New DS Live Box Set, 3rd November 2023!

[Love Expresso]

Ok but how did Mark, Guy and Alan leave then? During the max. one or two minutes between the last note and the end of fireworks? It must literally been a "runner" for the three of them. Honestly asking.

LE

[Chris W]

This is one set list I have, from 6th June 1992.

[ds1984]

Yes I remember the firworks after the show and time it took me to leave Werchter.
Well as I was first row so I had to cross the concert field all the way to the back.
Then to retrieve what parking field I had left my car 
There was parking fields everywhere around... 

[Love Expresso]

Man, they could have written the full titles. Very challenging for my OCD 

LE

[Chris W]

Ok but how did Mark, Guy and Alan leave then? During the Max. one or two minutes between the last note and the end of fireworks? It must literally been a "runner" for the three of them. Honestly asking.

LE

No problem.
The whole band had previously bowed and wandered off stage. After 'Local Hero' really only Mark needed to linger, accepting the final ovation.
So two ran from the stage and into the last car, followed quickly by Mark.
Takes less time to usher three people into one car, than nine people into multiple cars, each undecided which car to jump into.
At the open air shows we always had fireworks too, to buy us some more time.

[Chris W]

By Summer of 1992 Telegraph Road was the official end of the set.
Money was the first encore.
Then Brothers in Arms, Solid Rock (and almost always in my memory) Local Hero.

You couldn't end the show without playing Brothers In Aarms, so in my opinion, there were always two encores.

[Robson]

"The song is the king" is his mantra and it seems a too self indulging solo would be something that sets a spotlight on the player too much and distracts from the song. I personally find that attitude rubbish"

For me, these words have always had a different meaning. Certainly not in the concert sense.
It's natural that the live versions have always been different, developed and longer

[Chris W]

15 minute versions of songs with pretty lengthy guitar solos would suggest that too.

[iorch82]

I dunno.
He seemed to me a very cerebral, calculating kind of guy. Solos seemed constructed rather than off the cuff.
Nothing wrong with gradually working your way towards the perfect solo.
The older songs with long solos had evolved over many years and several tours. The OES song solos started based on the studio solos and only slightly evolved from there (in my opinion).

Not the case with PONO solo IMO, much faster, having a much wider variety of licks and sophisticated phrasings that were not to be found in any other song of the repertorie:



I mean, compare that crazy Worcester solo with the recording one.

[Chris W]

That was my point. He was still experimenting with PONO, rather than repeating the solo formula like he did with Sultan's, Telegraph etc...

[Chris W]

This was my point....but people seem more intent on arguing:

Anyway..... all I said was that it was 1) a new song and 2) was not played often enough to cement in a repeated guitar solo.

[Marnix]

Although with the re-release of OTN I was also hoping for an official live version of PONO but that didn’t happen. At least I am really happy with the bonus tracks and I think this will be the most complete what we will ever get from the OES tour.   
I am really fortunate the I have seen that tour live and have now a professional recording of almost all songs I have heard live in Rotterdam 91 and 92.

[dmg]

That was my point. He was still experimenting with PONO, rather than repeating the solo formula like he did with Sultan's, Telegraph etc...

Pretty sure I've mentioned that before myself about PONO.  It's certainly a fan favourite and one he should've persisted with but I never thought he really sounded comfortable with the solo and it was well out of his comfort zone until the sax comes in and the smile comes on his face because he's back inside it again.  Don't get me wrong, it's still one of my favourites and it's also a very interesting track musically for that reason.

It was a long time ago and I was only young but I seem to recall it being well received in Glasgow.  Strange that he chose to play stuff like Fade to Black and When it Comes to You in stadiums instead of this.

[iorch82]

That was my point. He was still experimenting with PONO, rather than repeating the solo formula like he did with Sultan's, Telegraph etc...

Pretty sure I've mentioned that before myself about PONO.  It's certainly a fan favourite and one he should've persisted with but I never thought he really sounded comfortable with the solo and it was well out of his comfort zone until the sax comes in and the smile comes on his face because he's back inside it again.  Don't get me wrong, it's still one of my favourites and it's also a very interesting track musically for that reason.

It was a long time ago and I was only young but I seem to recall it being well received in Glasgow.  Strange that he chose to play stuff like Fade to Black and When it Comes to You in stadiums instead of this.

 Yeah, or even the super bland Heavy Fuel which for some reason they never stopped playing. In any case both FTB and WITCY are songs far easier for him to execute.

Besides, totally agree with your observation on his confort zone, though it led to really unique brilliant moments at the expense a bunch of tiny mistakes here and there.

[hunter v2.0]

I dunno.
He seemed to me a very cerebral, calculating kind of guy. Solos seemed constructed rather than off the cuff.
Nothing wrong with gradually working your way towards the perfect solo.
The older songs with long solos had evolved over many years and several tours. The OES song solos started based on the studio solos and only slightly evolved from there (in my opinion).

Not the case with PONO solo IMO, much faster, having a much wider variety of licks and sophisticated phrasings that were not to be found in any other song of the repertorie:



I mean, compare that crazy Worcester solo with the recording one.

I don't care for Mark's solos during PONO. At that time, he certainly had chops and speed, but he doesn't have the jazz language to pull off long, fast and fluid lines over the many quirky chord changes. It sounds like a rocker attempting to play jazz, which, in essence, is what was the case.