Alan Clark - new interview

[Rivers Of Rain]

As for the country stuff on OES...

I've been thinking about Dusty's point about Setting Me Up on the first record. It's a fair point - it's country/country rock song. And yes, Mark uses chicken pickin' and so on. Still, Setting Me Up is just such an awesome song - great riff, catchy lyrics, cool groove, fantastic soloing - and it does not feel typical of those early albums. It is more of an outlier. (Six Blade Knife is bluesy, but mostly the early songs are neither blues nor country).
 
With OES, and the tour, there is a different vibe that comes across in several of the songs, no doubt reflecting Mark's leaning in that direction more generally. The last DS song is How Long, and it's fine and everything, but still... It does seem a bit odd. And in that sense I think Alan is right.

I agree about How Long, when I last listened to it I found it strange to think that it is the closing song of the DS studio discography. I actually quite like the song, but it just doesn't seem like a fitting send off for the band. For all the changes in personnel and musical style, I do think there is a je ne sais quoi which is shared by practically every song from the first five DS albums, whereas On Every Street has several strongly country influenced tracks which don't have this feel. In my view this becomes more noticeable with the inclusion of songs that do fit comfortably with the vibe of the earlier albums - I think if OES ended with a more 'DS' track like Planet of New Orleans, rather than How Long, it would seem like less of an outlier.

[Beryl]

I think Calling Elvis, Fade to Black, The Bug, You and Your Friend and Iron Hand, give the pedal steel or take it, are songs that could had been on first DS album. And When It Comes To You is absolutely a prime example of vintage DS debut, pure 1978 Knopfler, just the most first-DS-album song ever recorded by the band outside the actual first album.

[Love Expresso]

As for the country stuff on OES...

I've been thinking about Dusty's point about Setting Me Up on the first record. It's a fair point - it's country/country rock song. And yes, Mark uses chicken pickin' and so on. Still, Setting Me Up is just such an awesome song - great riff, catchy lyrics, cool groove, fantastic soloing - and it does not feel typical of those early albums. It is more of an outlier. (Six Blade Knife is bluesy, but mostly the early songs are neither blues nor country).
 
With OES, and the tour, there is a different vibe that comes across in several of the songs, no doubt reflecting Mark's leaning in that direction more generally. The last DS song is How Long, and it's fine and everything, but still... It does seem a bit odd. And in that sense I think Alan is right.

I agree about How Long, when I last listened to it I found it strange to think that it is the closing song of the DS studio discography. I actually quite like the song, but it just doesn't seem like a fitting send off for the band. For all the changes in personnel and musical style, I do think there is a je ne sais quoi which is shared by practically every song from the first five DS albums, whereas On Every Street has several strongly country influenced tracks which don't have this feel. In my view this becomes more noticeable with the inclusion of songs that do fit comfortably with the vibe of the earlier albums - I think if OES ended with a more 'DS' track like Planet of New Orleans, rather than How Long, it would seem like less of an outlier.

Lyricwise, all songs and even the non-album tracks Millionaire Blues and Kingdom Come are all cynical, bittersweet, negative, sad, blues-like etc, even The Bug. How Long is the only song that transports pure positive unspoiled love and feel which makes it the perfect closing song of OES. It's like a new morning after long dark nights.

LE

[Silvertown]

Lyricwise, all songs and even the non-album tracks Millionaire Blues and Kingdom Come are all cynical, bittersweet, negative, sad, blues-like etc, even The Bug. How Long is the only song that transports pure positive unspoiled love and feel which makes it the perfect closing song of OES. It's like a new morning after long dark nights.

LE

Completely agree! How long is a perfect closing song for OES and for Dire Straits.

[fan no more]

How Long a happy song? Positive? Suggesting a new dawn? Did you even read the lyrics?  The fact that the music is light and happy makes it even more bitter.

[Love Expresso]

Of course I did.

LE

[fan no more]

I know you did; I was just making fun Just interesting how we can perceive and understand the same lyrics so differently.

[quizzaciously]

I know you did; I was just making fun Just interesting how we can perceive and understand the same lyrics so differently.

And you are both right. How Long is the ultimate trolling song from MK. He said he deliberately made it sound as country as possible and yet played the most distorted, rock guitar over it, so country radio stations would be confused about playing this song or not. Also, sad lyrics against a happy melody, the fact it's a 3-chord song (literally a proverbial 3-chord trick song), that you probably won't expect after the years of Telegraph Roads and Brothers In Arms, and the fadeout is perfect as well, and it's the shortest lyrics in all DS songs ever. So many interesting details about this little song.

[dustyvalentino]

I know you did; I was just making fun Just interesting how we can perceive and understand the same lyrics so differently.

And you are both right. How Long is the ultimate trolling song from MK. He said he deliberately made it sound as country as possible and yet played the most distorted, rock guitar over it, so country radio stations would be confused about playing this song or not. Also, sad lyrics against a happy melody, the fact it's a 3-chord song (literally a proverbial 3-chord trick song), that you probably won't expect after the years of Telegraph Roads and Brothers In Arms, and the fadeout is perfect as well, and it's the shortest lyrics in all DS songs ever. So many interesting details about this little song.

I believe he actually said that about Are We In Trouble Now. And he was right - Randy Travis did an almost note for note cover (even using some of the same musicians!) but without the Les Paul, and had a country hit with it.

[Eddie Fox]

I think Calling Elvis, Fade to Black, The Bug, You and Your Friend and Iron Hand, give the pedal steel or take it, are songs that could had been on first DS album. And When It Comes To You is absolutely a prime example of vintage DS debut, pure 1978 Knopfler, just the most first-DS-album song ever recorded by the band outside the actual first album.

I agree, if you change the arrangements adapting those to the more simplistic approach from the early years they would fit right in.

[Rolo]

Every song is reflected with what the composer/songwriter is living at that moment.
The early Knopfler never disappear, he evolved.
Pick any MK's 80's+ song, put in a time machine, and send it to the 70's Knopfler and he will deliver the same song with an 'Early Straits' arrangement.

People are trying to justificate MK's decision on making OES based on Alan's comment about the band direction at the time.

Alan and MK are equally responsibles for the 80's DS soundscape.
In my opinion, MK put Alan aside during the making of OES album.
Alan was not happy with the direction and he can say what he wants about it.

[rmarques821]

When I was 19, I went on a date with a girl who was also a huge Dire Straits fan. After a while, I realised I had no interest in pursuing something more with her and thought of a way to end the date without the going to the bathroom and never coming back trick. So I interrupted whatever she was saying at the time and said:

"You know, my favourite Dire Straits album is On Every Street."

She looked at me for about 2 seconds and left the building. Thank you, OES.

[Jules]

Every song is reflected with what the composer/songwriter is living at that moment.
The early Knopfler never disappear, he evolved.
Pick any MK's 80's+ song, put in a time machine, and send it to the 70's Knopfler and he will deliver the same song with an 'Early Straits' arrangement.

People are trying to justificate MK's decision on making OES based on Alan's comment about the band direction at the time.

Alan and MK are equally responsibles for the 80's DS soundscape.
In my opinion, MK put Alan aside during the making of OES album.
Alan was not happy with the direction and he can say what he wants about it.

I find those comments very logical, as MK was very into the Nashville stuff at that time but the rest of the band wasn't, and probably for the rest of them having a pedal steel player was weird as that was more associted with country music than rock.

For MK was a perfect fit for his evolution as a musician during all the years between BIA and OES.

Alan, a big part of the musical arrangements of every DS song since he joined, was all those years playing with Eric Clapton, very different to what Mk was into during that same period of time.

[Rolo]

I find those comments very logical, as MK was very into the Nashville stuff at that time but the rest of the band wasn't, and probably for the rest of them having a pedal steel player was weird as that was more associted with country music than rock.

For MK was a perfect fit for his evolution as a musician during all the years between BIA and OES.

Alan, a big part of the musical arrangements of every DS song since he joined, was all those years playing with Eric Clapton, very different to what Mk was into during that same period of time.

Steve Vai once said: A composition is, above all, a selfish act.

Mark was so deeply involved into the Nashville Scene that he replaced Terry, add Paul Franklin and almost bring Vince Gill to the band. So, he was selfish enought to do whatever he wanted do do. To please himself.
We know what happened with those who was 'against' Mark.

You guessed my next comment about Alan.
During 86 and 90, Alan was deeply involved with Clapton and Tina.
He was one of the directors of Clapton's Journeyman and the equally famous 24 nights. So, he was much more into rock-pop scene than Nashville.

[Robson]

As for the country stuff on OES...

I've been thinking about Dusty's point about Setting Me Up on the first record. It's a fair point - it's country/country rock song. And yes, Mark uses chicken pickin' and so on. Still, Setting Me Up is just such an awesome song - great riff, catchy lyrics, cool groove, fantastic soloing - and it does not feel typical of those early albums. It is more of an outlier. (Six Blade Knife is bluesy, but mostly the early songs are neither blues nor country).
 
With OES, and the tour, there is a different vibe that comes across in several of the songs, no doubt reflecting Mark's leaning in that direction more generally. The last DS song is How Long, and it's fine and everything, but still... It does seem a bit odd. And in that sense I think Alan is right.

I agree about How Long, when I last listened to it I found it strange to think that it is the closing song of the DS studio discography. I actually quite like the song, but it just doesn't seem like a fitting send off for the band. For all the changes in personnel and musical style, I do think there is a je ne sais quoi which is shared by practically every song from the first five DS albums, whereas On Every Street has several strongly country influenced tracks which don't have this feel. In my view this becomes more noticeable with the inclusion of songs that do fit comfortably with the vibe of the earlier albums - I think if OES ended with a more 'DS' track like Planet of New Orleans, rather than How Long, it would seem like less of an outlier.

Lyricwise, all songs and even the non-album tracks Millionaire Blues and Kingdom Come are all cynical, bittersweet, negative, sad, blues-like etc, even The Bug. How Long is the only song that transports pure positive unspoiled love and feel which makes it the perfect closing song of OES. It's like a new morning after long dark nights.

LE

It's a nice observation, but for me "How Long" is not a happy ending. The song has the same feel to me as "When It Comes To You" But "How Long" is a great introduction to MK's solo chapter