Pick Withers Interview

[quizzaciously]

So it's not just creative differences, but musical egos clashing.

The funny thing about your posts is that you are contradicting the people who were there, experienced it in real life. You are guessing, apparently based on the fact you admire Mark a great deal. Maybe accept some people who actually lived it have more truth to say than you do.

Oh yes, don't get me wrong. I have no idea how I would behave should you put me in the same circumstances as all the people in question here. I just analysed my experience in life vs. what I heard from interviews, and what I heard from Mark's former friends has never appealed to me I'm afraid. I mean I am listening to real people who experienced it in real life, and based on that write my thoughts. I'm not pulling my thoughts out of thin air, ever.

For instance, when somebody discusses Chris Whitten, it would be worth mentioning that you are awesome enough to join some discussions on probably the best, oldest, biggest and most active MK&DS forum in the world. One of the very few band members who actually did it. As you can see, everybody loves it and it's a huge plus in karma to me. So many really great fans here, with decades of experience, research and fun. It's good fun.

[quizzaciously]

Apart from Pick, who was part of the original DS sound - I think Mark chose the drummers that delivered the style/sound he wanted, not soo much the style. He wrote the songs, then picked the drummers that suited those songs.

That's an interesting take. And it works for bass as well — once Mark needed a more versatile player, who could tackle bass, acoustic bass and jazz — out goes seemingly irreplaceable John, and welcome Glenn Worf! Of course, you can say it's also because Mark probably didn't want to play with former bandmates as much as ex-Beatles didn't want to work with each other and George Martin to associate it with The Beatles. That's life!

With that being said, I'm not really sure Mark's music is extremely tough on drummers, to be completely honest. I mean he could call a professional like you and you can play every part of any MK song perfectly well, it's not like he wrote songs that couldn't be performed by a good drummer. No "Cherokee" or crazy poly-rhythmic changes, really fast songs, long drum solos, really distinctive styles (as in Bernard Purdie), or tons of improvisation. Do you really need a jazz drummer to play on Brothers In Arms? I don't think so.

That's why my favourite MK drummer always was and always will be Danny Cummings. The way he serves the song is quite remarkable. Also, never understood any criticism towards you when discussing the On Every Street tour, to me just as well of a job of serving the song.

[Chris W]

DS music is some of the most complex out there. Tempos constantly changing, dynamics go from almost inaudible to blistering loud. Many of the songs evolved into 15 minute live epics, with multiple sections, moods, feels. Calling Elvis, Tunnel, Telegraph, Sultans, they are all over ten minutes long.
Many of the changes in the songs are signalled by a short piece of melody from Mark's guitar. So in a long guitar solo you are concentrating 110% making sure you don't miss the short series of notes that signal the change to the next part of the song.

[Silvertown]

DS music is some of the most complex out there. Tempos constantly changing, dynamics go from almost inaudible to blistering loud. Many of the songs evolved into 15 minute live epics, with multiple sections, moods, feels. Calling Elvis, Tunnel, Telegraph, Sultans, they are all over ten minutes long.
Many of the changes in the songs are signalled by a short piece of melody from Mark's guitar. So in a long guitar solo you are concentrating 110% making sure you don't miss the short series of notes that signal the change to the next part of the song.

Chris, huge thanks for your participation for this forum and for the DS live sound! I found On the night video earlier in my youth than Alchemy and that performance including your drumming makes me always happy (and feeling young again  )

[Pottel]

So it's not just creative differences, but musical egos clashing.

The funny thing about your posts is that you are contradicting the people who were there, experienced it in real life. You are guessing, apparently based on the fact you admire Mark a great deal. Maybe accept some people who actually lived it have more truth to say than you do.

welcome to a fan forum. lol. but yes, you are so right with that observation...

[Brunno Nunes]

So it's not just creative differences, but musical egos clashing.

The funny thing about your posts is that you are contradicting the people who were there, experienced it in real life. You are guessing, apparently based on the fact you admire Mark for a great deal. Maybe accept some people who actually lived it have more truth to say than you do.

With all due respect, seeing the development of this topic, it is impossible not to mention, what a nice kick here. We are facing someone who was there, at every show on Dire Straits' longest tour. Chris W, you are living history, thank you for sharing your experience and point of view with us, it is a privilege, your experience has historical value, I don't need to mention anything else. I Think... to be a fan and admire the art of a musician, it is not necessary to attribute something that makes him supernatural in a literal way, a super human, incapable of making mistakes in his attitudes, I regret that this is something practiced by people here, critical sense is essential and avoid traps.

 Before playing at Dire Straits, Chris W did a huge tour with the Beatles, Paul MacCartney, where the shows had two, three times more audiences than the Dire Straits shows. I have no doubt that Chris is proud of his musical curriculum, Dire Straits is another chapter in his promising career, we are lucky to know details of how the dynamics of live music worked at that time, the example of Sultans of Swing that Chris brought us demystifies a lot of things.

Thanks, Chris W.

[quizzaciously]

So it's not just creative differences, but musical egos clashing.

The funny thing about your posts is that you are contradicting the people who were there, experienced it in real life. You are guessing, apparently based on the fact you admire Mark a great deal. Maybe accept some people who actually lived it have more truth to say than you do.

welcome to a fan forum. lol. but yes, you are so right with that observation...

But you keep missing my point that I base my opinions on interviews and words of real people. To be honest, is quite annoying to have a discussion where all you get from your opposition is "you are 100% wrong and you just a blind MK fanatic". Okay, I'm 100% wrong, you are 100% right, case closed.

[benducret]

I totally agree with you Brunno.

As an ex-dire straits fan, or early straits fan, basically someone who loves many of the songs MK wrote, I'm interested in getting insights on how things worked and evolved.

Any first hand testimony is a gem, be it from Chris, pick, terry, Phil, John, dave or anyone who really got involved into that music.

Pick will be remembered for his work with Dire straits by People who love or have loved dire straits.

As for playing loud, even terry williams who is a straight (and straits) rock n roll drummer played louder with DS than with edmunds and the likes.
The meat loaf kit he used with DS tells a lot. In the Mike oldfield book it is hinted at the fact that MK gave him precise indications too.

It's no wonder it could have been frustrating for more subtle drummers.

What separates terry from other DS drummers is ... that he was happy with what he had to do. Good for him !

Pick was a great drummer. The ryhtm parts were much more lively when he played with DS, mk's guitar ryhtm parts were almost funky.

I can understand what he used to say about the diminishing importance of drums and rythm in dire straits.

Jeff porcaro, manu katche and Chris witten brought some interesting drum parts to the OES era.

But if you listen to the great Omar Hakim on BIA, it's not alive at all. Sting knew what to do with a drummer like Omar Hakim, or weather report, etc. But MK just wanted something square, tight and clean.

And loud when live.

[Knut]

It is incredibly cool to hear your from you Chris, please stay and share <3 Before you, Pick and Terry started to explain how it was, I thought that it was drummers with different styles, when in fact it was Mark who chose the style of the drums.
And welcome to a MK forum were the absolute rule number one is: never say something positive about MK. Then you are a praiser, someone who think Mark is a god. I don't think anybody, and certainly not here, think that way.

If "something positive" is to pull down other members importance in the band's success, then that's just not the way to do it. This whole "let's compare MK to X" thingy is just sad. Mark doesn't play the drums, so naturally there is a team effort behind any record.

There are many big artists that have switched bands without keeping the same amount of success. Bruce Springsteen is one of them - you won't find many people who prefer "the other band" era to the E Street era. Simply because the other guys are just as irreplaceable as the singer, songwriter and guitarist-guy. Sometimes as a whole, sometimes on an individual basis. Is thinking of MK as a regular member of DS unfair in any way?

[quizzaciously]

It is incredibly cool to hear your from you Chris, please stay and share <3 Before you, Pick and Terry started to explain how it was, I thought that it was drummers with different styles, when in fact it was Mark who chose the style of the drums.
And welcome to a MK forum were the absolute rule number one is: never say something positive about MK. Then you are a praiser, someone who think Mark is a god. I don't think anybody, and certainly not here, think that way.

If "something positive" is to pull down other members importance in the band's success, then that's just not the way to do it. This whole "let's compare MK to X" thingy is just sad. Mark doesn't play the drums, so naturally there is a team effort behind any record.

There are many big artists that have switched bands without keeping the same amount of success. Bruce Springsteen is one of them - you won't find many people who prefer "the other band" era to the E Street era. Simply because the other guys are just as irreplaceable as the singer, songwriter and guitarist-guy. Sometimes as a whole, sometimes on an individual basis. Is thinking of MK as a regular member of DS unfair in any way?

To me, treating MK as a regular member of DS is a straight-up crime. Without the guy, there would be no Dire Straits, no recording at Montserrat, no Brothers In Arms tour, or On Every Street tour, no arranging of drum parts or piano parts for Telegraph Road, no meeting Bob Dylan and playing with him on Slow Train Coming, no nothing.

Mark is more like a good movie director in this sense... An army of people work on a movie, including actors and others who made a big impact, but it's still "Quentin Tarantino's movie" or whatever. Without this piece, nothing would work. The director has a vision, and passion for the project and sees the final product before it's even been made. Besides, if you worked for Quentin, everybody knows then you are good, because of the quality level established by the director.

I'm not an MK fanatic by any means, I just look at facts. The fact is almost everybody who worked with the man treats this experience as a highlight of their career or most likely even the best part of it. Read or listen to any interviews. The only people who disagree on this are the ones who tried to battle MK and failed miserably or simply couldn't find a middle ground. I'm sure for Chris working with Mark was a highlight despite all the flaws. How can it NOT be a highlight?

It's the job of regular members of the band to use this experience as a trampoline to their own success, either within the band or on their own. If you don't like Mark and his work ethic, then go and become Mark yourself if you're so smart. For some reason, I don't see a lot of Mark Knopflers running around.

[herlock]

It is incredibly cool to hear your from you Chris, please stay and share <3 Before you, Pick and Terry started to explain how it was, I thought that it was drummers with different styles, when in fact it was Mark who chose the style of the drums.
And welcome to a MK forum were the absolute rule number one is: never say something positive about MK. Then you are a praiser, someone who think Mark is a god. I don't think anybody, and certainly not here, think that way.

If "something positive" is to pull down other members importance in the band's success, then that's just not the way to do it. This whole "let's compare MK to X" thingy is just sad. Mark doesn't play the drums, so naturally there is a team effort behind any record.

There are many big artists that have switched bands without keeping the same amount of success. Bruce Springsteen is one of them - you won't find many people who prefer "the other band" era to the E Street era. Simply because the other guys are just as irreplaceable as the singer, songwriter and guitarist-guy. Sometimes as a whole, sometimes on an individual basis. Is thinking of MK as a regular member of DS unfair in any way?

To me, treating MK as a regular member of DS is a straight-up crime. Without the guy, there would be no Dire Straits, no recording at Montserrat, no Brothers In Arms tour, or On Every Street tour, no arranging of drum parts or piano parts for Telegraph Road, no meeting Bob Dylan and playing with him on Slow Train Coming, no nothing.

Mark is more like a good movie director in this sense... An army of people work on a movie, including actors and others who made a big impact, but it's still "Quentin Tarantino's movie" or whatever. Without this piece, nothing would work. The director has a vision, and passion for the project and sees the final product before it's even been made. Besides, if you worked for Quentin, everybody knows then you are good, because of the quality level established by the director.

I'm not an MK fanatic by any means, I just look at facts. The fact is almost everybody who worked with the man treats this experience as a highlight of their career or most likely even the best part of it. Read or listen to any interviews. The only people who disagree on this are the ones who tried to battle MK and failed miserably or simply couldn't find a middle ground. I'm sure for Chris working with Mark was a highlight despite all the flaws. How can it NOT be a highlight?

It's the job of regular members of the band to use this experience as a trampoline to their own success, either within the band or on their own. If you don't like Mark and his work ethic, then go and become Mark yourself if you're so smart. For some reason, I don't see a lot of Mark Knopflers running around.

Roger that.

Somebody whom I find similar to Mark in the cinema field in my other idol, Stanley Kubrick.

Another guy who was a telented genius, who was known for being a perfectionist to the point of tyranny, for being slow (only 13 movies in 45 years of career), for not giving a lot of interviews, keeping it quiet, for not being good at keeping relationships going once the work is over (ask Malcom Mcdowell), but also known to accept input from a talented and respected guy (ask Peter Sellers).

Although it would have been hard to make Dr Strangelove the same without Peter Sellers, you can't seriously say that Kubrick was just a regular member of the film team. Without Kubrick, no Strangelove, whereas somebody else could have played Strangelove.

Geniuses don't want their work to be degraded in any way, so if you're not totally committed to their vision, you are out. That's the price to pay to get masterpieces like Brothers in Arms or  2001, space odyssey...

I'm sure Mark and Stanley held each other in high esteem, although there is no evidence that they even met.

[Robson]

It is incredibly cool to hear your from you Chris, please stay and share <3 Before you, Pick and Terry started to explain how it was, I thought that it was drummers with different styles, when in fact it was Mark who chose the style of the drums.
And welcome to a MK forum were the absolute rule number one is: never say something positive about MK. Then you are a praiser, someone who think Mark is a god. I don't think anybody, and certainly not here, think that way.

If "something positive" is to pull down other members importance in the band's success, then that's just not the way to do it. This whole "let's compare MK to X" thingy is just sad. Mark doesn't play the drums, so naturally there is a team effort behind any record.

There are many big artists that have switched bands without keeping the same amount of success. Bruce Springsteen is one of them - you won't find many people who prefer "the other band" era to the E Street era. Simply because the other guys are just as irreplaceable as the singer, songwriter and guitarist-guy. Sometimes as a whole, sometimes on an individual basis. Is thinking of MK as a regular member of DS unfair in any way?

To me, treating MK as a regular member of DS is a straight-up crime. Without the guy, there would be no Dire Straits, no recording at Montserrat, no Brothers In Arms tour, or On Every Street tour, no arranging of drum parts or piano parts for Telegraph Road, no meeting Bob Dylan and playing with him on Slow Train Coming, no nothing.

Mark is more like a good movie director in this sense... An army of people work on a movie, including actors and others who made a big impact, but it's still "Quentin Tarantino's movie" or whatever. Without this piece, nothing would work. The director has a vision, and passion for the project and sees the final product before it's even been made. Besides, if you worked for Quentin, everybody knows then you are good, because of the quality level established by the director.

I'm not an MK fanatic by any means, I just look at facts. The fact is almost everybody who worked with the man treats this experience as a highlight of their career or most likely even the best part of it. Read or listen to any interviews. The only people who disagree on this are the ones who tried to battle MK and failed miserably or simply couldn't find a middle ground. I'm sure for Chris working with Mark was a highlight despite all the flaws. How can it NOT be a highlight?

It's the job of regular members of the band to use this experience as a trampoline to their own success, either within the band or on their own. If you don't like Mark and his work ethic, then go and become Mark yourself if you're so smart. For some reason, I don't see a lot of Mark Knopflers running around.

 

[dustyvalentino]

I'm not an MK fanatic by any means

[Chris W]

I'm not an MK fanatic by any means, I just look at facts. The fact is almost everybody who worked with the man treats this experience as a highlight of their career or most likely even the best part of it. Read or listen to any interviews. The only people who disagree on this are the ones who tried to battle MK and failed miserably or simply couldn't find a middle ground. I'm sure for Chris working with Mark was a highlight despite all the flaws. How can it NOT be a highlight?

It's the job of regular members of the band to use this experience as a trampoline to their own success, either within the band or on their own. If you don't like Mark and his work ethic, then go and become Mark yourself if you're so smart. For some reason, I don't see a lot of Mark Knopflers running around.

This is sooooo over the top.
For a start Pick left the band. He wanted to pursue different projects. I'm gonna guess he never expected to be a rock star like Mark, or that his other projects would achieve the same success as Dire Straits.
I had many career highlights, probably by far the biggest of which was playing Beatles songs with one of The Beatles, songs that had NEVER been performed live before.
I've played on critically acclaimed hit albums, I've played with Johnny Cash and The Pretenders etc...
As a professional you have to be calm when working with huge stars, so many of us just assess our experience in a calm and reasoned way.
The OES tour was gruelling. Mark was pretty much in a bad mood the entire 14 month tour. This has been well documented before - by Ed Bicknell and John Illsley in various interviews after the fact.
I rank playing with Dire Straits as a career highlight, sure, but it is no more of a highlight than working with McCartney or being in the studio playing on a hit record.
Finally, I have no ambition to be an incredible song writer or a millionaire rock star (I've seen what it does to people). So like many before me, I congratulate Mark on his career and success, but I'm not envious or jealous of him.

[Jules]

I'm not an MK fanatic by any means, I just look at facts. The fact is almost everybody who worked with the man treats this experience as a highlight of their career or most likely even the best part of it. Read or listen to any interviews. The only people who disagree on this are the ones who tried to battle MK and failed miserably or simply couldn't find a middle ground. I'm sure for Chris working with Mark was a highlight despite all the flaws. How can it NOT be a highlight?

It's the job of regular members of the band to use this experience as a trampoline to their own success, either within the band or on their own. If you don't like Mark and his work ethic, then go and become Mark yourself if you're so smart. For some reason, I don't see a lot of Mark Knopflers running around.

This is sooooo over the top.
For a start Pick left the band. He wanted to pursue different projects. I'm gonna guess he never expected to be a rock star like Mark, or that his other projects would achieve the same success as Dire Straits.
I had many career highlights, probably by far the biggest of which was playing Beatles songs with one of The Beatles, songs that had NEVER been performed live before.
I've played on critically acclaimed hit albums, I've played with Johnny Cash and The Pretenders etc...
As a professional you have to be calm when working with huge stars, so many of us just assess our experience in a calm and reasoned way.
The OES tour was gruelling. Mark was pretty much in a bad mood the entire 14 month tour. This has been well documented before - by Ed Bicknell and John Illsley in various interviews after the fact.
I rank playing with Dire Straits as a career highlight, sure, but it is no more of a highlight than working with McCartney or being in the studio playing on a hit record.
Finally, I have no ambition to be an incredible song writer or a millionaire rock star (I've seen what it does to people). So like many before me, I congratulate Mark on his career and success, but I'm not envious or jealous of him.

Fully agree with Chris here, seems so obvious to me that I never understood why the rest of people doesn't get it...