A Mark In Time
Mark Knopfler Discussion => Mark Knopfler Discussion Forum => Topic started by: Ian Lewis on August 14, 2008, 06:44:26 PM
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I know on a MK forum this is entering dangerous territory, but I have a question for you all:
Is there any DS/MK song that you have to skip past, or not include in your playlist at all?
The reason I ask is last night I was driving home from work listening to Sultans of Swing, The Very Best Of and I just had too skip past Twisting By The Pool. I have never been particularly enamored with it. It's just a little too 'poppy' for me.
Should I feel ashamed? :-[
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I feel the same way about that song.
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The one that is, at least compared to its popularity, rather a skipper for me is Walk of Life.
Ingo
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My skippers are "My Parties", "Les Boys" and "Industrial Disease" and "One World".
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I usually skip 'Stand Up Guy' & 'A Night In Summer Long Ago'
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ouch, so many goodies, ....
stand up guy,,...a night in summer, one world (love the live version) industrial disease, Les boys,...
anyway, what i ALWAYS skip is Romeo and juliet and Private Investigations
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Pottel. How can you possibly skip R&J. Especially the live versions.
The outro is pure sex :) :-*
Cheers BBB
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Must Agree with BBB on R&J and Pottel on the album version of PI, although I thought some of the live performances of it were ok. The R&J outro has so impressed me over the years that I made a compilation CD called "You and Me Babe how about it?" which contained what I thought were the best outros to this song from every tour up until 2006. :) ;)
YOU & ME BABE HOW ABOUT IT?
1980-1988:
1. 1980 Boston
2. 1981 Weisbaden
3. 1982 Birmingham
4. 1983 London
5. 1985 Houston
6. 1986 Sydney
7. 1988 London Mandella
(90's - 2006):
1. 1991 Dortmund
2. 1992 Wobburn Abbey
3. 1996 Vaison
4. 2001 Lucca
5. 2002 London
6. 2005 Boston
7. 2006 Verona
Various venues from 1980 to 2006
Additional comments:
An interesting look at the live version outro's for the very popular Dire Straits (Mark Knopfler) song "Romeo & Juliet. Titled "YOU & ME BABE HOW ABOUT IT?", this compilation is mainly audience recordings but with a couple of soundboards.The sound quality of the recordings including their volumes are different from concert to concert. It's interesting to hear the evoloution of this outro from year to year, including, other band members inputs. From Alan Clark's piano in the early 80's to Terry White's Sax in the mid 80's and Paul Franklin's Pedal steel in the last DS concerts then Guy Fletchers haunting keyboards through the 90's and Richard Bennetts great guitar work of the late 90's and 00's all add to the "live" experience. The Verona version has a slight glitch in the outro - but how could we not include this City in a song about Julio and Julietta. Available on 1 CD. Artwork included.
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I listen to The Ragpicker's Dream a lot; in fact I think it is a very underestimated album. But Old Pigweed is a skipper for me. Some of the tracks off On Every Street are also skippers including My Parties.
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Ragpicker's Dream grew on me slowly, but it is now becoming my favorite over Golden Heart. I love A Night in Summer. . . .
Old Pigweed is a favorite. Perhaps because I'm always weeding the stuff out of my garden and flower beds.
Nice to see that Ian's compilation made the JVt site! ;D My dog Lizie and I dance to Walk of Life, so I can't skip that. And I do like Twisting.... betraying my age probably.
Okay, I'm working up the courage: here is my skipper: Calling Elvis. . . . . Don't bomb me.
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Calling elvis is a difficult one, sometimes i really like it, sometimes...i don't...old pigweed is an instant classic.
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What for one person is a skipper, another person adores! One of my all-time faves is R & J, especially on the KTGC tour (MK seems to sing it with even more feeling) and I love Old Pigweed, infact the whole RPD album, and also A Night in Summer and live versions of Calling Elvis! :)
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Ragpickers is a grower for me too. I'm ashamed to say, that i really couldn't get into it at first.
But everytime i listen to it, i find different things. I found HFB the hardest one to listen to. Not in the respect that it was a bad song, in fact it was my fave on the album, but because it was CRYING OUT for a GREAT guitar outro, which of course never happened, until KTGC Live 08.
WOHOOOOO.!!!!!!
Pottel. In respect of Calling Elvis. Dire Fakes started with this at mine & Ingrid's 40th. It was AMAZING.
i got the Dvd of the party yesterday, so after i have finished watching it myself i will be sending copies out to anyone who may be interested.
Ingrid, yours will be in the post in a couple of days. ;)
Cheers BBB
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i am i am i am!!!!!
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Not a fan of Old Pigweed, but I can usually get through it without skipping. Red Staggerwing used to be a skipper but I can just about tolerate it now.
The only two skippers I can think of at the moment are In the Sky (booooooring, crappy sax, sounds like Chris de Burgh or something) and Don't You Get It (never liked it for some reason, I think it's the lyrics that really annoy me). Sonny Liston is a potential skipper as well, the album version goes on a bit and sounds a bit samey.
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red staggerwing was a skipper till it got played live, especially the berkeley version!!
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Surprised with you Pottel!!! :o R&J? Well, each to there own. Tend to agree with the opinions on Old Pigweed, but in general love TRD record. I feel in love with Hill Farmer's straight away. It reminds me of something I saw once here in Cornwall...
...we have very dramatic coastline and one day there was a farmer parked up in his tractor right near the edge just looking out to see. It was around the time of TRD's release and it just struck a cord with me, that he could be sitting there contemplating life 'Hill Farmer's Blues...' Especially as farming in Britain is not as strong as it use to be.
I agree that it always need a better outro though, felt like it was only just getting going on the record.
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Quote BBB: "i got the Dvd of the party yesterday, so after i have finished watching it myself i will be sending copies out to anyone who may be interested."
OMG that is quick Nigel, I can't wait to see it! Of course I will help seeding also! ;D I am busy burning the pictures of the party!
I like almost all the songs you all skip! I have a few too, but is also depends on my mood which song I play. I skip:
- Heavy Fuel
- The Bug (sometimes)
- Imelda (didn't like it from the start)
- Vic and Ray ditto
There might be a few others, but I have to think about that. ;)
Fieneke
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- Angel Of Mercy
- Les Boys
- Walk Of Life (I liked it, but I have over-listened it a bit:P )
- How Long
- I
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Quote Dannyjun: "- I
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My skippers usually vary with my moods, I don't think there is a song I skip everytime.
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well Yes Fieneke I know that it was your "very first" MK
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Hi everyone, this is my first post, so, please be gentle.
I must to the only person that does'nt skip any of Mark's songs, I have found something to like in everyone of his songs, and I can never understand why people don't like Ticket To Heaven, I think it's a gorgeous song, the production is first rate, and even the great George Martin has said how much he loves it. The melody is one of his best in my view.
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I loooooove Ticket To Heaven
Henk
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I often skipped MFN from MK's solo concerts.
Wishes
Allen
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Welcome, qjames! ;D
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Thank you very much :)
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Quote gjamesfloyd: "Hi everyone, this is my first post, so, please be gentle."
Hello gjamesfloyd, welcome to this board! OF COURSE we will be gentle. It is great to see when new people join and introduce themselves. I hope you will have a lot of fun. Please continue reading and posting, it is soo much fun and we really are a great bunch/group of friends here, so don't be afraid! If you have questions don't hesitate to ask, there is always somebody willing to respond or help! ;)
About Ticket To Heaven! ..........Yeahhh I like that song very much too. A Dutch singer called Piet Veerman had a big hit in the 80ties with that song and I thought it was his song........but I now know better! ;D
Fieneke
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Welcome qjamesfloyd - I hope you will enjoy this forum. I remember your name from another forum. :)
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Thanks again Fieneke and Superval99, yes I have been around a few MK/DS forums over the years, so, you may have heard my name.
Fieneke, how could Piet Veerman have had a hit with it in the 80's when it did'nt come out to 1991? did you mean the 90's?
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You know, I love Ticket to Heaven, but when I listened to it again recently, it struck me that the first couple of lines don't bear any relation to the rest of the song ("I can see what you're trying to find..." etc).
I feel the same way about the first few lines of True Love Will Never Fade, make no sense with the rest of the song.
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I have the same feeling about TLwnF. Just listened to TtH, well, I really wanna hear more acoustic guitar part, the same thing happens when I listen to Iron Hand.
Wishes
Allen
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Must Agree with BBB on R&J and Pottel on the album version of PI, although I thought some of the live performances of it were ok. The R&J outro has so impressed me over the years that I made a compilation CD called "You and Me Babe how about it?" which contained what I thought were the best outros to this song from every tour up until 2006. :) ;)
YOU & ME BABE HOW ABOUT IT?
1980-1988:
1. 1980 Boston
2. 1981 Wiesbaden
3. 1982 Birmingham
4. 1983 London
5. 1985 Houston
6. 1986 Sydney
7. 1988 London Mandella
(90's - 2006):
1. 1991 Dortmund
2. 1992 Wobburn Abbey
3. 1996 Vaison
4. 2001 Lucca
5. 2002 London
6. 2005 Boston
7. 2006 Verona
Various venues from 1980 to 2006
Additional comments:
An interesting look at the live version outro's for the very popular Dire Straits (Mark Knopfler) song "Romeo & Juliet. Titled "YOU & ME BABE HOW ABOUT IT?", this compilation is mainly audience recordings but with a couple of soundboards.The sound quality of the recordings including their volumes are different from concert to concert. It's interesting to hear the evoloution of this outro from year to year, including, other band members inputs. From Alan Clark's piano in the early 80's to Terry White's Sax in the mid 80's and Paul Franklin's Pedal steel in the last DS concerts then Guy Fletchers haunting keyboards through the 90's and Richard Bennetts great guitar work of the late 90's and 00's all add to the "live" experience. The Verona version has a slight glitch in the outro - but how could we not include this City in a song about Julio and Julietta. Available on 1 CD. Artwork included.
I have just been reading some old posts, is there are chance this list can be updated to the present day?
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:thumbsup
tough luck, no skippers here ;D
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Just a Boy Away From Home. From the first moment I listened to it, I knew it would be a skipper. I probably listened to it only once and never again.
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These days it's quicker to list the songs I don't skip! :lol
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Must Agree with BBB on R&J and Pottel on the album version of PI, although I thought some of the live performances of it were ok. The R&J outro has so impressed me over the years that I made a compilation CD called "You and Me Babe how about it?" which contained what I thought were the best outros to this song from every tour up until 2006. :) ;)
YOU & ME BABE HOW ABOUT IT?
1980-1988:
1. 1980 Boston
2. 1981 Wiesbaden
3. 1982 Birmingham
4. 1983 London
5. 1985 Houston
6. 1986 Sydney
7. 1988 London Mandella
(90's - 2006):
1. 1991 Dortmund
2. 1992 Wobburn Abbey
3. 1996 Vaison
4. 2001 Lucca
5. 2002 London
6. 2005 Boston
7. 2006 Verona
Various venues from 1980 to 2006
Additional comments:
An interesting look at the live version outro's for the very popular Dire Straits (Mark Knopfler) song "Romeo & Juliet. Titled "YOU & ME BABE HOW ABOUT IT?", this compilation is mainly audience recordings but with a couple of soundboards.The sound quality of the recordings including their volumes are different from concert to concert. It's interesting to hear the evoloution of this outro from year to year, including, other band members inputs. From Alan Clark's piano in the early 80's to Terry White's Sax in the mid 80's and Paul Franklin's Pedal steel in the last DS concerts then Guy Fletchers haunting keyboards through the 90's and Richard Bennetts great guitar work of the late 90's and 00's all add to the "live" experience. The Verona version has a slight glitch in the outro - but how could we not include this City in a song about Julio and Julietta. Available on 1 CD. Artwork included.
I have just been reading some old posts, is there are chance this list can be updated to the present day?
Ah! I remember that old chestnut. I still skip the newer versions to hear the outro first!
An updated version would benefit from a higher % of Soundboard versions. Maybe we can poll those interested to shortlist their favorite versions since 2006?
Here is the artwork.
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after the beanstalk
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Typo on Wiesbaden
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Heavy Up
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
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Just a Boy Away From Home. From the first moment I listened to it, I knew it would be a skipper. I probably listened to it only once and never again.
I love that song! ;D
When it comes to DTRW CD the song I always skip is "Rear View Mirror", and very often "Nobody Does That" (though this song has grown on me a little).
The brass instruments are too much for me. A little saxophone now and then is ok.
I really hope that Mark will not use these instruments too much when he is thinking about a new album.
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Just a Boy Away From Home. From the first moment I listened to it, I knew it would be a skipper. I probably listened to it only once and never again.
I love that song! ;D
When it comes to DTRW CD the song I always skip is "Rear View Mirror", and very often "Nobody Does That" (though this song has grown on me a little).
The brass instruments are too much for me. A little saxophone now and then is ok.
I really hope that Mark will not use these instruments too much when he is thinking about a new album.
I really disliked "Just a Boy" when I first heard it, especially the end solo, but now I can just about tolerate it without reaching for the skip button. To be honest, I have never liked "You'll ever Walk Alone" either, not even in the movie! "Heavy Up" is a different matter - I have given up trying! ::)
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Hi there, maybe it's not this topic but it somehow correlates with it. Does anybody of you know, has "Hand in Hand" been ever played live during DS, MK or NH shows? Or was it always a "skipper" for Mark? Regards :)
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Hey Pottel, we share the love for The Long Highway but I disagree with you on Love Over Gold. It's a beast of a song, criminally underrated in my view.
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Hey Pottel, we share the love for The Long Highway but I disagree with you on Love Over Gold. It's a beast of a song, criminally underrated in my view.
There are no skippers, it's only you have not realised that yet. ;D
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Typo on Wiesbaden
Cheers ds1984. I fell for the old i b4 e except after c mistake. The auto correct feature here has it wrong whichever way.... :wave :think
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If I play music in the background I rarely skip anything, unless the track is especially "grating" (some jazz for instance). If I listen intently, I try not to skip as I view an album as a total package. However, some songs are so boring, they really test my patience. DS/MK are not exempt:
DS:
A lot of the BIA album, but in particular Your Latest Trick, Why Worry
On Every Street, Ticket to Heaven, Heavy Fuel
MK:
A Night in a Summer Long Ago (please!), The Last Laugh, Quality Shoe, The Ragpicker's Dream, and several more.
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In the sky. So cheesy.
Sent from my iPad using Tapatalk
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Love your bluntness there! Although I'm not a fan of Why Bother either, I enjoy the coda on the album version. Agree about the slow/no guitar numbers though, hence my choices.
DS: One World, My Parties.
MK: Imelda, Don’t You Get It, Je Suis Désolé, Rüdiger, Who's Your Baby Now, The Last Laugh, Wanderlust, Sands of Nevada, A Place Where We Used to Live, Fare Thee Well Northumberland, You Don't Know You're Born, The Ragpicker's Dream, Daddy's Gone to Knoxville, Sucker Row, Song for Sonny Liston, Whoop De Doo, All That Matters, Don't Crash the Ambulance, I Dug Up a Diamond, Rollin' On, Love and Happiness, Beyond My Wildest Dreams, If This Is Goodbye, The Fizzy and the Still, Heart Full of Holes, We Can Get Wild, Secondary Waltz, Behind with the Rent, The Fish and the Bird, Madame Geneva’s, In the Sky, Hard Shoulder, You Can't Beat the House, Before Gas and TV, Monteleone, The Car Was the One, Don't Forget Your Hat, Miss You Blues, Go, Love, Hot or What, Seattle, Got to Have Something, Radio City Serenade, I Used to Could, Dream of the Drowned Submariner, Blood and Water, Today Is Okay, After the Beanstalk, Broken Bones, Long Cool Girl, Lights of Taormina, Wherever I Go, Nobody’s Child, Just a Boy Away from Home, When You Leave, Floating Away, Slow Learner, Heavy Up, Every Heart in the Room, Rear View Mirror, Matchstick Man.
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Love your bluntness there! Although I'm not a fan of Why Bother either, I enjoy the coda on the album version. Agree about the slow/no guitar numbers though, hence my choices.
DS: One World, My Parties.
MK: Imelda, Don’t You Get It, Je Suis Désolé, Rüdiger, Who's Your Baby Now, The Last Laugh, Wanderlust, Sands of Nevada, A Place Where We Used to Live, Fare Thee Well Northumberland, You Don't Know You're Born, The Ragpicker's Dream, Daddy's Gone to Knoxville, Sucker Row, Song for Sonny Liston, Whoop De Doo, All That Matters, Don't Crash the Ambulance, I Dug Up a Diamond, Rollin' On, Love and Happiness, Beyond My Wildest Dreams, If This Is Goodbye, The Fizzy and the Still, Heart Full of Holes, We Can Get Wild, Secondary Waltz, Behind with the Rent, The Fish and the Bird, Madame Geneva’s, In the Sky, Hard Shoulder, You Can't Beat the House, Before Gas and TV, Monteleone, The Car Was the One, Don't Forget Your Hat, Miss You Blues, Go, Love, Hot or What, Seattle, Got to Have Something, Radio City Serenade, I Used to Could, Dream of the Drowned Submariner, Blood and Water, Today Is Okay, After the Beanstalk, Broken Bones, Long Cool Girl, Lights of Taormina, Wherever I Go, Nobody’s Child, Just a Boy Away from Home, When You Leave, Floating Away, Slow Learner, Heavy Up, Every Heart in the Room, Rear View Mirror, Matchstick Man.
lol ;D ;D ;D
classic Terminal of Titles To :D
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None.
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
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This is a difficult question because the process of skipping a song changes all the time, and many times the song you used to skip, one day shows that you've been wrong the whole time. To tell you the truth, I don't listen to a lot of MK/DS these days, being a fan for 15 years I had enough of the listening experience and tend to listen purposefully one song at a time. I imagine songs I know for 15 years it's like an old friend, who can just show up any time unannounced and you be like "oh, hey, it's been a while". And always a pleasure.
Another revelation to me was that so many, so many people never heard so many of Mark's songs. I sometimes post songs on my channel and get responses — "I never heard that song before" from MK fans. Not every fan know every single song ever, only the perfectionists, idiots and get-a-lifers like me do. So I'm not skipping songs, I just don't listen songs at all, that's a different story :lol I actually never over listened to MK/DS music because I have so many other songs to enjoy, which makes me absolutely happy since Mark has his own show of his favourite tunes besides his ones.
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
Mark's voice complements his guitar-playing perfectly - I love his speaking voice too. For me his voice has much more appeal than either Paul McCartney or Springsteen. McCartney can't do a love song like MK can - Mark gives me goosebumps and that is the acid test ;D
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superval99 I feel the same:)
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
Mark's voice complements his guitar-playing perfectly - I love his speaking voice too. For me his voice has much more appeal than either Paul McCartney or Springsteen. McCartney can't do a love song like MK can - Mark gives me goosebumps and that is the acid test ;D
Those two were just off the top of my head. I agree MK has his own thing, a certain charm, but I really think he has lost some of that intensity with which he was able to deliver slower songs before. It's too prosaic now. Again, in my opinion.
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
This. :clap
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
aww, you are not fond of Irony key?
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
exactly, i can't tell explicitly what it is but i can't explain it.
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
aww, you are not fond of Irony key?
No, I get it completely, but look at it from the point of view of an 18 year old budding musician who was brought up swamped by all things Knopfler. Like I said, just too country....
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
aww, you are not fond of Irony key?
No, I get it completely, but look at it from the point of view of an 18 year old budding musician who was brought up swamped by all things Knopfler. Like I said, just too country....
Genesis "Jesus he knows me" talks more or less about the same thing, and its rocker style provide more irony to the subject than the too mellow "ticket to heaven", which I always skip since 1991 to today. It would had fit well in a NHb record.
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
aww, you are not fond of Irony key?
No, I get it completely, but look at it from the point of view of an 18 year old budding musician who was brought up swamped by all things Knopfler. Like I said, just too country....
Well then, just wait until it gets you!
Things change with the age, and who knows, you might country now and then.
Phanta Rhei!
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Ticket to heaven. I get what mark was trying to do with the music\arrangement, and as with all his work the tone fits perfectly with the content. It was just way to country for me in 1990, and I still can't stand it today....
aww, you are not fond of Irony key?
No, I get it completely, but look at it from the point of view of an 18 year old budding musician who was brought up swamped by all things Knopfler. Like I said, just too country....
Well then, just wait until it gets you!
Things change with the age, and who knows, you might country now and then.
Phanta Rhei!
If country music is not your thing, I think even after 1000 years you won't like it. What I love about Ticket To Heaven is that strings were arranged by Sir George Martin... That's great. Imagine your song being arranged by The Beatles' producer. And recorded with a real orchestra, which is a very time consuming and expensive process. I can't say that this song is a masterpiece, however, as a country piece it's amazing, the pedal steel guitar fits very well. My favourite part, apart from the strings arrangement, is the acoustic guitar solo and beautiful outro, when it hits a minor chord on the turnaround... That's magic.
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I have always thought Ticket To Heaven is one of Mark's most beautiful songs, I love it, it was my mum's favourite song too. As has been said the strings arranged by Sir George Martin are gorgeous. And as for it being a country song? :hmm I don't find it country whatsoever!!! Mark has made more songs that could be termed country in his solo career though.
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Love your bluntness there! Although I'm not a fan of Why Bother either, I enjoy the coda on the album version. Agree about the slow/no guitar numbers though, hence my choices.
DS: One World, My Parties.
MK: Imelda, Don’t You Get It, Je Suis Désolé, Rüdiger, Who's Your Baby Now, The Last Laugh, Wanderlust, Sands of Nevada, A Place Where We Used to Live, Fare Thee Well Northumberland, You Don't Know You're Born, The Ragpicker's Dream, Daddy's Gone to Knoxville, Sucker Row, Song for Sonny Liston, Whoop De Doo, All That Matters, Don't Crash the Ambulance, I Dug Up a Diamond, Rollin' On, Love and Happiness, Beyond My Wildest Dreams, If This Is Goodbye, The Fizzy and the Still, Heart Full of Holes, We Can Get Wild, Secondary Waltz, Behind with the Rent, The Fish and the Bird, Madame Geneva’s, In the Sky, Hard Shoulder, You Can't Beat the House, Before Gas and TV, Monteleone, The Car Was the One, Don't Forget Your Hat, Miss You Blues, Go, Love, Hot or What, Seattle, Got to Have Something, Radio City Serenade, I Used to Could, Dream of the Drowned Submariner, Blood and Water, Today Is Okay, After the Beanstalk, Broken Bones, Long Cool Girl, Lights of Taormina, Wherever I Go, Nobody’s Child, Just a Boy Away from Home, When You Leave, Floating Away, Slow Learner, Heavy Up, Every Heart in the Room, Rear View Mirror, Matchstick Man.
why is everyone hating One World, including the writer himself? i always loved it, especially live.
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
Mark's voice complements his guitar-playing perfectly - I love his speaking voice too. For me his voice has much more appeal than either Paul McCartney or Springsteen. McCartney can't do a love song like MK can - Mark gives me goosebumps and that is the acid test ;D
how about Gilmour speaking? always thought that Danny's voice sounded a lot like Dave's by the way.
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In my opinion, Mark's greatest strengths are the songwriting and guitar playing, but as a vocalist he is lacking, and I don't mean technically. He just doesn't have the charisma or emotional delivery of people like Paul McCartney or Bruce Springsteen, and that's why I feel a lot of his slower, more tender songs don't really work and feel terribly boring. Especially when he decides to use his strongest weapon, the guitar, so sparingly. He was a lot better at it in the early days; Wild West End and Follow Me Home are slow, but there's emotion there! As he's gotten older, he often sounds like a grandpa, sitting comfortably on his sofa, strumming and singing some old-time songs without really paying attention. It doesn't have to be this way just because you're ageing. I guess with people like Paul and Bruce, who are born performers, these things come naturally. Mark needs to have a good day, and he needs to make an effort to make things happen. All to often, I feel he relies too much on experience and craft rather than bringing something fresh.
Mark's voice complements his guitar-playing perfectly - I love his speaking voice too. For me his voice has much more appeal than either Paul McCartney or Springsteen. McCartney can't do a love song like MK can - Mark gives me goosebumps and that is the acid test ;D
how about Gilmour speaking? always thought that Danny's voice sounded a lot like Dave's by the way.
Possibly because neither of them has a noticeable regional accent. :think Mark still has a slight Geordie accent which I find quite charismatic and appealing.
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romeo (excl. outro, indeed) most of KTGC, Why Worry, Love over gold and Private I. live, shangri la, submariner, seattle, all slow songs with little or no guitar, boring as eff.
Love your bluntness there! Although I'm not a fan of Why Bother either, I enjoy the coda on the album version. Agree about the slow/no guitar numbers though, hence my choices.
DS: One World, My Parties.
MK: Imelda, Don’t You Get It, Je Suis Désolé, Rüdiger, Who's Your Baby Now, The Last Laugh, Wanderlust, Sands of Nevada, A Place Where We Used to Live, Fare Thee Well Northumberland, You Don't Know You're Born, The Ragpicker's Dream, Daddy's Gone to Knoxville, Sucker Row, Song for Sonny Liston, Whoop De Doo, All That Matters, Don't Crash the Ambulance, I Dug Up a Diamond, Rollin' On, Love and Happiness, Beyond My Wildest Dreams, If This Is Goodbye, The Fizzy and the Still, Heart Full of Holes, We Can Get Wild, Secondary Waltz, Behind with the Rent, The Fish and the Bird, Madame Geneva’s, In the Sky, Hard Shoulder, You Can't Beat the House, Before Gas and TV, Monteleone, The Car Was the One, Don't Forget Your Hat, Miss You Blues, Go, Love, Hot or What, Seattle, Got to Have Something, Radio City Serenade, I Used to Could, Dream of the Drowned Submariner, Blood and Water, Today Is Okay, After the Beanstalk, Broken Bones, Long Cool Girl, Lights of Taormina, Wherever I Go, Nobody’s Child, Just a Boy Away from Home, When You Leave, Floating Away, Slow Learner, Heavy Up, Every Heart in the Room, Rear View Mirror, Matchstick Man.
why is everyone hating One World, including the writer himself? i always loved it, especially live.
Strange one. Even by the time of the live versions at the beginning of August 1985 he had decided to change it, presumably because he didn't like the studio one, then it was gone again by the Australasian leg (probably). I have to say I prefer the live versions but even they don't really do an awful lot for me and I wish SFA had been left in the set instead.
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
One World is the most opportunistic track on the album. While the title track offers virtually no signs of the time period, One World just screams "eighties". Time tested it and indeed Mark still plays "Brothers In Arms", and I think One World is the least expected song in his setlist for the last 30 years. But I actually like this duality on the album... You have something from the 80s, in the other hand you have real drums, real sounds, so it's a great mix.
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
One World is the most opportunistic track on the album. While the title track offers virtually no signs of the time period, One World just screams "eighties". Time tested it and indeed Mark still plays "Brothers In Arms", and I think One World is the least expected song in his setlist for the last 30 years. But I actually like this duality on the album... You have something from the 80s, in the other hand you have real drums, real sounds, so it's a great mix.
One World is a great example of Mark as a songwriting magpie given that the chords are a straight lift from Dylan's Blind Willie McTell.
I often wonder how Sir Bob felt about that, although he's stolen enough tunes in his time!
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
One World is the most opportunistic track on the album. While the title track offers virtually no signs of the time period, One World just screams "eighties". Time tested it and indeed Mark still plays "Brothers In Arms", and I think One World is the least expected song in his setlist for the last 30 years. But I actually like this duality on the album... You have something from the 80s, in the other hand you have real drums, real sounds, so it's a great mix.
One World is a great example of Mark as a songwriting magpie given that the chords are a straight lift from Dylan's Blind Willie McTell.
I often wonder how Sir Bob felt about that, although he's stolen enough tunes in his time!
These parts are similar:
OW:
... my blue guitar
I can't get no antidote for [blues]
BWM:
... from New Orleans
To Jerusalem.
Hardly theft, I'd say :) It's a very common chord progression, plus, I don't think Dylan would have cared one bit.
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
blasphemy....:-)
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;D
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
One World is the most opportunistic track on the album. While the title track offers virtually no signs of the time period, One World just screams "eighties". Time tested it and indeed Mark still plays "Brothers In Arms", and I think One World is the least expected song in his setlist for the last 30 years. But I actually like this duality on the album... You have something from the 80s, in the other hand you have real drums, real sounds, so it's a great mix.
One World is a great example of Mark as a songwriting magpie given that the chords are a straight lift from Dylan's Blind Willie McTell.
I often wonder how Sir Bob felt about that, although he's stolen enough tunes in his time!
These parts are similar:
OW:
... my blue guitar
I can't get no antidote for [blues]
BWM:
... from New Orleans
To Jerusalem.
Hardly theft, I'd say :) It's a very common chord progression, plus, I don't think Dylan would have cared one bit.
I did an online lesson recently with my students about the two songs. You can literally sing one over the other. Mark just changed the tempo and hence syncopation.
It's not that common as a sequence, can you think of another tune with those chords, especially in a minor key?
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
One World is the most opportunistic track on the album. While the title track offers virtually no signs of the time period, One World just screams "eighties". Time tested it and indeed Mark still plays "Brothers In Arms", and I think One World is the least expected song in his setlist for the last 30 years. But I actually like this duality on the album... You have something from the 80s, in the other hand you have real drums, real sounds, so it's a great mix.
One World is a great example of Mark as a songwriting magpie given that the chords are a straight lift from Dylan's Blind Willie McTell.
I often wonder how Sir Bob felt about that, although he's stolen enough tunes in his time!
These parts are similar:
OW:
... my blue guitar
I can't get no antidote for [blues]
BWM:
... from New Orleans
To Jerusalem.
Hardly theft, I'd say :) It's a very common chord progression, plus, I don't think Dylan would have cared one bit.
I did an online lesson recently with my students about the two songs. You can literally sing one over the other. Mark just changed the tempo and hence syncopation.
It's not that common as a sequence, can you think of another tune with those chords, especially in a minor key?
No, I can't think of an example off the top of my head, but a song like House of New Orleans is kind of similar.
Not sure which keys the songs are in, but say Am for the sake of it. BWM goes Am / E7 / Am, etc. (before the part I mentioned earlier), whereas OW goes Am / G / Am, don't they?
At any rate, I don't think there's any case for calling it theft/plagiarism.
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No, I can't think of an example off the top of my head, but a song like House of New Orleans is kind of similar.
Not sure which keys the songs are in, but say Am for the sake of it. BWM goes Am / E7 / Am, etc. (before the part I mentioned earlier), whereas OW goes Am / G / Am, don't they?
At any rate, I don't think there's any case for calling it theft/plagiarism.
Mark has a lot of songs that are basically a tribute to something. King Of The Road inspired Quality Shoe, Wichita Lineman inspired Hard Shoulder, Bob Dylan inspired It Never Rains, there's no such thing as a truly original song, everyone beg, steal and borrow and Mark is an absolute master of that. He borrows the idea so accurately, that nobody will notice it if not with the help of a microscope. And with him saying in every interview that he's Bob Dylan fan from age 11 and reading the lyrics of his songs in his radio show no wonder, that he ended up using some ideas from Bob here and there.
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No, I can't think of an example off the top of my head, but a song like House of New Orleans is kind of similar.
Not sure which keys the songs are in, but say Am for the sake of it. BWM goes Am / E7 / Am, etc. (before the part I mentioned earlier), whereas OW goes Am / G / Am, don't they?
At any rate, I don't think there's any case for calling it theft/plagiarism.
Mark has a lot of songs that are basically a tribute to something. King Of The Road inspired Quality Shoe, Wichita Lineman inspired Hard Shoulder, Bob Dylan inspired It Never Rains, there's no such thing as a truly original song, everyone beg, steal and borrow and Mark is an absolute master of that. He borrows the idea so accurately, that nobody will notice it if not with the help of a microscope. And with him saying in every interview that he's Bob Dylan fan from age 11 and reading the lyrics of his songs in his radio show no wonder, that he ended up using some ideas from Bob here and there.
It's a big difference between, on the one side, using the same chord progression or fragments of a melody and, on the other side, using an identical hook (MFN riff, Whatever You Want (Status Quo), Smoke On the Water, etc.) or ripping off a complete song.
Everyone is influenced by someone, but it's in most cases clear when a song is influenced by or hints to another song and with it's pure plagiarism.
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One World is one of those straight-ahead rockers (apart from the baroque-style bridge) that really is bonus disc material. "Can't get no antidote for - blu-u-u-ues. Oh, yea-ah." Horrible, to be honest.
But if I am correct they were a bit short of extra stuff for the BIA album :think
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No, I can't think of an example off the top of my head, but a song like House of New Orleans is kind of similar.
Not sure which keys the songs are in, but say Am for the sake of it. BWM goes Am / E7 / Am, etc. (before the part I mentioned earlier), whereas OW goes Am / G / Am, don't they?
At any rate, I don't think there's any case for calling it theft/plagiarism.
Mark has a lot of songs that are basically a tribute to something. King Of The Road inspired Quality Shoe, Wichita Lineman inspired Hard Shoulder, Bob Dylan inspired It Never Rains, there's no such thing as a truly original song, everyone beg, steal and borrow and Mark is an absolute master of that. He borrows the idea so accurately, that nobody will notice it if not with the help of a microscope. And with him saying in every interview that he's Bob Dylan fan from age 11 and reading the lyrics of his songs in his radio show no wonder, that he ended up using some ideas from Bob here and there.
Thanks quizzaciously.
That was exactly the point I was trying to make. The best songwriters in history will pinch bits and pieces from here there and everywhere. The greatest classical composers directly lifted folk tunes, Dylan took bits from Woody Guthrie and others, music history is littered with examples, anyone who's ever written a 12 bar!! and let's face it, especially in regards to Western music, we are rather limited by our 12 tones.
There are good examples of it with Mark, OW, R&J, to name 2. It's not a bad thing. It's part of the art, and I'm sure a highly intelligent songwriter like MK knew exactly what he was doing....
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No, I can't think of an example off the top of my head, but a song like House of New Orleans is kind of similar.
Not sure which keys the songs are in, but say Am for the sake of it. BWM goes Am / E7 / Am, etc. (before the part I mentioned earlier), whereas OW goes Am / G / Am, don't they?
At any rate, I don't think there's any case for calling it theft/plagiarism.
Mark has a lot of songs that are basically a tribute to something. King Of The Road inspired Quality Shoe, Wichita Lineman inspired Hard Shoulder, Bob Dylan inspired It Never Rains, there's no such thing as a truly original song, everyone beg, steal and borrow and Mark is an absolute master of that. He borrows the idea so accurately, that nobody will notice it if not with the help of a microscope. And with him saying in every interview that he's Bob Dylan fan from age 11 and reading the lyrics of his songs in his radio show no wonder, that he ended up using some ideas from Bob here and there.
Thanks quizzaciously.
That was exactly the point I was trying to make. The best songwriters in history will pinch bits and pieces from here there and everywhere. The greatest classical composers directly lifted folk tunes, Dylan took bits from Woody Guthrie and others, music history is littered with examples, anyone who's ever written a 12 bar!! and let's face it, especially in regards to Western music, we are rather limited by our 12 tones.
There are good examples of it with Mark, OW, R&J, to name 2. It's not a bad thing. It's part of the art, and I'm sure a highly intelligent songwriter like MK knew exactly what he was doing....
;D
Highly intelligent? lol, i never met one.
Gifted? Who knows i never practiced?
Let's put it this way, if Mark played your song perhaps is not your at all.
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
now that's the way you do it :thumbsup
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I'd consider that heavy fuel :o
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I don't skip it. It's not the best song he's ever written but it's good fun and certainly not as boring as most of his output these days.
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I don't skip it. It's not the best song he's ever written but it's good fun and certainly not as boring as most of his output these days.
Oooh 'Heavy Fuel' - deffo a skipper for me.....not a great fan of 'OES' as an album.....
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I don't skip it. It's not the best song he's ever written but it's good fun and certainly not as boring as most of his output these days.
Oooh 'Heavy Fuel' - deffo a skipper for me.....not a great fan of 'OES' as an album.....
It holds a special place for me because I was a teenager when it was released. I was already a fan, but it had been years since DS had released anything new, and I remember the excitement. It's got some great tracks, but I listen rarely to it. The ones I return to are the first two albums. It never got better :)
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I'd consider that heavy fuel :o
I am so screwed that I need it in large dosage
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I'd consider that heavy fuel :o
I am so screwed that I need it in large dosage
https://youtu.be/NG5Trk07R00
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I don't skip it. It's not the best song he's ever written but it's good fun and certainly not as boring as most of his output these days.
Oooh 'Heavy Fuel' - deffo a skipper for me.....not a great fan of 'OES' as an album.....
I love the OES album; it's one of my favourites. Listen to it maybe the most often of all.
Like Hunter it holds a special place in my heart as the first album I can actually remember buying the day it was released and attending the concert only a few days later. There's a lot of great songs on there too.
If he were to release something a tenth as good as that today it'd be his best for a long time.
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I have just listened 500 times in few days to Heavy Fuel, is that considered a skip ?
I don't skip it. It's not the best song he's ever written but it's good fun and certainly not as boring as most of his output these days.
Oooh 'Heavy Fuel' - deffo a skipper for me.....not a great fan of 'OES' as an album.....
I love the OES album; it's one of my favourites. Listen to it maybe the most often of all.
Like Hunter it holds a special place in my heart as the first album I can actually remember buying the day it was released and attending the concert only a few days later. There's a lot of great songs on there too.
If he were to release something a tenth as good as that today it'd be his best for a long time.
I agree in the yesteryear ;D