Guy's Forum

[Pottel]

If I remember correctly in the early days of DS Mark played a song called "Nadine" which sounds exactly like "Nadine" by Chuck Berry. Man, surely Mark can change his middle name to Ripoff!

Guy said there is no auto-tune in BG studio 2, but wasn't Shangri-la made in the USA? (i'm not saying he used auto-tune, i don't care at all)

That's a hilarious point, well spotted. To be honest, I think vocals in Our Shangri-La sounds a little bit post-processed, but who listen to the studio version anyway?

I do. Studio versions can be unmatched.
Mark never ever managed to play Sultans live like in the studio - simple and smooth groove...

I feel that is nowhere more the case than with solid rock. The live versions never seemed to catch the raw power from the album version

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[superval99]

If I remember correctly in the early days of DS Mark played a song called "Nadine" which sounds exactly like "Nadine" by Chuck Berry. Man, surely Mark can change his middle name to Ripoff!

That is because what DS played is a cover of chuck Berry's Nadine LOL

 

Mark played Nadine with the NHB too - yes, it is a cover of Chuck Berry's Nadine!   

[Shangri-La]

Playtime Deluxe is a simple blues song. There are tons of blues songs in that style, so to say that Mark copied someone is strange.

It' s not a music of Mark, only the lyrics.

[border_reiver]

Given all the BS Guy has to put up with I suppose it was a wise decision not to release it.

[JF]

I LOVE studio versions for many many songs
so much details and guitar parts that you can't reproduce live

[dmg]

I LOVE studio versions for many many songs
so much details and guitar parts that you can't reproduce live

I think most of the time they aren't better or worse, just different.  Mark and the band try to find something in them live and like you say JF there are things like double tracking or overdubs that they just cannot do live.

I was listening to the studio version of Border Reiver a few days ago and found it empty compared to the live versions with those nice licks from Mark.  That's certainly one song where the studio version cannot compare to live versions IMHO.

[JF]

Yes totally agree.
LIVE and STUDIO are just different,a dn I prefer artists who don't try to reproduce teh studio versions, but rather play them in a completely different way.

The most iconic to do this are power trio like Hendrix, Cream, Who, etc... who play live very different from studio because they don't have, keyboards, several guitars, etc...

I love Hendrix for example and his songs live or studio are sometimes almost two different songs

[Pottel]

Yes totally agree.
LIVE and STUDIO are just different,a dn I prefer artists who don't try to reproduce teh studio versions, but rather play them in a completely different way.

The most iconic to do this are power trio like Hendrix, Cream, Who, etc... who play live very different from studio because they don't have, keyboards, several guitars, etc...

I love Hendrix for example and his songs live or studio are sometimes almost two different songs

Even more extreme example would be Bobby d.

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[jbaent]

I love Privateering studio version because of the clapping, the hey hey chorus and all the metallic sounds that aren't reproduced live. In the case of this song, I rather listen to the studio version than the live one

[2manyguitars]

I think what we have to factor in here guys is marks change in approach (and deterioration) as a performer.

Back in the day DS were (almost) always better live than the studio recordings. The alternate arrangements, the dynamics, extended solos etc (ironically the only song I prefer studio to live is TOL despite 22 minute live versions! Terry never quite got the complexity of picks drumming, and mark never quite got the emotion of the studio solo - Just my opinion). The older MK gets it seems to me that live has become less about an external performance and more about feel, less structured more improv, and to my (admittedly jaded) ears he now struggles to match up to what he can do in the comfort of BG. Its not a criticism, but probably more of a process to do with age and longevity in the industry, and its also probably goes someway to explaining why we get' safe' setlists, and less complexity live.

Thoughts?   

[Love Expresso]

I love Privateering studio version because of the clapping, the hey hey chorus and all the metallic sounds that aren't reproduced live. In the case of this song, I rather listen to the studio version than the live one

I HATE the Privateering studio version because of almost exactly the same reasons. The synth parts, especially at the end, are horribly wrong in this track. The Hey Hey got this "ambitious" complicated rhythm to make it look more intelligent but is totally wrong at the place of this Shanty style song. The chorus is cut in very bad and sounds like it's left from a totally other recording session and just cut into it.
The drumming of the live version's outro is so simple but powerful, I love it and miss it in the album version. This track is a total fail and every single existing live version is much better. Even Mark's vocals are weak and half-arsed on the album, especially the very first "noises" annoy me big time.
Far too much worked-on.

LE

[jbaent]

It's so nice the different visions that two people would have over the same thing, LOL

I have a friend who hates the live end of "I dug up a diamond" on Emmy's tour. According to him it was just noises with nonsense.

I also know someone who hates speedway ends by the same reason.

And I totally love that ends by the same reason that people hates them

[dmg]

I think what we have to factor in here guys is marks change in approach (and deterioration) as a performer.

Back in the day DS were (almost) always better live than the studio recordings. The alternate arrangements, the dynamics, extended solos etc (ironically the only song I prefer studio to live is TOL despite 22 minute live versions! Terry never quite got the complexity of picks drumming, and mark never quite got the emotion of the studio solo - Just my opinion). The older MK gets it seems to me that live has become less about an external performance and more about feel, less structured more improv, and to my (admittedly jaded) ears he now struggles to match up to what he can do in the comfort of BG. Its not a criticism, but probably more of a process to do with age and longevity in the industry, and its also probably goes someway to explaining why we get' safe' setlists, and less complexity live.

Thoughts?

I think that changing the setlist and swapping some songs around each night could be the best thing he could do!  It will inspire him and keep his concentration levels high instead of allowing himself to fall into a comfort zone, which is essentially a false sense of security.

[Love Expresso]

The song itself is a masterpiece and I love it live from the first time I listened to the Glasgow 2011 version. It's just that the studio cut is shit to me.
I am not sure but I guess this one and Haul Away were recorded directly the next day after the last Bob night in London 2011 because the band was still together? Maybe they should have just included live tracks of those two songs, both were live much more intense and better in 2011.

LE

[2manyguitars]

I think what we have to factor in here guys is marks change in approach (and deterioration) as a performer.

Back in the day DS were (almost) always better live than the studio recordings. The alternate arrangements, the dynamics, extended solos etc (ironically the only song I prefer studio to live is TOL despite 22 minute live versions! Terry never quite got the complexity of picks drumming, and mark never quite got the emotion of the studio solo - Just my opinion). The older MK gets it seems to me that live has become less about an external performance and more about feel, less structured more improv, and to my (admittedly jaded) ears he now struggles to match up to what he can do in the comfort of BG. Its not a criticism, but probably more of a process to do with age and longevity in the industry, and its also probably goes someway to explaining why we get' safe' setlists, and less complexity live.

Thoughts?

I think that changing the setlist and swapping some songs around each night could be the best thing he could do!  It will inspire him and keep his concentration levels high instead of allowing himself to fall into a comfort zone, which is essentially a false sense of security.

But there comes a time for everyone where you cant change all the time, as the saying goes, you cant teach an old dog new tricks. Perhaps this is where mark is at?