know now and using a time machine... :P
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You've got to remember that it's all very exciting sounding in retrospect but at the time I often wonder just how much all this cultural extravaganza (for want of a better description) was taken for granted and just seen as like going to see a popular band nowadays.
Yes I totally agree, you can't have the same distance with art in general when it's contempory to you.
But I think that cinema, music, literature were more exciting, innovating, exploring, spiritual, with sense, more "free", in the 60's and 70s than nowadays
To me, the best rock decade is from 67 to 77 : from Sergent Pepper to.......DS early demos ;) and then comes the DS thing which is in my heart "apart" from all other rock music I like.
DS had his time in the 80's, but to me it's not an 80's band, it's a band "out of time" :)
(what I call 80's band are : Cure, Depeche Mode, Spandau ballet, Duran Duran, Tears for fears, U2 ....)
just my humble opinion of course :)
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[quote author=Jean-Fran
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Being older has a number of compensations (a different perspective on life in all its wonderful aspects, your memories become more important to you and carry a certain fascination for those who are younger, a lesser likelihood of being ensnared by fashion and fashionable trends, a chance to reflect more, some say you gain wisdom, and so on) but it also carries certain burdens. I shan't add to your burdens by enumerating mine.
"dmg" is right to the extent that one attended and particpated in what was going on at the time, rather than being aware of its long-term cultural significance. This means that, by and large, one took part in a raft of activities that have not had a long-term impact and yet enjoyed them greatly at the time. For example, I went quite a few times to see a group called The Barrow Poets who were essentially just that - people delivering poems (not just their own) with a fairly simple, not to say crude on occasions, musical accompaniment. Most commonly, I saw them in a pub called The Printer's Devil. They were fun evenings but are never mentioned these days, though the group did make some albums. I used to go to folk clubs and several times saw, for example, Bert Jansch, John Renbourne, Roy Harper and Ralph McTell playing (not to mention visiting Americans like Jesse Fuller and Tom Paxton). There were all-nighters in small, scruffy basement places in Soho in London. There was no radiogram or record player at home, so it was down to listening to the radio (a more limited choice in those days) and going out to live gigs. Being young and a student, I was limited financially as to what I could afford to attend.
Later, I got married and moved to Scotland, where it was mostly major stars on tour (Rolling Stones, The Who, Taste and so on) and, later still, we had children whereupon attending live gigs was very much a rare extravagance (having moved from "two incomes/two mouths" to "one income/five mouths" in as many years).
I still look back with a certain regret on those people I didn't see. For example, when at school, a chum would encourage me to go with him to the local Eel Pie Island to see the Stones but I never went. A little later, I missed the chance to see Jimi Hendrix live. Later still, I only discovered that Segovia had played a concert a few miles away after it had taken place (I have over 40 Segovia CDs incidentally).
This is my way of saying it's swings and roundabouts. When I was young, there were about 50 years of popular music to investigate and it was much less easy to find it then. The first American jazz band to come to Britain was the Original Dixieland Jazz Band, which was around the time of World War 1, and, when at school, I was knowledgeable enough about them to bet on a horse called "Indiana" simply because it was an ODJB number. For people today, there is nigh on 100 years of popular music to delve into and it is more readily available than ever. In addition, there is all this so-called "World Music" swirling around, which was barely the case when I was young. The task facing young people interested in popular music is therefore enormous. I would encourage those same young people not only to look forward to the new music that is coming along but also to look back at how we got to where we are now. We are all links on a chain. I can tell you of my past musical experiences and you will be able to tell those who follow us of yours. Indeed, one could say that it is your duty to do so.
Finally, as this is a section dealing with Knopfler and Dylan, I will add another thought. Many a commentator has said that Dylan is "elusive". I hold to the view that he is more "allusive" than "elusive". He is a repository of the musical past and what he writes and what he performs and what he says, in interview and on the Theme Time Radio Hour shows, alludes to many other things, both within music and without. Within music, there is a book which simply goes through all of Bob Dylan's performance of songs not written by him; the book runs to over 300 pages.
Go explore!
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You've got to remember that it's all very exciting sounding in retrospect but at the time I often wonder just how much all this cultural extravaganza (for want of a better description) was taken for granted and just seen as like going to see a popular band nowadays.
But as J-F says knowing what we know now and using a time machine... :P
I agree entirely, dmg.
In 1961, I worked in the next street to Mathew Street in Liverpool - the home of the Cavern. My friends and myself regularly went to the lunch-time sessions and one of the bands playing there was The Beatles. Of course, this was before they were famous, but to us, they sounded pretty good. If only I had known what was to happen, I would have asked for their autographs!
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You've got to remember that it's all very exciting sounding in retrospect but at the time I often wonder just how much all this cultural extravaganza (for want of a better description) was taken for granted and just seen as like going to see a popular band nowadays.
But as J-F says knowing what we know now and using a time machine... :P
I agree entirely, dmg.
In 1961, I worked in the next street to Mathew Street in Liverpool - the home of the Cavern. My friends and myself regularly went to the lunch-time sessions and one of the bands playing there was The Beatles. Of course, this was before they were famous, but to us, they sounded pretty good. If only I had known what was to happen, I would have asked for their autographs!
:o :o :o :o
(Although in 40 years time people will be similarly amazed that I saw MK live :) )
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I'm sure that's absolutely true. In the decades to come, when our favoured musicians are no longer active musically, then those who follow us will look back with a mixture of incredulity and wonder, while all we have really done is to follow our own interests and inclinations. And set out to enjoy ourselves.
Changing tack a little, I mentioned the Original Dixieland Jazz Band in a previous post. Their leader was the cornet player "Nick" LaRocca (his real name being Dominick LaRocca, incidentally). Anyway, I've often thought that many a modern musician would like to have been named "LaRocca".
The ODJB made the first ever jazz recording incidentally - about 95 years ago! However, that was not the first popular musical recording. I never knew my grandfather on my mother's side and one the few things of his that I have is a postcard sent to him, thanking him for some "band" records that he had sent someone. On this postcard, my grandfather had written "List sent". So my grandfather was trading records around 100 years ago!
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Dusty, I wouldn't be very impressed just because someone saw live a musician, no matter how great. I, for myself, am not the kind of guy that would go around bragging about seeing Knopfler or whoever. Part of it, is why I do not enjoy concerts the last decade. Too many people going just to be able to say"I've been there, I've seen him live". (The other part is that I hate the big arena concerts. No contact with the music and artist).
However I like the stories, just as stories from a fan to another, and maybe containing pieces of insights that can be retrieved only through fan's eyes at the artists "off" hours.
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Another story (quite long, I'm afraid) about how we met Vaclav Havel, who died recently, through our interest in popular music.
A few years back, my wife and I were in Prague for a short city break. I had gone there in 1995 to attend three Bob Dylan concerts (I only managed two but that's another story) and had stayed in a hotel overlooking the venue. It was not in the city centre but adjacent to a metro station. We decided to stay in the same location, though a different hotel. On the first morning, we took the metro into the city and, as we were walking around, we saw an advert for a Suzanne Vega concert the next day in the same venue in which I'd seen Dylan (right next to our hotel). It was a coincidence that we saw the advert, because it was one of those digital ones where the advert changes constantly. We tried to get tickets in town but failed and the ticket agence suggested we try the venue, which we did when we returned to our hotel. As it happens, there was nothing on at the venue that night and it was closed up - second coincidence! On getting to the hotel, I asked about getting tickets and they said to try the venue in the morning and that it opened at 10 o'clock. We said we couldn't do that because we had booked a city tour, starting in the city centre early on the following morning - third coincidence! The reception staff said that was a shame because Miss Vega was staying in our hotel - fourth coincidence! I decided to write a note and to leave it at reception. I explained the circumstances and stressed that we were not looking for freebies but would be keen to attend the show. I left the note at reception the next day, set off for our city tour and, after a spot of lunch and a bit of shopping, we returned to our hotel. There was no message for us. Some time later, we got a call. It was the American tour manager saying that he'd seen our note and had arranged for two tickets to be left for us, though he couldn't say where we would be seated. I thanked him profusely, asked about paying and he said they were guest tickets - and to make sure to seek him out after the concert. We got ready, shot off to the venue and found the seats were almost at the back of the balcony. Beggars can't be choosers but, on my previous visit to the venue, I'd been in Row 2 at the front, so it was a contrast but the sound was good and we enjoyed the show. Afterwards, we fought against the flow of the outgoing audience and met up with the American tour manager. We thanked him again, said how much we'd enjoyed the show and he introduced to his assistant - a Brit from Brighton. He joshed us about being cheapskates and I said we'd been prepared to pay. He said, "We know but we appreciated your initiative". We all parted and, as we left, we were handed a flyer for an after-show party. We enquired about it and were told it was basically going to a nearby discotheque (that is, not really an after-show party but a commercial enterprise advertising itself). Being tired from the day's outing followed by the concert, we declined - fifth coincidence! Back at our hotel, we decided on a night-cap, only to find that the bar (and the restaurant) were closed for a private function - sixth coincidence! We could, however, get served drinks in the lobby, which was pretty full, so we ended up sitting fairly close to the main doors - seventh coincidence! As we were sipping our drinks, we noticed the American tour manager come in and speak to the reception desk (not a surprise, I suppose, as the tour party members were staying there). As he was about to leave, he saw us, came over and invited us to the aftershow party. We said we had already declined the offer. He said, "No, this is the real aftershow party". We downed our drinks and off we went. We got our wristbands and sailed in, through the discotheque into a very large back room, with a free bar and lots of food. We met up with the British assistant who introduced us to some English-speaking people (translators, local agents and so on). and we had a great time. The Brit pointed out Suzanne Vega, sitting on a couch, and said she was talking to Vaclav Havel, who we couldn't really see. Anyway, some time later, Vaclav Havel (and his security) got up to leave and, as he was about to pass us, he turned to the British guy, whom he'd evidently met earlier, to shake his hand and say goodbye. I slipped in behind the Brit and extended my hand, which Havel shook, and I said it was an honour to meet him. My wife, taking her cue from me, slipped in behind me and also got to shake Havel's hand. So, there, we have both met Vaclav Havel! And all based on a series of coincidences; if any one had been absent, none of that would have happened.
There was no chance for a photograph but we did have our picture taken with Suzanne Vega later.
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twm, I'm always impressed by your great stories !
May your posts always be read.
Lucky coincidences. ;D
So what did you sing after the show ? "My name is Lucky" ?
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TWM, nice story, thank you! Too bad Frank Zappa declined to be minister of culture.
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Awesome, as always. Andres segovia? The master himself, about time I delve into his stuff. Never had coincidences like the 7 you just described with mk or bd? (or any other artist for that matter?)
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Nice story, twm. Seven coincidences in a row are no longer coincidences, that was simply meant to be! :)
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Those on this site clearly like guitar playing, so Segovia is well worth checking out. When I was young and at home, there was no means of playing records in the house (it was all radio and live gigs for me), so I was no longer in my teens when I got my first record player - I still have that old Dansette, a bit dusty and grubby these days, in the garage and I doubt if I will ever throw it away. I can, more or less, remember, the first 10 or 15 albums I bought to play on it. One of those was "Segovia Plays Bach" on the Saga label. In fact, it was a bit of a con, because Segovia only played on one side; there was Bach organ music on the other. Nevertheless, it was a lucky purchase because Saga, not being a frontline record label, did not get it from one of the major labels, but licensed it from elsewhere - in this case, it was from recordings done for the Musicraft label (in the United States in 1947). It's an absolute gem.
Many years later, I happened to be in Liberty's (a fairly up-market London department store) and spotted a cassette with the same cover and it had a fuller set of tracks. Of course, cassettes are not great for listening to classical guitar music (too much noise for the quiet parts), so, many years later, I bought the lot on CD. It's still available, from a small Canadian label called Doremi (as in the first notes on the musical scale - Doh Ray Mee, in English notation). It's in the series "Segovia and his Contemporaries"and it's "Volume 3: Segovia and Walker" (DOREMI DHR-7709). Doremi specialise in transcribing their CDs from old 78s and they do an excellent job. (Luise Walker's tracks are taken from Telefunken and Odeon releases in the 1930s)
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i just wonder TWM, as you always add so much info when talking about records and shows, do you write all that stuff down when you buy/saw it?
or do you go through your library of musci and books and stuff and look for it, then to write it in a reply on here?
i love keeping archive of all the stuff i download (and i am at 8600 lines of single downloads now, in my excel file :disbelief ) so i wonder if you do too, it most definitely looks like it.
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I agree that Segovia is a master of guitar
Robbie Krieger (Doors guitarist) quote him as great influence
I like Narcisso Yepes too, I prefer his version of "concerto de Aranjuez" than Julian Bream's one
Pottel, I'm far far far from your music database in terms of quantity, but I also like to classify my CD in an excel file, and I always wonder :
by genre or by concomitant artists (e.g. cream near clapton, but then you have to put Stills solo near CSN...) ? so I choosed by alphabetic order like in CD shops... 8)
and after you have : by recording date, or by release date ::) e.g. live at the BBC after OES, or between communique and MM ?
It's particular tricky with Hendrix's catalog..... ;D
and then comes the bootleg thing....... I've tried to put all my gigs in chronological order, but sorted by tours....so when you have e.g. live aid which is not part of the BIA tour (IMHO), I choose to put it in "various gigs" like mandela or knebworth, but it's a little bit strange, as it's on the same day of a BIA gig...... ::)
I know, many people call me mad ;D
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Years ago, Julian Bream did a wonderful TV series called "!Guitarra!" (the "!" at the beginning is upside down, in the Spanish style, but I can't manage that) and subtitled, "The Guitar in Spain". The series is available on a double-DVD set (on ArtHausMusik 102 003) and includes all 8 programmes in the series, lasting over 3 hours in total. The programme, in a sense, is as much about Spain, its history and culture, as it is about the history of guitars and the practice of guitar playing in Spain, but it covers all of that thrown togther as seen through the eyes of an Englishman enamoured of Spain.
In answer to Pottel's question, a lot is down to memory but I still have pocket diaries from the mid to late 1960s (except 1964, sadly) with notes (just very brief outline notes, no detail) of what I did, where I went, who I met, parties attended, pubs visited, even the odd Tv programme seen or radio programme heard. But I do not have notes on records bought (and a few sold). I also have a lot of books, to which I can refer when memory fails (and, as I get older, as memory fades). I have also kept many (not all) of the concert tickets, a few of the club membership cards, a very few handbills. In terms of Dylan, I have a fairly extensive collection of newspaper and magazine articles, some in original form, more as photocopies and avery few as typescript versions. Where I have sorted them, they are kept in chronological date order but there are many still left to sort and file. In the last decade, though, I've almost given up on collecting articles, because virtually everything comes on the internet and, printed off, they all look the same and thus very boring. There is a certain romance in handling a newspaper or magazine bought on the other side of the world and sent through the mail, to be filed in my system. There is none in the digital form, though I do admit that I have found a fair amount of long-lost and/or previously elusive material on the internet.
As time passes, I find that, more and more, I go to the sources (articles, books, discs etc) to check my memory. Usually, my memory is right (or very close) but not always. I met Cerys Matthews (of Catatonia fame and now a BBC 6 Music dj) after the last hammersmith show and suggested a track on a theme she had mentioned in a programme a few weeks earlier. To my chagrin, I attributed it to the wrong album. It was by John Stewart, incidentally.
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i used to love the shortlived Catatonia and Cerys. did she not suffer from drinking problems?
in answer to Jean Francois, i never catalogued my cd collection, just my live recording downloads, including the few original bootlegs i used to buy in the old days.
some day i will do the cd collection thing as well, but the tool i use to scan my harddrives and lists my stuff in a way that i like it, called "Cathy" somehow does not give me the needed info that it gives me for normal harddrive stored shows.
so if anyone has a good idea, pls let me know.
JF, contact me, i can send you my list of stuff, it is VERY varied.
Also, i used to be absolutely blown away by the documentary on the "Sevilla Guitar Greats" show, that also included Bob Dylan, and the likes of Richard Thompson, Joe Satriani, Joe Walsh etc...etc....
it was awesome, and i think you can still get it officially to this day.
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She did have a drinking problem (drugs, too, I think) but is now clean apparently. It is said that Dylan helped her in this endeavour in some way but I've never got round to checking out this story so it may not be true.
Her radio programme, an unusually electic mix of music, is mostly broadcast live. She takes "tweets" and e-mails live. The programme lasts 2 hours and is on BBC 6 Music on Sunday mornings at 10.00 am (UK time). It is not available on AM or FM, only as a digital broadcast but you can listen in on the internet. Here's the link:
http://www.bbc.co.uk/programmes/b00llg30
I think you can hear each week's programme on-line anytime during the 7 days following the original broadcast.
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Just out of interest (and to return us to the main theme of these threads, perhaps), Segovia died in 1987 at the age of 94 and, just a few months before he died, he played his last concert, which was in Miami. Our boys (Bob and Mark, that is) are mere youngsters by comparison, with years of performing ahead of them - maybe..