A Mark In Time
Mark Knopfler Discussion => One Deep River / The Boy => Topic started by: localhero1986 on April 09, 2024, 05:18:07 PM
-
My own review on a first listen to the new tracks:
From my point of view there are some nice mixes of “things we know” and new stuff. It all sounds familiar MK but not extremely refreshing, but very nice! Some first thoughts I had listening to the songs:
Smart money: oldest surfer on the beach with a few why worry licks
Scavengers yard: punish the monkey 2.0, I like the “hello” at 3:44 ;D
Black tie jobs: starts like dream of the drowned submariner with a slight vibe of monteleone.
Tunnel 13: don’t crash the ambulance mixed with so far from the clyde and junkie doll
Janine: strongly reminds me of Donkeytown
Sweeter than the rain: fare thee well northumberland & prarie wedding
Before my train comes: it could be a track of neck and neck or all the roadrunning
This one’s not going to end well: the fizzy and the still mixed with In the sky. Track could fit well on KTGC too.
One deep river: follow the ribbon with small picks of ragpickers dream with John Illsley female backing vocal style.
-
Thank you localhero1986 :)
What do the bonus songs sound like?
-
I don’t know (yet)!
-
yeah, is there rockier one in the bonus?
-
Yes, the living end is nice! Rest is softer, more acoustic.. nothing but rain has a nice slow end solo as well.
-
Thank you Dutchessy :) I can't wait for Friday.
-
localhero1986, Dutchessy your favorite song?
-
Tunnel 13 after first listen. Also One Deep River and Janine.
-
:thumbsup
And the whole album on a scale from 1 to 5?
-
Thats hard so soon, 4/5 for now?
-
localhsro1986, Dutchessy your favorite song?
Scavengers Yard is pretty damn cool if you ask me. Tunnel 13 and the title track are also very nice. The ones which are already widely available are not the best imo of them all. But let’s see what all the bonus songs will bring and of course the EP! ;D
-
:thumbsup
localhero1986 sorry for the wrong letter ;)
-
I just finished my first listen to the complete album. For these first impressions I haven't included the 3 songs already out (I like them each in their own way).
I'm one of those people that finds something interesting in every Mark Knopfler song or album, but One Deep River is one hell of an album!
Obviously I haven't focused on the lyrics that much. I intend to do that with the booklet in hand when that arrives later this week.
English isn't my first language either, so it usually takes some time/listenings to understand and comprehend Mark's lyrics.
But musically I like it very much.
The album has a very nice flow from start to finish.
The whole album is very typically Knopfleresque.
Individually all songs are pretty decent as a minimum level (if you know what I mean), no skippers as I can tell so far.
I agree some tracks should have a little more soloing here and there, but I guess that's not Mark anymore at this point in his career and I've made peace with that.
But to comfort people here, the album doesn't lack guitar at all!
Standout tracks for me are:
Scavengers Yard (can't exactly describe it, but fun track. I instantly recognised an (old) Punish The Monkey lick)
Tunnel 13 (great storytelling song, very atmospheric)
Janine (lovely uptempo song, typically Knopfler licks)
Before My Train Comes (sweet track, great trainbeat drums)
Musically my absolute highlight: One Deep River (very layered atmospheric song, I love the Amen!)
Conclusion: Mark's still got it, 1000%
I'm a happy man!
-
As for the bonus tracks, I can understand why they're bonus tracks.
They're pretty good, but they wouldn't really fit in with the flow of the album.
I've always liked the celtic influence in Mark's music, so Along A Foreign Coast is beautiful to me.
The Living End is a cool guitar driven song.
What I'm Gonna Need and Nothing but Rain both have a beautiful little solo/MK guitar moment.
-
oh my god, it's painful to read all this and not be able to listen to the songs. i ordered the box from my local shop but i'm in a country a bit far away. not so so far away:)
thank you very much to all those who shared these impressions. you are now a minority of the few who came out of the premiere and saw the movie.
-
My head's spinning:) Thank you for your first impressions.
-
oh my god, it's painful to read all this and not be able to listen to the songs. i ordered the box from my local shop but i'm in a country a bit far away. not so so far away:)
thank you very much to all those who shared these impressions. you are now a minority of the few who came out of the premiere and saw the movie.
Well, record stores sometimes forget about release dates obviously… Remember buying BLT single on the day of release and the person behind the counter asked me if I wanted the album too. :P
-
One Deep River is the Real Deal! One of the best songs of latest albums in my opinion. - it’s almost o gospel song! And recognition from 'my claime to flame - railroad worksong' with a beautiful deep clean voice! Tomorrow I will write an extensive review! Now just listen to everything quietly.
-
So cool to read all these positive opinions. I don’t usually get jealous, but wow!
-
I'm just finished listening to the full album + bonus tracks.
A clear improvement on DTRW, an album which I've never managed to get into and is probably Mark's worst.
I loved Greg Leisz's playing throughout the album, it fits Mark's style so well. I hope he features on future albums.
Standout tracks for me are Janine, Tunnel 13, Watch Me Gone and One Deep River.
For the first time in Mark's solo career, I think they made a good decision with the bonus tracks. They're not bad songs, but I also wouldn't feature them in the main album. Along a Foreign Coast is A Night In Summer Long Ago and Nothing But Rain is Fade to Black.
If you liked Tracker, you'll like this album too. It won't make you dance or bang your head, but it'll always be there for you, an easy listen, like a good friend. It will make a great travel companion for my long-haul flights.
Now we still have The Boy to look forward to. Let it come!
-
Yes, the living end is nice! Rest is softer, more acoustic.. nothing but rain has a nice slow end solo as well.
Agree with you about the bonus songs. The Living End needs to be on the album to give it much needed pace and energy I think as it does lag a bit.
-
I'm very happy with the album.
In my opinion, Mark lands on his own territory.
There is no jazzy tunes, and as myself a jazz lover, i thank MK for give up on his jazzy songs like was many on DTRW.
I feel the album very grounded on 'Americana'.
For us, as said above, it's Mark's proper territory.
To my taste, the album starts great.
Two Pair Of Hands is one of recent MK songs that i like the most.
Of course, Ahead Of The Game, Smart Money and Scavengers Yard brings a sequence as long time i've no seen. Based on Knopfler recent work, they are killer songs.
Tunnel 13 and Janine are both great. Special mention to Tunnel 13 harmony. Very tasteful. If Tunnel had a solo at the end... would be perfect.
I felt the orquestra on Black Tie Jobs a bit strange. In my opinion could be better without it.
When the album hits to Watch Me Gone, in my opinion, the album starts to decay. The remain songs are good, but, to my taste, both sounded disconnected from the first 7 songs.
In few words, it's a very good album.
There are moments that i feel like this album is a Golden Heart extension. Other moments its like a mix between STP and SL.
The Bonus Tracks are what they are. Bonus!
Nothing fancy. Just bonus.
-
Yes, the living end is nice! Rest is softer, more acoustic.. nothing but rain has a nice slow end solo as well.
Agree with you about the bonus songs. The Living End needs to be on the album to give it much needed pace and energy I think as it does lag a bit.
Sometimes I wonder if Mark makes his albums lag or drag on purpose to test his fans. A bit like the Carpenter from Nazareth: "And he cometh unto the disciples, and findeth them asleep, and saith unto Peter, What, could ye not watch with me one hour?"
;D
-
I like it very much in general, despite most of them sounds so similar to previous existing songs.
My favorite is right now Scavengers Yard but I'm sure that others would gain positions with more listenings.
I would say that the record in general, it sounds for me like those country songs in Golden Heart.
-
My mouth is watering reading all the reviews of the new album, but I must contain myself and, hopefully, my copy will arrive on Friday! Can hardly wait! :)
-
I like it very much in general, despite most of them sounds so similar to previous existing songs.
My favorite is right now Scavengers Yard but I'm sure that others would gain positions with more listenings.
I would say that the record in general, it sounds for me like those country songs in Golden Heart.
I agree, Scavenger’s Yard is cool.
I haven’t heard all the songs yet. Very slow album with a few faster ones.
-
I like it very much in general, despite most of them sounds so similar to previous existing songs.
My favorite is right now Scavengers Yard but I'm sure that others would gain positions with more listenings.
I would say that the record in general, it sounds for me like those country songs in Golden Heart.
I agree, Scavenger’s Yard is cool.
I haven’t heard all the songs yet. Very slow album with a few faster ones.
"Faster ones" meaning songs like Two Pairs of Hands and Ahead of the Game?
-
I have to say that it's a very short record in my opinion, while working, I listened to it a couple of times already, and my impression when I started to listen to "This ones no going to end well" is, wow, I'm almost at the end of the record already!
Maybe it's that it flows so well that it makes it a fast experience, or maybe is really short. However, I would had included at least two of the bonus tracks in the standard edition, "LIving end" and "nothng but rain", two of my favourites from the whole thing, despite "Living end" songs so similar to "Back on the dance floor" with that UA UA UA chorus too!
-
I have to say that it's a very short record in my opinion, while working, I listened to it a couple of times already, and my impression when I started to listen to "This ones no going to end well" is, wow, I'm almost at the end of the record already!
Maybe it's that it flows so well that it makes it a fast experience, or maybe is really short. However, I would had included at least two of the bonus tracks in the standard edition, "LIving end" and "nothng but rain", two of my favourites from the whole thing, despite "Living end" songs so similar to "Back on the dance floor" with that UA UA UA chorus too!
I think you are probably just used to Mark's albums being really long.
-
I strongly recomment to just stop thinking in categories like "fast" or "slow". It is much more rewarding to listen to the songs without expecting rockers, killers or stompers. Just enjoy the sheer beauty of these new wonderful songs.
LE
-
Listening for 4th time now.
Strong opening songs - very strong middle part with Tunnel 13, Janine and Watch me Gone and a beautiful closer.
Sounds really well connected and all songs fits in perfectly. Tempo isn't important, the overall sound is so atmospheric. The pedal steel is an amazing addition and every song has nice guitar playing and signature Knopfler style.
Hands down masterpiece (5/5)
-
Thats hard so soon, 4/5 for now?
5/5 for sure.
-
Thats hard so soon, 4/5 for now?
5/5 for sure.
Have you given 5/5 for other solo albums after a few listenings?
-
No, i have never rated any album on here i think.. It's tricky because all new MK is overwhelming ofcourse and i'm always enthousiastic... But i really think this is among his best albums..
On 3th place after STP/GH for me.. but maybe it's too early to rank it like this
-
Is there any song that talks about something similar to Drover's Road?
-
Is there any song that talks about something similar to Drover's Road?
Lyricwise you mean?
-
Is there any song that talks about something similar to Drover's Road?
Lyricwise you mean?
Yes.
-
No there isn't.
LE
-
Is there any song that talks about something similar to Drover's Road?
About a road to transport food and other products in the old times using animals?
-
Is there any song that talks about something similar to Drover's Road?
About a road to transport food and other products in the old times using animals?
I guess he means about rural England like in Before Gas & TV, Yon Two Crows and Drovers Road. Folky themes. But there is no folk music on this record as such. Maybe small echoes of it in This One's Not Going To End Well.
LE
-
Is there any song that talks about something similar to Drover's Road?
About a road to transport food and other products in the old times using animals?
I was thinking more about man himself and his contact with nature before it all started (Before Gas And TV)
-
Maybe Janine? I haven't focused on other lyrics
-
That's what I thought about Janine because we know the lyrics:) Thank you.
-
Man, I have trouble to put my impressions in words. I am totally overwhelmed by the quality of this record in every aspect. And the absence of stuff that always annoyed me. His songwriting has made a huge step. He gets more personal, more spiritual. I had not expected this to be so good. I try to write a more detailed review the next days.
LE
-
Man, I have trouble to put my impressions in words. I am totally overwhelmed by the quality of this record in every aspect. And the absence of stuff that always annoyed me. His songwriting has made a huge step. He gets more personal, more spiritual. I had not expected this to be so good. I try to write a more detailed review the next days.
LE
Really waiting for your review, because I know that you can also be critical.
-
"more spiritual"
Exactly! Now you need to write more:) What do you mean?
-
reading them now feels like torture:)))) After 2 days it is obvious that this place will be like a festival ground. everyone is writing positive things. not a single negative, where are you pavel ;D
-
reading them now feels like torture:)))) After 2 days it is obvious that this place will be like a festival ground. everyone is writing positive things. not a single negative, where are you pavel ;D
:D I was also thinking that...
-
reading them now feels like torture:)))) After 2 days it is obvious that this place will be like a festival ground. everyone is writing positive things. not a single negative, where are you pavel ;D
Hopefully Pavel has the tracks and is currently producing youtube instruction videos on how to play them all so he is the first out there!
-
reading them now feels like torture:)))) After 2 days it is obvious that this place will be like a festival ground. everyone is writing positive things. not a single negative, where are you pavel ;D
Hopefully Pavel has the tracks and is currently producing youtube instruction videos on how to play them all so he is the first out there!
I hope so too. pavel's guitar skills and his interpretation of new songs are always eagerly awaited.
-
I contacted him. He is far from AMIT at the moment. He said He is in a rough place at the moment and has a hard time. My thoughts are with him. I was not asking further.
LE
-
He gets more personal, more spiritual.
I like this. Although I like a lot of Mark's lyrics, after the first two or three DS albums, he became a lot more "distant", in my opinion. Much more the observer. And his book-summary songs don't do a lot for me.
-
He gets more personal, more spiritual.
I like this. Although I like a lot of Mark's lyrics, after the first two or three DS albums, he became a lot more "distant", in my opinion. Much more the observer. And his book-summary songs don't do a lot for me.
Exactly that. Book summary is very well said.
LE
-
I contacted him. He is far from AMIT at the moment. He said He is in a rough place at the moment and has a hard time. My thoughts are with him. I was not asking further.
LE
I'm sorry to hear that. Pavel and I may have our differences, but I feel truly sorry for him, and any Russian, for having to live under such unpredictable circumstances. I'm not saying this is the reason why he's having a hard time, but it certainly cannot help. Take care, Pavel, if you're reading this.
-
He is online at the moment :wave
-
Listening for 4th time now.
Strong opening songs - very strong middle part with Tunnel 13, Janine and Watch me Gone and a beautiful closer.
Sounds really well connected and all songs fits in perfectly. Tempo isn't important, the overall sound is so atmospheric. The pedal steel is an amazing addition and every song has nice guitar playing and signature Knopfler style.
Hands down masterpiece (5/5)
I totally agree to you!
Thanks to Mark's shop I received the album yesterday. Since then I have listened to it three times and been very happy with his new music.
The overall atmosphere of the new album is absolutely great. Quite different from DTRW. Great songs, Janine, Tunnel 13, Watch Me Gone and One Deep River, wonderful. There is no skipper for me until now.
Mark's guitar plaiying sounds very tasteful, his aging vioce fit the songs very well.
Even the bonus tracks are good. The bluesy Nothing But Rain reminds me of Fate to black. I wish the solo was a little longer.
The contribution of Greg Leisz and the two harmony singers is lightly dosed and sounds good.
I'm very pleased with his new album, you can spend a long time with it. Especially with the lyrics, it will takes a lot of time for me to figure out what he wants to tell.
All in all, the album gives me peace of mind.
-
I contacted him. He is far from AMIT at the moment. He said He is in a rough place at the moment and has a hard time. My thoughts are with him. I was not asking further.
LE
Seconded, I hope things get better soon Pavel, whatever they are.
-
Listening for 4th time now.
Strong opening songs - very strong middle part with Tunnel 13, Janine and Watch me Gone and a beautiful closer.
Sounds really well connected and all songs fits in perfectly. Tempo isn't important, the overall sound is so atmospheric. The pedal steel is an amazing addition and every song has nice guitar playing and signature Knopfler style.
Hands down masterpiece (5/5)
Totally agree. Very well said.
LE
-
In my opinion, this is an overwhelming record with a real Americana sound with influences from the latest albums and Tracker in particular. But certainly also a base of GH and STP en some DS / NHB sounds.
The sound quality is really phenomenally good, MK's voice is superb and the guitars are also fantastically mixed. It really is listening music of the highest quality. It always moves me when new music from MK sees the light of day. It is a moment that makes you realize that it is also coming to an end and you get the feeling that MK realizes this too.
I personally think it is a masterpiece of his solowork just like GH / STP. With my personal favorites songs Scavengers Yard, Tunnel 13, Janine and overall the MK signature song One Deep River, with a very nice bonus song The Living End!
I wish everyone a wonderful listening moment! It was well worth the wait.
-
I had the pleasure to meet Pavel with his wife some years ago in Lyon.
A very nice guy a a very talented one of course, and his thoughts are alaways worth to read
I hope you are well Pavel if you're reading us. :wave
-
First impression are... that I got to stop after track 6 (Tunnel 13)
Too much I was crying after listening to the succession of tracks 4-5-6 (Scavengers, Black tie and Tunnel).
Scavengers is astonishing, should have been a great single, but putting Black tie soon after and then Tunnel is just phenomeal!!
Love this album, so much better than the last one!!
-
This one’s emotional for me. Don’t know why. It’s very touching. Don’t know what to say about it at the moment. Bit lost for words. The songs are beautiful.
-
First impression are... that I got to stop after track 6 (Tunnel 13)
Too much I was crying after listening to the succession of tracks 4-5-6 (Scavengers, Black tie and Tunnel).
Scavengers is astonishing, should have been a great single, but putting Black tie soon after and then Tunnel is just phenomeal!!
Love this album, so much better than the last one!!
Yesterday, i had EXACTLY the same... I needed a break after Tunnel because it broke me haha
And then you get Janine and Watch me Gone... also outstanding songs on the same level as Tunnel 13
-
WOW!
Same as K-alberto, LE and Dutchessy Tunnel 13 floored me! Sobbing I was :smack
Mark & Greg trading licks & the best production & mixing in the outro has to be one of the Best things Mark has ever recorded!
The atmosphere hits you right at the start with Emma & Tamsin and they are still there as the junkie doll outroesque meets praire wedding outro washes over you!
The true story is so sad at every level!
Four good men lay murded
in the Dogwoods & Pines
leaving widows & children
and heartbreak behind
Tunnel 13 is the place in the song
where the beautiful
Redwood for my guitar came from
-
Good to see a general air of positivity. Reading the comments so far there are so many comments I had been thinking myself and wanted to say, however I keep getting the feeling throughout that he's refusing a solo where I am expecting one and there's a general lack of energy and guitar.
The strongest songs are all placed together on the album from Scavengers to Janine, after which it weighs anchor until the uplifting Before My Train Comes wakes you up. That is short lived though because it's followed by the dreary This One's Not Going to End Well. One Deep River has so much potential to be a classic Knopfler but totally lacks punch and the final solo is taken over by Greg instead of Mark playing us out of what could well be his last album.
I think The Living End, and possibly Nothing But Rain could have been on the album instead of Sweeter than the Rain and This One's Not Going to End Well to give the album a little more pace and energy but what do I know.
Still some great songs on here though. The two standout tracks for me are:
Black Tie Jobs is a beautiful song, a kind of follow-up to Basil.
Tunnel 13 is a reworking of Terminal of Tribute To (Thanks Bruno)! Great song.
Interesting to note that The Living End has the same beat as El Macho.
If you get the LP you may want to play it at 45rpm. ;D
-
Reading all the comments is fantastic but also a kind of torture if you haven't had a chance to listen yet.
Friday, where are you?
-
Good to see a general air of positivity. Reading the comments so far there are so many comments I had been thinking myself and wanted to say, however I keep getting the feeling throughout that he's refusing a solo where I am expecting one and there's a general lack of energy and guitar.
The strongest songs are all placed together on the album from Scavengers to Janine, after which it weighs anchor until the uplifting Before My Train Comes wakes you up. That is short lived though because it's followed by the dreary This One's Not Going to End Well. One Deep River has so much potential to be a classic Knopfler but totally lacks punch and the final solo is taken over by Greg instead of Mark playing us out of what could well be his last album.
I think The Living End, and possibly Nothing But Rain could have been on the album instead of Sweeter than the Rain and This One's Not Going to End Well to give the album a little more pace and energy but what do I know.
Still some great songs on here though. The two standout tracks for me are:
Black Tie Jobs is a beautiful song, a kind of follow-up to Basil.
Tunnel 13 is a reworking of Terminal of Tribute To (Thanks Bruno)! Great song.
Interesting to note that The Living End has the same beat as El Macho.
If you get the LP you may want to play it at 45rpm. ;D
Hard to believe that you call one of the best songs "dreary".. :think
LE
-
Reading all the comments is fantastic but also a kind of torture if you haven't had a chance to listen yet.
Friday, where are you?
We're in the same boat brother, only 2 days to go!
-
Reading all the comments is fantastic but also a kind of torture if you haven't had a chance to listen yet.
Friday, where are you?
We're in the same boat brother, only 2 days to go!
I'm in this boat too, but I'm slowly giving up.
-
Reading all the comments is fantastic but also a kind of torture if you haven't had a chance to listen yet.
Friday, where are you?
We're in the same boat brother, only 2 days to go!
I'm in this boat too, but I'm slowly giving up.
Don't give up, the boat will soon reach the saving shore..... ;)
-
WOW!
Same as K-alberto, LE and Dutchessy Tunnel 13 floored me! Sobbing I was :smack
Mark & Greg trading licks & the best production & mixing in the outro has to be one of the Best things Mark has ever recorded!
The atmosphere hits you right at the start with Emma & Tamsin and they are still there as the junkie doll outroesque meets praire wedding outro washes over you!
The true story is so sad at every level!
Four good men lay murded
in the Dogwoods & Pines
leaving widows & children
and heartbreak behind
Tunnel 13 is the place in the song
where the beautiful
Redwood for my guitar came from
Tunnel13 is epic and so masterful...MK the wordsmith yet again...impossible to get through this without a tear or three
-
Just a brilliant album.Shame there is no tour to go with it.Only listened once but have to sleep now.
-
I think The Living End, and possibly Nothing But Rain could have been on the album instead of Sweeter than the Rain and This One's Not Going to End Well to give the album a little more pace and energy but what do I know.
Totally agree with this, the living end is great. Will never listen to Sweeter than the Rain or that other dreary track ever again
-
I have a feeling an alternative title of this album could be '50 Shades of Beige'. I don't think it will hit home considering where I am now musically speaking.
-
If I may say so, this is an autumn album, not a spring album, it’s so melancholic, ideal for the spooky season :)
-
I didn’t had much high expectations but I am totally surprised how good it is. Although some bonustracks should have been on the regular album.
-
If I may say so, this is an autumn album, not a spring album, it’s so melancholic, ideal for the spooky season :)
Totally agree. I actually think it's "wrong" to release it now.
I've had my first listen now (VPN, Youtube Music), and I have to say it's better than I feared. It is not groundbreaking, and you can trace many bits and pieces from earlier albums. The recording quality is great as expected. I especially like the spaciousness of the production, and the shorter-than-usual running length feels just right. It is mostly a slow album, and apart from Scavenger's Yard, there's a certain sameness to the songs - which I actually find works well and gives the album unity - but had the album been longer, it would really have started to drag.
Overall I find it to be a good album, but not a great one. It's too similar to everything else Mark has done. I feel it is like a cross between Golden Heart / Sailing to Philadelphia and Kill To Get Crimson: It has the mood of KTGC and the sound of GH/STP (much due to Greg Leisz), if that makes any sense. The album could do with some more punch and energy in places, though. Not necessarily "rockers", but just some more oomph.
- The three singles were some of the weakest tracks for me, Two Pairs of Hands especially. But as usual, never judge an album by its single(s).
- I really liked Smart Money. It has a strong Notting Hillbillies vibe, especially the guitar playing. I wonder if it's the black Pensa Suhr. The sound reminds me of Water of Love played by NHB.
- The guitar playing varies a lot in quality, I feel. In some places it really feels like good old Mark, and in other places it sounds like, well, just old Mark. Stiff and uninspired.
- A lot of you love Tunnel 13. I think it's OK.
- The standout track for me is Scavenger's Yard. It's wacky, wild and dark, and it's a direction I wish Mark would go in. I envision Arkham Asylum (from Batman) when I hear it. The way Mark sings "Welcome" at some point is fantastic. He's so good with voices.
-
The album was well worth the wait of nearly 6 years. It's very strong on first listen. Wish I could also hear Dolly Shop Man, Wrong'Un, Chess and Your Leading Man, but hopefully soon.
Anyway, Knopfler really is one deep river indeed. We knew that before, but it's confirmed yet again. Such an emotional album with wonderful melodies and beautiful guitar playing. So many lovely details. Very reflective of the past and quite aware that the end may well be near soon. If this is the last one, what a way to go out. Hopefully it won't be and won't happen soon.
I think the three singles are much better as album tracks, as the album has a good flow mostly. Love so many songs already. Need to warm up to Sweeter Than The Rain still, my least favorite song so far (very similar to Fish And The Bird).
Based on reviews I've read, I think Smart Money, Fat Chance Dupree and Nothing But Rain are some of the most underrated songs already, there might be a few more.
Mark's voice is great throughout and so is his guitar playing.
I believe the album doesn't really overstay its welcome, I believe it's just right, when it comes to length and the overall picture. I don't believe that anything is too forced or overdone. I believe it's just fine in that regard.
I would like to say that I loved every Knopfler studio album so far (even Dire Straits) and I like nearly all the songs.
This is definitely some of the best stuff for me that I've listened to from him.
And I also like to say that I think lyrically the album is pretty impressive as well. Mark pulls off very unique rhyming techniques unlike I've seen him do before. It's brilliant. Very unpredictable rhyming ability that keeps your attention.
And of course his phrasing and way of words and the different voices - it's all great.
Long overdue but well worth the wait.
-
Seems like the main album went on youtube a few hours ago.
Nothing really bad, but nothing standout, either. Sounds like something you'd put on and have in the background while doing other stuff. DTRW has some interesting tracks I come back to now and then, this not so much. Scavenger's yard has a cool sound, though - probably that one track I really enjoy here. Ahead of the game is also decent enough.
-
After just one listening, this is very good. Lots of evocative ideas beautifully executed and with only a very moderate amount of auto plagiarism. One of his finest albums ever, and it seems time has helped after his very worst record (which is by far the terrible DTRW). And guitar everywhere (amazing Greg Leisz by the way), lots more in ghis album than the previous and very poor predecessor. No flashing riffs but who cares.
And to those who say that it's slow: I, as MK, also happen to be older and quieter, and I love the approach. He's 74, damnit. Twisting By The Pool would ve just ridiculous.
-
Agree that this miles and miles better than DTRW which I have never taken off the shelf after getting it all those years ago. I could see myself listening to this album in its entirety now and again.
-
I had high hopes for this one when they brought Greg Leisz onboard. Great opportunity for some rockers I thought.
Then reports were saying it was a slow one. And I kind of lost a huge chunk of interest.
But did a full 360. It's much more even than DTRW which had a few awful songs. Maybe I've matured in taste but most of these are savoury classics. Not many skippers at all. And there's the beauty of this record.
This is a record that should be enjoyed slowly along with a glass of red wine, or two.
It's obvious that MK is aware of that the career is on the last stretch giving this record a whole variety of emotions. One Swedish reviewer says it well.
"A low-key Knopfler has found his way home."
Can't wait to hear the bonus tracks and the EP!
-
Although some bonustracks should have been on the regular album.
Classic MK :)
-
I just had a second careful listen this morning, with good headphones fed from my hifi system, accompanied by a delicious cappuccino. This time I read the lyrics while listening. That makes all the difference.
This is not an album meant as background music, with a little bit of this and that, for a bit of light entertainment. Initially it may come across as just another MK album, but I feel Mark has really put his heart into this one, and digging into the lyrics is required to open it up.
As @kaleo74 said above, this is an album for the autumn, by a man and artist in his sunset years sensing that his time on earth is coming to an end. That makes the album different and much more personal, and it takes on an existential and philosophical dimension. That dimension has been present before in his work, but not like now, for a whole album. In view of this, I feel the music becomes less important to me, and the way they have made the music totally support the lyrics works really, really well. (The music IS beautiful, though. It just doesn't draw so much attention to itself.)
I mentioned earlier that Scavengers Yard was my favorite - and it is - but now I actually feel it is too different from the overall vibe of the album. But, man, it's a fantastic song. "Welcome, the bag man's home" ;D
So, One Deep River is one deep river, and once again I've been reminded to not judge an album by its singles nor to really pay attention to people's first impression.
Edit: And again, the shorter running time makes the album perfect for careful listening in one sitting.
-
Interesting. Made me think about the NYT review of Paul Simon's last album which had this quote:
“Seven Psalms” sounds like a last testament from the 81-year-old Paul Simon. It's an album akin to David Bowie's “Blackstar” and Leonard Cohen's “You Want It Darker,” which those songwriters made as mortality loomed; they each died days after the albums were released.
-
Blimey, GZ Media even managed to deliver the 2CD Edition with sprinkled dirty spots UNDER the shrinkwrap. :-\
LE
-
Interesting. Made me think about the NYT review of Paul Simon's last album which had this quote:
“Seven Psalms” sounds like a last testament from the 81-year-old Paul Simon. It's an album akin to David Bowie's “Blackstar” and Leonard Cohen's “You Want It Darker,” which those songwriters made as mortality loomed; they each died days after the albums were released.
I think I'll be in the minority when I say I'm not really enjoying this 'straight-forward' auto-biographical era of MK. From One Song at a Time he's been quite direct in a way he never was on After the Beanstalk. Hearing the final stanza of Tunnel 13 is quite a shock, he never would have wrote "and this is where I used to walk" at the end of 5:15am! This new style of lyrical expression has taken me out of my MK comfort zone.
Similarly, it's very difficult to listen to Before My Train Comes and NOT think MK is being quite direct here, I'm a bit sad, but it's a first day listening so.. y'know, it's challenging.
-
Blimey, GZ Media even Manager to deliver the 2CD Edition with sprinkled dirty spots UNDER the shrinkwrap. :-\
LE
Lol, would love to see inside that factory!
-
I have to admit i expected less guitar work.. but guitar is everywhere that is really nice! I feel that MK is doing much more guitar work on his own than on DTRW, almost in every song he is on acoustic (fingerpicking or strumming) AND electric.. sometimes even several electric guitars (Scavenger, Tunnel 13…). Lovely!
-
I'm more of a self confessed DS than MK solo fan. Got to say though that this really hits the Mark for me (no pun intended). So incredibly personal songs from a first listen, and a proper journey through an album.
Let's face it, this is an album about mortality... and you can almost pinpoint the point of passing during the later stages of the album. In this way it's really sad, but very moving. I like it for an MK album and I feel like he's done himself justice.
-
Majestic modesty
These are my first thoughts after a day of listening to One Deep River (and I'm sorry if several people already stated the same; I avoided reading comments until I could listen to it myself). Unsurprisingly, I love the album and will listen to it a thousand times. From beginning to end, because as usual, Mark isn't in the business of producing skippers. Certainly not for me. Also unsurprisingly, and although I like the album's consistent sound and feel (something that previous records could have profited from), I could very well live without Guy's synth contributions. I've got nothing against synths categorically, but I think they don't fit Mark's rootsy songs about trappers, trackers and whistling trains. One of Mark's idols, Bob Dylan, has proven that you can produce highly atmospheric albums without synths. Why Mark doesn't try that more often (Shangri-La remains an exception) is beyond me, but I'm also (almost) past caring by now. What did surprise me that there are no blues songs on the album, and hardly any Celtic instruments. Not a problem though; their absence makes the album even more consistent stylistically. What was interesting to see is that Mark seems to nick musical ideas from his own back-catalogue more often. Maybe that's just because this back-catalog has grown so big by now. It's not something that bothers me as long as the new songs develop the ideas further or take them into different territory. And it's what almost every artist will do - even someone like Damon Albarn, another favourite of mine who's almost pathetically afraid of repeating himself.
Now, to the individual songs.
Two Pairs of Hands – Very J.J. Cale, and I think the trick works better here than on Broken Bones, which I always thought sounded a bit stiff on the album (whereas I like the live versions). Could this song have profited from a break/middle section? Maybe. But I don't miss it, really.
Ahead of the Game – Unlike track number one, this one does have that middle section, and I'm reminded of how brilliantly Mark can put it to effect: "The sky's as big as nowhere", he sings, and suddenly the anti-hero's fate looks brighter – only to be dragged down to the reality and its sober groove. I love these moments – not many songwriters are good at them, and I wish Mark would still have the ambition of creating them more often at this point. Anyway, I don't understand why many of you seemed to be so disappointed by this song. Yes, the guitar could be a little more playful, especially towards the end – something that is true for a lot of his more recent songs – but I still like it a lot.
Smart Money – Wonderful! For some reason, I expected this to be simple, but it's not at all. Classic bitter-sweet Knopfler, and even to my favorite rhythm. If only someone would have told Guy to have some well-deserved tea while they were recording it. Oh, and did you spot the melody line nicked from Why-Worry?
Scavenger's Yard – Obviously a standout track stylistically. I'm pretty sure its theatrical effect could have been achieved without the added sounds and comping, but I'll stop complaining about that now. At least I'll try. Borrows a guitar line from Punish the Monkey. In the flow of the album, this serves a similar purpose as Back on the Dancefloor did on the last one, and why not. It's still well-embedded. The first time I heard such screaming guitar from Mark, by the way, was on Willy de Ville's Gun Control.
Black Tie Jobs – How about real strings? Anyway, this is obviously Basil's brother song, mentioning the Collins and Bobs again, and maybe even more touching. Emblematic of the kind of song Mark tries (and succeeds) to compose these days, I think.
Tunnel 13 – Expected this to be great, and great it is. Do I mind that he's using the same melody he came with for River of Grog? Not at all, as I love that one, too, and this is taking it to a different place. You're literally traveling with him to a time that was – well, not so different after all. He's done this time-jumping before (5.15 AM, Devil Baby ..., and he's very, very good at it. Film-like, not least thanks to the Topolski sisters.
Janine – Another one that I had expected to be a simple little tune, and now it's one of my favourites. Sister-song to Donkey Town. I love how the melody at "I've been trying to" is almost stopped mid-way - the music supports the song's meaning so well. Only question mark (apart from the synth, of course, that almost spoiled my all-time favourite track Seattle, which starts off in a very similar way): Why does he assume that the coda wouldn't need a bit more than playing along the main melody? Okay, it doesn't need more fanciful guitar, but it surely could use it.
Watch Me Gone – Very reminiscent of Follow the Ribbon musically – which I love dearly, so no objections to that. It's totally beyond me how some people didn't seem to like this when it came out. That wailing guitar, the chord changes, the lyrics, everything is bound to make you cry. Well, me, anyway. And what's wrong with these answering voices?
Sweeter than the Rain – More cinematic stuff. Leaving Guy's soundscape work aside, I'm a winter lover, and the melody is super close to that of Fare The Well, Northumberland, another all-time favourite of mine, so how could I possibly not love this?
Before My Train Comes – Not that I didn't like Long Cool Girl, but I always thought it was missing something. Now I know what (a middle scection!) This has similar chords, but it's just – better. I love the way how he never spells out what the "something you should know" is. No need to.
This One's Not Going to End Well – Proof of why we'll still need Mark even if he should lose both his hands and sell all his guitars. Who else can write songs like this one? Not many. Chord changes reminded me of Pale Imitation, but gladly it's much more than that. I was wondering whether Mark would react to recent/current events on this album, and here's the answer. In his own, timeless style. This is the first and only time, I think, where the Celtic team appears, and to my surprise, they don't seem out of place at all.
One Deep River. I wrote somewhere in a different post that each of Mark's albums (Dire Straits included) had moments that would bring me to tears. Well ... – "Amen". If this should be the closing song of his last album, he could be proud of it.
Overall, I would say that this album shines in something you could call "majestic modesty". Yes, I also occasionally found myself dreaming up the elaborate solos of old, but even without them, the songs are full of lyrical and musical depth, helped by wonderfully sensitive players, sung by Mark's uniquely warm and wise voice. I hope they'll keep on flowing.
-
First impressions -
I'll keep it concsise.
a few familiar themes, some familiar chord sequences (enough to put you in mind of other songs, without being too alike)
some really nice guitar riffs, (and some familiar licks) with some songs actually having a space for a solo.
Loved it.
-
I'm on my third run-through, and I really like it so far! Maybe it's the hype but I think it's the best of the three post-Chuck albums.
-
A BEAUTIFUL AND MOVING ALBUM.
-
Majestic modesty
These are my first thoughts after a day of listening to One Deep River (and I'm sorry if several people already stated the same; I avoided reading comments until I could listen to it myself). Unsurprisingly, I love the album and will listen to it a thousand times. From beginning to end, because as usual, Mark isn't in the business of producing skippers. Certainly not for me. Also unsurprisingly, and although I like the album's consistent sound and feel (something that previous records could have profited from), I could very well live without Guy's synth contributions. I've got nothing against synths categorically, but I think they don't fit Mark's rootsy songs about trappers, trackers and whistling trains. One of Mark's idols, Bob Dylan, has proven that you can produce highly atmospheric albums without synths. Why Mark doesn't try that more often (Shangri-La remains an exception) is beyond me, but I'm also (almost) past caring by now. What did surprise me that there are no blues songs on the album, and hardly any Celtic instruments. Not a problem though; their absence makes the album even more consistent stylistically. What was interesting to see is that Mark seems to nick musical ideas from his own back-catalogue more often. Maybe that's just because this back-catalog has grown so big by now. It's not something that bothers me as long as the new songs develop the ideas further or take them into different territory. And it's what almost every artist will do - even someone like Damon Albarn, another favourite of mine who's almost pathetically afraid of repeating himself.
Now, to the individual songs.
Two Pairs of Hands – Very J.J. Cale, and I think the trick works better here than on Broken Bones, which I always thought sounded a bit stiff on the album (whereas I like the live versions). Could this song have profited from a break/middle section? Maybe. But I don't miss it, really.
Ahead of the Game – Unlike track number one, this one does have that middle section, and I'm reminded of how brilliantly Mark can put it to effect: "The sky's as big as nowhere", he sings, and suddenly the anti-hero's fate looks brighter – only to be dragged down to the reality and its sober groove again. I love these moments – not many songwriters are good at them, and I wish Mark would still have the ambition of creating them more often at this point. Anyway, I don't understand why many of you seemed to be so disappointed by this song. Yes, the guitar could be a little more playful, especially towards the end – something that is true for a lot of his more recent songs – but I still like it a lot.
Smart Money – Wonderful! For some reason, I expected this to be simple, but it's not at all. Classic bitter-sweet Knopfler, and even to my favorite rhythm. If only someone would have told Guy to have some well-deserved tea while they were recording it. Oh, and did you spot the melody line nicked from Why-Worry?
Scavenger's Yard – Obviously a standout track stylistically. I'm pretty sure its theatrical effect could have been achieved without the added sounds and comping, but I'll stop complaining about that now. At least I'll try. Borrows a guitar line from Punish the Monkey. In the flow of the album, this serves a similar purpose as Back on the Dancefloor did on the last one, and why not. It's still well-embedded. The first time I heard such screaming guitar from Mark, by the way, was on Willy de Ville's Gun Control.
Black Tie Jobs – How about real strings? Anyway, this is obviously Basil's brother song, mentioning the Collins and Bobs again, and maybe even more touching. Emblematic of the kind of song Mark tries (and succeeds) to compose these days, I think.
Tunnel 13 – Expected this to be great, and great it is. Do I mind that he's using the same melody he came with for River of Grog? Not at all, as I love that one, too, and this is taking it to a different place. You're literally traveling with him to a time that was – well, not so different after all. He's done this time-jumping before (5.15 AM, Devil Baby ..., and he's very, very good at it. Film-like, not least thanks to the Topolski sisters.
Janine – Another one that I had expected to be a simple little tune, and now it's one of my favourites. Sister-song to Donkey Town. I love how the melody at "I've been trying to" is almost stopped mid-way - the music supports the song's meaning so well. Only question mark (apart from the synth, of course, that almost spoiled my all-time favourite track Seattle, which starts off in a very similar way): Why does he assume that the coda wouldn't need a bit more than playing along the main melody? Okay, it doesn't need more fanciful guitar, but it surely could use it.
Watch Me Gone – Very reminiscent of Follow the Ribbon musically – which I love dearly, so no objections to that. It's totally beyond me how some people didn't seem to like this when it came out. That wailing guitar, the chord changes, the lyrics, everything is bound to make you cry. Well, me, anyway. And what's wrong with these answering voices?
Sweeter than the Rain – More cinematic stuff. Leaving Guy's soundscape work aside, I'm a winter lover, and the melody is super close to that of Fare The Well, Northumberland, another all-time favourite of mine, so how could I possibly not love this?
Before My Train Comes – Not that I didn't like Long Cool Girl, but I always thought it was missing something. Now I know what (a middle scection!) This has similar chords, but it's just – better. I love the way how he never spells out what the "something you should know" is. No need to.
This One's Not Going to End Well – Proof of why we'll still need Mark even if he should lose both his hands and sell all his guitars. Who else can write songs like this one? Not many. Chord changes reminded me of Pale Imitation, but gladly it's much more than that. I was wondering whether Mark would react to recent/current events on this album, and here's the answer. In his own, timeless style. This is the first and only time, I think, where the Celtic team appears, and to my surprise, they don't seem out of place at all.
One Deep River. I wrote somewhere in a different post that each of Mark's albums (Dire Straits included) had moments that would bring me to tears. Well ... – "Amen". If this should be the closing song of his last album, he could be proud of it.
Overall, I would say that this album shines in something you could call "majestic modesty". Yes, I also occasionally found myself dreaming up the elaborate solos of old, but even without them, the songs are full of lyrical and musical depth, helped by wonderfully sensitive players, sung by Mark's uniquely warm and wise voice. I hope they'll keep on flowing.
-
What an adequate review of the album Rail King, majestic it is.
ODR is going to be a classic in my book, absolute top quality. And it works so well as an album, it all fits together so perfectly.
-
an adequate review of the album
Damned with feint praise!
-
Listening to Janine and reading your comments I knew there were bits and pieces of other songs but there was still a little something in my head that told me I'd heard this somewhere else and I found it!
The structure of the chorus is practically the same as in The Long Road (Cal) at minute 2:13!
-
My impressions of this new album are the best possible, at this point I won't talk about each song, but there is an aspect that I always notice in albums by bands and artists, I can always see how the set of songs connect with the cover of the album, especially one or more songs, this album has a very strong atmosphere, especially the melancholic ones, and this was already conveyed on the cover, it's as if I knew it would have this atmosphere and this is clearer now. This album manages to evoke the greatest number of albums in MK's solo career and bring a little of the DS flavor through the way the tone of Pensa em Scavengers Yard sounds, it provides several connections with songs and atmospheres of songs he wrote, I don't see that as a problem, it's just a feature of the album and that pleases me.
I'm just moved by the album in general, it's wonderful to come across the fact that Knopfler continues to be able to move me with such beautiful songs, (it's not just the guitar solos that move me, the poetry of the feeling however in his voice , melody, lyrics, licks, textures... Mark is able to deliver this in such a unique way).
It may be a bit hasty, but from 0 to 10, I would give this album an 8, to be closer to reality, it could certainly increase to a 9 over time. I perfectly accept and understand Mark from 2023/2024, I appreciate the beauty of his songs as they are now without any difficulty, and it's good that he signals in recent interviews that he continues to compose, that this won't be his last album!🙏🏻
-
Another thing, it's true that there are fewer keyboards and Celtic sounds but there's one musician who's conspicuous by his absence, and that's Glenn Worf, I'm surprised that he's so "effaced" on the songs, he got us used to some great bass lines on the other albums, so I'm a bit disappointed, but even Richard Bennett is absent too, let's just say that this is Mark's album, for Mark... and Greg lol.
-
Still some great songs on here though. The two standout tracks for me are:
Black Tie Jobs is a beautiful song, a kind of follow-up to Basil.
Tunnel 13 is a reworking of Terminal of Tribute To (Thanks Bruno)! Great song.
🙌🏻😃
-
This is a One Stunning Album, is all I can say at the moment.
Evocative, emotional, cinematic, and with a very high HPF*. I haven't had this load of emotions caused by music in a long time. Some of the best MK work.
*HPF - Haunting Poignancy Factor - my personal (and completely subjective) indicator of what makes music my favourite and most loved. If HPF is combined with a groove, it's top of the top. There are a few songs on this album that have that unique combination.
More later...
-
This is a One Stunning Album, is all I can say at the moment.
Evocative, emotional, cinematic, and with a very high HPF*. I haven't had this load of emotions caused by music in a long time. Some of the best MK work.
*HPF - Haunting Poignancy Factor - my personal (and completely subjective) indicator of what makes music my favourite and most loved. If HPF is combined with a groove, it's top of the top. There are a few songs on this album that have that unique combination.
More later...
Spot on, I'm all the way with you!! I'm only listening through the pc speakers for now, but even so the whole album is just phenomenal- sound, groove, lyrics, emotion, music and above all Mark's wonderful singing! HPF=1000%.
-
This is a One Stunning Album, is all I can say at the moment.
Evocative, emotional, cinematic, and with a very high HPF*. I haven't had this load of emotions caused by music in a long time. Some of the best MK work.
*HPF - Haunting Poignancy Factor - my personal (and completely subjective) indicator of what makes music my favourite and most loved. If HPF is combined with a groove, it's top of the top. There are a few songs on this album that have that unique combination.
More later...
Yes! These are my feelings too.
-
Great album so far, first album without skippers for me since GH. :clap Great and coherent atmosphere throughout the entire album, matches very well with the cover. Stunning album. I might regret not having bought the box set right away. :smack
-
Only tonight did I manage to give this album the attention I wanted and honestly, I'm increasingly fascinated, the album has a moving depth, anyone who knows the universe of Mark Knopfler's art well will understand through many references, from its opening emulating one of his greatest musical heroes, JJ Calle, through a theme notably important to him, River Tyne, so present in his songs, right down to his songwriting side, now in an even more lyrical, personal and cinematic incarnation. I've been analyzing the lyrics... What a strong feeling this album has, extreme sensitivity, a fantastic quality.
This is a very beautiful work, but it has a strong smell of farewell, this is spread throughout the album, between the lines of certain lyrics, in the feeling... It may not be the last, but, (it isn't), but, it is sending you goodbye, I get this feeling listening to the album. This album will easily be listened to by me more frequently than any Get Lucky album!
I will certainly have a lot to say about the songs, for now, I would like to record my thoughts about one in specific, the one that ends the album, which I just listened to again carefully.
For me, in my semantic universe, Mark Knopfler is the deep river of music, listening and reading the lyrics is like a meaningful farewell. The day he leaves, I will hear this song and it will have an even deeper meaning for me. May this day take a long time to arrive! 🙏🏻(Needless to say, this song touched me strongly!)
-
You all said it so well. Not much to add really.
To me, this album shows that taking his time increases the quality of his work. It was hard for us to wait six years, but it was the same with Sailing To Philadelphia. Also breaking out of the two-year-album-tour-cycle paid off for us in the end.
LE
-
So I listened yesterday to the album via streaming and today on vinyl.
I've got to say I'm stuck on the whole of LP2. Hangs together as a mini album or series of movements in itself and really has outstanding coherence in terms of a thread which runs though each of the songs and ultimately takes us to the conclusion of One Deep River. Really impressed.
-
Love the album. One Deep River, Jeanine, Smart Money and Tunnel 13 are my favorites after first listening. One Deep River song reminds of my beloved "One song at a time". Can't wait to listen the bonus tracks, especially after reading that is one more rockier song and longer guitar solo. I was hoping to hear some saxophone on some tracks, but that's ok.
-
I received my CD yesterday afternoon and have been listening as much as possible ever since! It's a really great album imo with much more beautiful guitar sounds than I expected and it flows very well. As others have said, it's a very atmospheric album. My favourites at the moment are "Scavengers Yard" and "Tunnel 13", but I'm sure things could change as time goes on.
Regarding the bonus CD - there is only one song that I dislike and that is "What I'm Gonna Need". I like "The Living End" very much, especially the crunchy guitar and also "Fat Chance Dupree". "Along a Foreign Coast" reminds me of "On Raglan Road" and it's good to hear the folky boys again. "Nothing But Rain" is a grower, but I don't dislike it.
I think that I will be listening to this album quite a lot! :)
-
About the vinyl bonus track, let me preface this by saying that for me one listen counts for almost nothing.
Dolly shop men: beautiful, very rhythmic, chorus so-so but the rest really addictive
Your leading man: track with a retro flavour, rhythm like rumba or cha cha cha. Not exactly my cup of tea
Wrong 'un: light and negligible, on the album it would have been out of tune
Chess: not very Knopflerian, atmospheres almost... South American? I find it intriguing, but even this is better here than on the album.
-
Unfortunately, after listening every song at least twice, unlike almost everyone else here (?), i didnt like this album very much. No songs stood out for me. They all came to me as banal or weak musically. At the moment, for me, this is his weakest solo album. No future classics, no anthems, no great guitar work (in MK standards). Too much self-plagiarising (?) Initially i gave it a 4 (again in MK standards)
Yet I cling to four hopes: 1) it's almost always like this: initially i tend not to like his new albums, i begin to like them only later after many more listenings, 2) the only songs i somewhat like at the moment are the early released ones, hopefully becoz i listened them many more times. Hence if and when,... 3) He had so much time to write songs (6 years?) and about 2 years of it more alone than usual, they've spend more time in the studio than previous albums. More time, more work does not necessarily bring better art but still … And 4) If so many MK fans here who know his work very well like it, then there’s considerable hope. I know nobody here will pretend to like it if/when they actually don't.
-
Sunday morning with a cup of coffee, perfect time to listen to the whole thing now that the first excitement has settled a little bit. What a wonderful album this is!
Also all five bonus songs are really good and very strong from my point of view, yes, even What I'm Gonna Need.
No skipper for me among these five, while I admit that the album has one or two.
Over all songs I heard so far (vinyl bonus and EP of course missing) to me this appears to be his best release from the last 20 years. Very strong, beautiful melodies, a lot of guitar, much better lyrics than on DTRW, excellent musical decisions and thank God not too much annoying effects from Guy's synth department. Guy however did an excellent job as a producer if the result appears that good. Nothing that annoys me really, which is quite remarkable considering the high number of new songs. It's a quantum leap really.
I would point out also to the excellent drumming all over the album and the splendid work of Glen also. Greg Leisz's contribution is unbelievably good and fits perfectly. The album feels like from a single source, from the same mould. It is almost as if they finally really understood how to make a really good record.
On DTRW, there was something in every song that annoyed me (the k-sound in Nobody's Child anyone? The weak vocals on almost all tracks and and and...) The vocals on this new album sound soooo good, so timeless and pure MK. I am deeply impressed.. Even in my most optimistic dreams I hadn't expected the new album being so good.
LE
-
:clap :wave agee with your review so closely that I don't need to add anything.
SL1
-
Sunday morning with a cup of coffee, perfect time to listen to the whole thing now that the first excitement has settled a little bit. What a wonderful album this is!
Also all five bonus songs are really good and very strong from my point of view, yes, even What I'm Gonna Need.
No skipper for me among these five, while I admit that the album has one or two.
Over all songs I heard so far (vinyl bonus and EP of course missing) to me this appears to be his best release from the last 20 years. Very strong, beautiful melodies, a lot of guitar, much better lyrics than on DTRW, excellent musical decisions and thank God not too much annoying effects from Guy's synth department. Guy however did an excellent job as a producer if the result appears that good. Nothing that annoys me really, which is quite remarkable considering the high number of new songs. It's a quantum leap really.
I would point out also to the excellent drumming all over the album and the splendid work of Glen also. Greg Leisz's contribution is unbelievably good and fits perfectly. The album feels like from a single source, from the same mould. It is almost as if they finally really understood how to make a really good record.
On DTRW, there was something in every song that annoyed me (the k-sound in Nobody's Child anyone? The weak vocals on almost all tracks and and and...) The vocals on this new album sound soooo good, so timeless and pure MK. I am deeply impressed.. Even in my most optimistic dreams I hadn't expected the new album being so good.
LE
:clap :clap
-
Unfortunately, after listening every song at least twice, unlike almost everyone else here (?), i didnt like this album very much. No songs stood out for me. They all came to me as banal or weak musically. At the moment, for me, this is his weakest solo album. No future classics, no anthems, no great guitar work (in MK standards). Too much self-plagiarising (?) Initially i gave it a 4 (again in MK standards)
Yet I cling to four hopes: 1) it's almost always like this: initially i tend not to like his new albums, i begin to like them only later after many more listenings, 2) the only songs i somewhat like at the moment are the early released ones, hopefully becoz i listened them many more times. Hence if and when,... 3) He had so much time to write songs (6 years?) and about 2 years of it more alone than usual, they've spend more time in the studio than previous albums. More time, more work does not necessarily bring better art but still … And 4) If so many MK fans here who know his work very well like it, then there’s considerable hope. I know nobody here will pretend to like it if/when they actually don't.
I know exactly what you mean, and I had the same thing with RPD, GL and DTRW. I actually used to skip a lot of the songs. Years later I got them out again, and it was a whole different world that suddenly opened up! Some albums just need time to grow on you, I suppose.
-
Unfortunately, after listening every song at least twice, unlike almost everyone else here (?), i didnt like this album very much. No songs stood out for me. They all came to me as banal or weak musically. At the moment, for me, this is his weakest solo album. No future classics, no anthems, no great guitar work (in MK standards). Too much self-plagiarising (?) Initially i gave it a 4 (again in MK standards)
Yet I cling to four hopes: 1) it's almost always like this: initially i tend not to like his new albums, i begin to like them only later after many more listenings, 2) the only songs i somewhat like at the moment are the early released ones, hopefully becoz i listened them many more times. Hence if and when,... 3) He had so much time to write songs (6 years?) and about 2 years of it more alone than usual, they've spend more time in the studio than previous albums. More time, more work does not necessarily bring better art but still … And 4) If so many MK fans here who know his work very well like it, then there’s considerable hope. I know nobody here will pretend to like it if/when they actually don't.
Have you tried playing it while reading the lyrics? That made all the difference for me.
-
Sunday morning with a cup of coffee, perfect time to listen to the whole thing now that the first excitement has settled a little bit. What a wonderful album this is!
Also all five bonus songs are really good and very strong from my point of view, yes, even What I'm Gonna Need.
No skipper for me among these five, while I admit that the album has one or two.
Over all songs I heard so far (vinyl bonus and EP of course missing) to me this appears to be his best release from the last 20 years. Very strong, beautiful melodies, a lot of guitar, much better lyrics than on DTRW, excellent musical decisions and thank God not too much annoying effects from Guy's synth department. Guy however did an excellent job as a producer if the result appears that good. Nothing that annoys me really, which is quite remarkable considering the high number of new songs. It's a quantum leap really.
I would point out also to the excellent drumming all over the album and the splendid work of Glen also. Greg Leisz's contribution is unbelievably good and fits perfectly. The album feels like from a single source, from the same mould. It is almost as if they finally really understood how to make a really good record.
On DTRW, there was something in every song that annoyed me (the k-sound in Nobody's Child anyone? The weak vocals on almost all tracks and and and...) The vocals on this new album sound soooo good, so timeless and pure MK. I am deeply impressed.. Even in my most optimistic dreams I hadn't expected the new album being so good.
LE
Wow LE, never expected to hear that from you 😀 But I also am at a high with it. Every song has his special and surprising moments. The album as a whole is perfect to me. Listened the album about 4 times. Need to have a closer listen to the bonus songs. Heard them only once. But agree, it seems no skippers there too. Amazing! And the sound quality and producing is mindblowing
-
I've listened to the album a couple of times, and one thing that strikes me is the odd structure.
Of the first four songs, three of them are the grooviest and most energetic on the album. Then, what follows is a long stretch of mostly slow songs. In addition, Two Pairs and Ahead are vaguely similar in their use of a short guitar riff partly played on high strings. In fact, putting one after the other probably underscores that little similarity, as I had not thought of it previously but which seems obvious now.
One Deep River is a poignant closer, but overall I would have preferred some more variation tempo-wise in the second half of the album. People have been raving about one of the songs on the vinyl (All Comers), so maybe that one should have been included.
-
I've listened to the album a couple of times, and one thing that strikes me is the odd structure.
Of the first four songs, three of them are the grooviest and most energetic on the album. Then, what follows is a long stretch of mostly slow songs. In addition, Two Pairs and Ahead are vaguely similar in their use of a short guitar riff partly played on high strings. In fact, putting one after the other probably underscores that little similarity, as I had not thought of it previously but which seems obvious now.
One Deep River is a poignant closer, but overall I would have preferred some more variation tempo-wise in the second half of the album. People have been raving about one of the songs on the vinyl (All Comers), so maybe that one should have been included.
I thought pretty much the same. Before My Train Comes seems strategically placed to prevent people nodding off, however it sure can't come soon enough if it's to stop boredom!
-
I've listened to the album a couple of times, and one thing that strikes me is the odd structure.
Of the first four songs, three of them are the grooviest and most energetic on the album. Then, what follows is a long stretch of mostly slow songs. In addition, Two Pairs and Ahead are vaguely similar in their use of a short guitar riff partly played on high strings. In fact, putting one after the other probably underscores that little similarity, as I had not thought of it previously but which seems obvious now.
One Deep River is a poignant closer, but overall I would have preferred some more variation tempo-wise in the second half of the album. People have been raving about one of the songs on the vinyl (All Comers), so maybe that one should have been included.
I thought pretty much the same. Before My Train Comes seems strategically placed to prevent people nodding off, however it sure can't come soon enough if it's to stop boredom!
Well, when Before My Train Comes is supposed to RAISE the level of energy, that says something about an album ;D
-
Just had my first listen.
Stereo from the Blu-ray. Sunday afternoon on the sofa with a cup of tea and two sleeping dogs for company.
Probably the best setting for the album. Not something to put on before going out on a Saturday night.
Sleepy is probably the right word to describe it, with a couple of exceptions. But I don’t mean that in a bad way. Just a nice chilled relaxing album. Will report back after a few more listens.
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
My view is that this obsession with whether songs "fit" an album has caused more problems than solutions. Take Brothers in Arms, for instance - it's a fantastic journey across styles, modern and traditional, and subjects, love and war and what have you.
Release the best songs, and vary the pacing! That makes for much better albums.
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
My view is that this obsession with whether songs "fit" an album has caused more problems than solutions. Take Brothers in Arms, for instance - it's a fantastic journey across styles, modern and traditional, and subjects, love and war and what have you.
Release the best songs, and vary the pacing! That makes for much better albums.
Very true!
LE
-
I think its an amazing album!
What strikes me is that throughout the album there are echos of all of his other work. Is it a coincidence that there are obviously chords from Radio City Serenade, rhythm from Beachcombing, nods to "Laughs and Jokes..." and lyrics like "Colins and Bobs" and "Night comes falling" from Basil and Piper?
It's just like One Deep River is the flow of his life, which calls at some of his favorite spots along the way....
-
"It's just like One Deep River is the flow of his life, which calls at some of his favorite spots along the way....
I liked these words.
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
My view is that this obsession with whether songs "fit" an album has caused more problems than solutions. Take Brothers in Arms, for instance - it's a fantastic journey across styles, modern and traditional, and subjects, love and war and what have you.
Release the best songs, and vary the pacing! That makes for much better albums.
I like the fact that hey have tried to create some sort of unity, a not just an assortment of songs. I like the idea of an album, though, as a complete piece of work. But indeed some of the bonus tracks are better than some that ended up on the album, and in my view some of them would have fit better.
Speaking of bonus tracks. I think releasing them at the same time as the main album is a mistake. I find this strategy distracting.
-
"It's just like One Deep River is the flow of his life, which calls at some of his favorite spots along the way....
I liked these words.
Me too. Very beautiful! :clap
-
I think its an amazing album!
What strikes me is that throughout the album there are echos of all of his other work. Is it a coincidence that there are obviously chords from Radio City Serenade, rhythm from Beachcombing, nods to "Laughs and Jokes..." and lyrics like "Colins and Bobs" and "Night comes falling" from Basil and Piper?
It's just like One Deep River is the flow of his life, which calls at some of his favorite spots along the way....
Interesting idea, but it does feel a bit odd when he is quoting himself. One of the guitar lines in Scavengers sounds identical to one early in Good on You Son. Etc. :think
-
My first weekend with the new album (2CD bonus edition) and happy with it, also because of the bonus songs :)
Of course, I didn't expect that there will be no skippers on ODR but it contains some gems with that typical sound and songwriting by MK has inspired me so much for decades.
My top5 are:
1. The Living end (cool rocky guitar based tune, could be a b-side of OES)
2. One Deep River (very moving song, nice licks, the background singers are dispensable for me
3. Nothing But rain (pure blues, reminds me of Fade to black, a bit too short)
4. Scavengers Yard fresh, nice cheeky guitar effects)
5. Before The Train Comes (Notting Hillbillies nostalgia, the outro could go on forever...)
Curious to see if the other tracks will grow.
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
My view is that this obsession with whether songs "fit" an album has caused more problems than solutions. Take Brothers in Arms, for instance - it's a fantastic journey across styles, modern and traditional, and subjects, love and war and what have you.
Release the best songs, and vary the pacing! That makes for much better albums.
If I remember correctly, Mark has talked about this when he released Privateering. Which is of course all over the place stylistically. I think he said something like: "It's just where I happen to be at at the moment", and I understood what he meant. It's totally normal for such a versatile artist to have ideas for country, blues, rock, pop, folk and Celtic songs all at once.
All the more interesting I find it that the new album has a more consistent sound and feel, and that he seems to have put more value on that. Personally – and as much as I love and respect Privateering – I prefer albums with a consistent feel/atmosphere/sound/theme. Not because they're "better", but because I love to listen to specific albums in specific places and at specific times where they blend in particularly well. That doesn't mean that the songs should all sound the same, but I like it if there are thematic or musical links between them. On One Deep River, Greg Leisz's pedal steel, the Topsins' backing vocals and the theme of passing time are such links. I like the first Dire Straits album and Shangri-La for the same reason (and for a hundred other reasons, of course).
-
Incidentally, I recently watched series one of the most excellent Slow Horses starring Gary Oldman.
When I was looking it up on imdb I noticed a familiar name that will feature in series 2 - Tasmin Topolski.
https://www.imdb.com/name/nm6466535/
-
I don't know the song All Comers but the EP "The Boy" is about one topic and that song probably didn't fit One Deep River.
My view is that this obsession with whether songs "fit" an album has caused more problems than solutions. Take Brothers in Arms, for instance - it's a fantastic journey across styles, modern and traditional, and subjects, love and war and what have you.
Release the best songs, and vary the pacing! That makes for much better albums.
Totally agree with you. His song selection has been baffling for years now. In fact, it is known that Ed Bicknell gave him advice to put WOL on BIA because he didn't think it fit so who knows what great songs have been discarded since Ed left the scene. Many of the bonus songs could well be on the album to give it some oomph.
It's an interesting album though. When I listen to it I think it's quite good, but afterwards I think that was dull and boring, apart from a few songs. Perhaps due to it being performed with no energy or the production... I think there aren't many skippers on it (I start at track 3), so there aren't really many (maybe 3) I don't listen to this time, but it is bland and contains a lot of stuff we've heard before. Then I read comments on here like it's some remarkable, inspired album with great solos and I just don't get that at all. It's like Guy has taken over as mod! I so wish Living End and Foreign Coast were on the main album though.
Most songs are 5/10
scavengers, black tie and tunnel 13: 8/10
smart money, janine, before my train comes, one deep river: 6/10
Definitely a step up from DtRW. Vanilla slice anyone?
-
Yes, as much as I love Guy, I don't think he has great artistic depth, and I certainly don't think he's the type who can push Mark to perform his best. And one does not bite the hand that feeds you ...
-
Yes, as much as I love Guy, I don't think he has great artistic depth, and I certainly don't think he's the type who can push Mark to perform his best. And one does not bite the hand that feeds you ...
:thumbsup :thumbsup
-
Most songs are 5/10
scavengers, black tie and tunnel 13: 8/10
smart money, janine, before my train comes, one deep river: 6/10
They are not, they are just from your point of view. ;)
Definitely a step up from DtRW. Vanilla slice anyone?
Yes, with black coffee please. No sugar.
LE
-
First impression.
Started to listen to last friday but did stop, couldn't go more than the first half of the album :disbelief
-
First impression.
Started to listen to last friday but did stop, couldn't go more than the first half of the album :disbelief
Why ? You didn't had enough time ?
-
Most songs are 5/10
scavengers, black tie and tunnel 13: 8/10
smart money, janine, before my train comes, one deep river: 6/10
They are not, they are just from your point of view. ;)
Of course - all posts are our opinions. It would be extraordinarily arrogant of me to deem these scores as facts.
-
While I would judge many things different, I realized today that this time the bonus songs are really good enough and at least two or three of them would have made the album better (and longer. I wouldn't change a song out.) So I agree with you on this.
Also there is All Corners which should have been on it. The main album should be the main product. Good thing is, we are able to create our own version of it with playlists etc.
LE
-
While I would judge many things different, I realized today that this time the bonus songs are really good enough and at least two or three of them would have made the album better (and longer. I wouldn't change a song out.) So I agree with you on this.
Also there is All Corners which should have been on it. The main album should be the main product. Good thing is, we are able to create our own version of it with playlists etc.
LE
The bonus tracks are of good quality, even the ones on the LP.
Let's just say I'm eagerly awaiting the EP!!!
-
While I would judge many things different, I realized today that this time the bonus songs are really good enough and at least two or three of them would have made the album better (and longer. I wouldn't change a song out.) So I agree with you on this.
Also there is All Corners which should have been on it. The main album should be the main product. Good thing is, we are able to create our own version of it with playlists etc.
LE
The bonus tracks are of good quality, even the ones on the LP.
Let's just say I'm eagerly awaiting the EP!!!
Have you heard All comers already? No complex soloing, but nice amount of guitar there.
-
While I would judge many things different, I realized today that this time the bonus songs are really good enough and at least two or three of them would have made the album better (and longer. I wouldn't change a song out.) So I agree with you on this.
Also there is All Corners which should have been on it. The main album should be the main product. Good thing is, we are able to create our own version of it with playlists etc.
LE
The bonus tracks are of good quality, even the ones on the LP.
Let's just say I'm eagerly awaiting the EP!!!
Have you heard All comers already? No complex soloing, but nice amount of guitar there.
Yes. Of course just audience recording though. Sounds very good.
-
First impression.
Started to listen to last friday but did stop, couldn't go more than the first half of the album :disbelief
Why ? You didn't had enough time ?
Na, mood.
-
My top 5 :
1/ This one’s not going to end well
2/ Chess
3/ Along a foreign coast
4/ One deep river
5/ Watch me gone
-
Hi there ! A great album. To be here in a row, for me (including bonus). Very consistent, one of the most coherent album from the maestro.
-
I've listened to the new album several times. Personally I like it a lot. And even if I'm closer to the DS sound I have to say that it has many references to the DS sound. Ahead of the Game, Two pairs of hands, Scavengers yard, Janine, Before my train comes and the b-side The living end are the TOP for me!! :)
-
Are these
18 Dolly shop man
19 Your leading man
20 Wrong ’un
21 Chess
only avalable on the vinyl editions ?
I only have 17 tracks.
I just want to make sure as I only find Scavenger and Living End really interesting.
-
Are these
18 Dolly shop man
19 Your leading man
20 Wrong ’un
21 Chess
only avalable on the vinyl editions ?
I only have 17 tracks.
I just want to make sure as I only find Scavenger and Living End really interesting.
Yup, the ones you show as 18 to 21 are on the bonus vinyl (box set). Living End is available on the 2 CD version.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
-
There are no humorous, distanced songs here.
"What I'm gonna need" is the least serious song mark has ever made ;D
-
Yes, but I didn't think about bonus songs ;)
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
Agreed, very reflective collection.
Also reMARKable how many train-related references can be found throughout the album and bonus songs. It often signifies the journey of life, the passage of time, and the interconnectedness of all things.
I counted 8 songs that mention trains one way or the other:
- Two Pairs of hands
- Ahead of the Game
- Tunnel 13
- Watch Me Gone
- Sweeter Than The Rain (or Train?)
- Before My Train Comes
- One Deep River
- Nothing But Rain (or Train?)
-
He's trained for this his whole life, you know.
-
Ha ha, indeed. Training makes Master.
-
It often signifies the journey of life, the passage of time, and the interconnectedness of all things.
With all these train strikes all over the place, I'm not so sure about the interconnectedness of things. ;D
No wonder MK prefers the scooter, like me :lol
What I found found interesting, though, was a point he made about trains (I can't remember which interview it was): the idea was that cities will change, and come and go, and it doesn't really matter where he lives, but the railway lines between them remain constants in his life.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
Agreed, very reflective collection.
Also reMARKable how many train-related references can be found throughout the album and bonus songs. It often signifies the journey of life, the passage of time, and the interconnectedness of all things.
I counted 8 songs that mention trains one way or the other:
- Two Pairs of hands
- Ahead of the Game
- Tunnel 13
- Watch Me Gone
- Sweeter Than The Rain (or Train?)
- Before My Train Comes
- One Deep River
- Nothing But Rain (or Train?)
Yes exactly. Thanks kooba, I also wanted to count the trains in the new songs :)
-
what's the best 30 seconds of the album?
for me it's:
https://youtu.be/ZIQIc3UzWEs?t=138
i want more of it Sir MK!
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
The ending of Tunnel 13. Surprising, perhaps incomprehensible to some, bold and megalomaniacal.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
-
Once again I just don‘t get the idea of putting such good songs as Bonus only.. at least The Living End, Along a Foreign Coast and Dolly Shop Man would be great additions to the main album, they deserve to geta bigger audience than just the once who buy Deluxe versions of ODR :think
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
Agree, despite it's true that his guitar is made with that wood, it has nothing to do with the story he's telling.
-
You might as well write about some poor geezer toiling away in a cobalt mine in Congo and then at the end remark how the cobalt ended up "in the battery on my beautiful EQS 450" ;D
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
Agree, despite it's true that his guitar is made with that wood, it has nothing to do with the story he's telling.
I like it. Storyteller highlighting the idea that redwood was used to support the tunnels.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
Agree, despite it's true that his guitar is made with that wood, it has nothing to do with the story he's telling.
Didn't they use that wood for the sleepers or something?
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
Agree, despite it's true that his guitar is made with that wood, it has nothing to do with the story he's telling.
Didn't they use that wood for the sleepers or something?
They used the wood as supports for the tunnel. If I remember rightly, he said at the launch interview it was one of those songs that completes a circle. Hence the line about the wood for his guitar. He does go into alot of detail about it. Hopefully we’ll see the interview soon.
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
Agreed, very reflective collection.
Also reMARKable how many train-related references can be found throughout the album and bonus songs. It often signifies the journey of life, the passage of time, and the interconnectedness of all things.
I counted 8 songs that mention trains one way or the other:
- Two Pairs of hands
- Ahead of the Game
- Tunnel 13
- Watch Me Gone
- Sweeter Than The Rain (or Train?)
- Before My Train Comes
- One Deep River
- Nothing But Rain (or Train?)
Those train references remind me of Johnny Cash‘s American Recordings. Anyone else feels that way?
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
The line about the wood for his guitar certainly made me laugh.
I don't know why folks think this line is cringy. This piece of info is too cool to leave it only for guitar nerds like us to discover. And it does give the song another dimension.
As MK put it: "I was trying to square this upsetting act of robbery with this intensely creative act of making a beautiful instrument."
I feel this type of literary device is like "breaking the fourth wall" in films or theater, i.e. where an actor suddenly speaks to the camera/audience. Personally it doesn't work for me. He does it in Heavy Fuel too ("That's why I wrote this song.")
If Mark wanted to show that there is some kind of balance between evil and good (or whatever), I think it's kind of odd to write a whole song about a terrible deed and then right at the end, "but look - something good came out of it!" Not very elegant, IMO.
Agree, if the whole song had been written like this it might be OK but it juts comes out of the blue and it's very jarring.
Agree, despite it's true that his guitar is made with that wood, it has nothing to do with the story he's telling.
Well, the point is that it has something to do with the story. The place is the connection, the wood is the connection. I imagine he used this Boswell guitar on that song. It's pretty powerful in my book.
OK, so I get that you don't like the directness of this line. Fair enough. I have to say I like this more direct MK. We have enough of those cryptic lyrics to scratch our heads about across his vast catalogue.
-
The difference between Tunnel and Heavy Fuel is that HF is a tongue-in-cheek song told from the perspective of someone, a character song. So when he sings "That's why I wrote this song", it's the character speaking, but in Tunnel, it is Mark speaking. And while the rest of the song is told by a third person narrator, which could be Mark, there is nothing else in the song highlighting him in this way. I also find it jarring.
In addition, the final lines sound odd, do not really rhyme, and make little sense grammatically. The place in the song, where his guitar came from...?
It's a train wreck.
:P
-
I'm not sure, but, Mark being Mark, he may have intended these lines to sound odd, to create an effect.
The song starts with a neutral 3rd person storyteller, almost like a newspaper report, and in the last bit it suddenly gets very personal, first by listing the real names of the real victims (not those of the criminals!) and the widows and orphans, and then brutally transporting you back from that "place in the song" to the present.
It's almost as if he had only realised at the end of the song that it was a real crime committed on real people, by looking at the guitar in his hands. And there the redwood becomes a strong image, which reminds you of the bloodshed.
I don't think he's written a more empathetic song since "This is goodbye" and "Piper". It's the sort of song I can't listen to very often, because they're almost too emotional for me.
-
I'm not sure, but, Mark being Mark, he may have intended these lines to sound odd, to create an effect.
The song starts with a neutral 3rd person storyteller, almost like a newspaper report, and in the last bit it suddenly gets very personal, first by listing the real names of the real victims (not those of the criminals!) and the widows and orphans, and then brutally transporting you back from that "place in the song" to the present.
It's almost as if he had only realised at the end of the song that it was a real crime committed on real people, by looking at the guitar in his hands. And there the redwood becomes a strong image, which reminds you of the bloodshed.
I don't think he's written a more empathetic song since "This is goodbye" and "Piper". It's the sort of song I can't listen to very often, because they're almost too emotional for me.
Yes, that's my point of view too. An addictive song.
-
Went for a long walk tonight and listened to the album on headphones. It is not an uplifting album, that's for sure. I actually felt a little depressed when I came home. The music, the lyrics. This is the third time I've listened to it from start to finish. It will be a while until next time.
-
It's the weather, I'm sure. :)
Watch the new snippets from last Friday on his homepage, he was in such an uplifting mood!
-
Something that strikes me about this album is that all the songs are reflective, "serious". There are no humorous, distanced songs here. Even the ones that seem cheerful don't talk about anything optimistic. For me, there has been a change here. I love the darkness of MK.
Agreed, very reflective collection.
Also reMARKable how many train-related references can be found throughout the album and bonus songs. It often signifies the journey of life, the passage of time, and the interconnectedness of all things.
I counted 8 songs that mention trains one way or the other:
- Two Pairs of hands
- Ahead of the Game
- Tunnel 13
- Watch Me Gone
- Sweeter Than The Rain (or Train?)
- Before My Train Comes
- One Deep River
- Nothing But Rain (or Train?)
Those train references remind me of Johnny Cash‘s American Recordings. Anyone else feels that way?
In "Sweeter Than The Rain" Mark reminds me of Johnny Cash.
-
Many thanks for all the reviews and opinions, folks! It’s been a delight to read all of them. Espesially the ones that blame Guy for what’s wrong with MK ;)
My opinion so far: Best MK solo album since Shangri-La. And the best vocals since Communique? Really warm and soulful, aren’t they?
-
My opinion so far: Best MK solo album since Shangri-La. And the best vocals since Communique? Really warm and soulful, aren’t they?
Agreed. Mark sings really well on this album.
-
My opinion so far: Best MK solo album since Shangri-La. And the best vocals since Communique? Really warm and soulful, aren’t they?
Agreed. Mark sings really well on this album.
I think he sings really well on some of them too, but on others he sounds dull and lifeless - the title track being one.
-
My opinion so far: Best MK solo album since Shangri-La. And the best vocals since Communique? Really warm and soulful, aren’t they?
Agreed. Mark sings really well on this album.
I think he sings really well on some of them too, but on others he sounds dull and lifeless - the title track being one.
Dull and lifeless?? Nah
-
I have always loved Mark's vioce and I think with age it's getting better and better.
His voice also fits perfectly with the songs. I can't imagine anyone else singing his songs but him.
That's one of the reasons why I don't care about tribute bands.
-
True. Sometimes I wonder if he actually took singing lessons, starting from around the time of STP. You can certainly hear a big difference, not just in the way he sings, but also in the compositions. And it's been getting better all the time!
-
He quit smoking around that time and finally detected that lungs are for breathing, too.
LE
-
I quit smoking some fifteen years ago, and I still can't sing! :lol
-
He quit smoking around that time and finally detected that lungs are for breathing, too.
LE
🤣🤣🤣
-
I have always loved Mark's vioce and I think with age it's getting better and better.
His voice also fits perfectly with the songs. I can't imagine anyone else singing his songs but him.
That's one of the reasons why I don't care about tribute bands.
I'm with you 100% with regards his voice, I also am not keen on tribute bands as I don't want to hear Ron the schoolteacher by day and lead singer/guitarist by night trying to mimic 'The Master'
-
Actually, the improvement may have started even earlier one, come to think of it.
I remember listening to "The Lily of the West" and thinking "WTF, he never sang like this in DS!" At the time, he was still a smoker, though. Maybe it was because of the Hillbillies tours, singing all those harmonies?
-
Actually, the improvement may have started even earlier one, come to think of it.
I remember listening to "The Lily of the West" and thinking "WTF, he never sang like this in DS!" At the time, he was still a smoker, though. Maybe it was because of the Hillbillies tours, singing all those harmonies?
The actual singing still wasn’t that great on that one. It was just that he finally had to sing a melody. :)
-
Actually, the improvement may have started even earlier one, come to think of it.
I remember listening to "The Lily of the West" and thinking "WTF, he never sang like this in DS!" At the time, he was still a smoker, though. Maybe it was because of the Hillbillies tours, singing all those harmonies?
The actual singing still wasn’t that great on that one. It was just that he finally had to sing a melody. :)
But he sung it with such a fine Oirish accent so he did! 🍀 🎩
I may be alone but I miss that gravely accent to his vocal he had during the Golden Heart era.
-
#3 in the UK album charts!
-
Great stuff!
-
But he sung it with such a fine Oirish accent so he did! 🍀 🎩
Yes! :lol I love it when he imitates all sorts of accents. Some people just have a talent for that.
I may be alone but I miss that gravely accent to his vocal he had during the Golden Heart era.
Not alone! :)
-
Homogeneous album in the top 3 with STP and Tracker.
-
Am I allowed to revise my opinion? After listening all the songs at least ten times, some considerably more, I can say this is a good album. There are no bad songs. I can listen them all the time. But there are no classics either, no songs that can be among his top 10 or top 20 songs. Some part of me says, "top this top that are silly labels, it depends on the mood, like every woman is beautiful every MK song is beautiful in its own way, if you know how to look. still i like STTR, BMTC, ODR, T13, TONGEW more thn others. The rest is also listenable.
He is old, getting older. He probably has one more good album, at most, anything more would be a surprise. He must have around 300 (?) compositions (including film stuff). This is a huge number, (and remember, he started relatively late) almost all his work was written from the heart. And he not only composed them but also played and sang them. Is there anyone else with a similar quality/quantity of output? And he's still producing. We are all fans probably starting from when we first heard him (?), so we cannot perhaps be the most perfect judges, we may tend to hyperbole, less willing to see his deficiencies,limitations etc but I still want to ask: which other contemporary artist can be compared to him? bob dylan, maybe. not many others i guess.
-
I'm with you all the way!
And you're quite right: there are not many artists with such a back catalogue who are still active today.
Dylan, Springsteen, McCartney, Clapton, Van Morrison, Elton John - the very best!
-
great minds think alike
-
:-)
James Taylor is another name that comes to mind. He's touring again right now, but only in the U.S. :(
-
https://www.youtube.com/watch?v=idcd3uZyfKA
James Taylor & Mark Knopfler - Raised up family LIVE
-
I have always appreciated MK for having about 20 NEW songs prepared for each album. There are no covers, repeats or new versions of old songs. This definitely sets him apart.
-
After more then a week on heavy rotation the album still remains so tremendously enjoyable, just can’t get tired of it. And I like it you can listen to it in full from start to finish, there are no clear weak spots, I don’t feel an urge to skip certain tracks or something like that. It really is a top line album imho, a future classic/favourite, and that’s measured relative to MK standards:)
The bonus songs are also nice, however think they did a fine job selecting the album tracks, they’ve got a certain timeless quality and seem in a perfect balance between enough variety and connecting/holding them together.
To me Along a Foreign Coast, Chess and Fat Chance Dupree are on par quality wise but would just not fit as good with the rest. The other bonus songs feel a bit less either in terms of songwriting (musically/lyrically) and/or performance/production.
-
Another thing, it's true that there are fewer keyboards and Celtic sounds but there's one musician who's conspicuous by his absence, and that's Glenn Worf, I'm surprised that he's so "effaced" on the songs, he got us used to some great bass lines on the other albums, so I'm a bit disappointed, but even Richard Bennett is absent too, let's just say that this is Mark's album, for Mark... and Greg lol.
Quoting myself lol
Allow me, dear friends, to correct my comment above. So we had to wait for the bonus tracks and The Boy EP to hear the brilliant musicians who have been accompanying Mark since 1996, the superb bass lines, the keyboards and the drums, I'm really enjoying it!
-
the album and the ep have been adding beauty to my life for almost 2 weeks now. reading your precious reviews is the same. even waiting for the album...
I'm between the feeling of not being able to share this excitement together when the end comes and the rhythm of this clear, honest pure music.
the man releases 25 new songs at the age of 75 and not only quantity but all of the songs are of incredible quality in my opinion. especially janine, smart money, nothing but rain, fat chance dupree, black tie jobs, tunnel 13, one deep river and all comers have been my favorites. i don't know if there is any other musician in the history of music who has released 25 new songs of mark's age and caliber. honestly i don't have a single negative criticism.
-
He must have around 300 (?) compositions (including film stuff). This is a huge number, (and remember, he started relatively late) almost all his work was written from the heart. And he not only composed them but also played and sang them. Is there anyone else with a similar quality/quantity of output?
I think it's also important to remember that not only has he written this many songs (both music and lyrics), but the depth and layers to the lyrics of many of them is a whole additional level. Many songs are deeply philosophical (e.g. Quality Shoe or Old Pigweed) and could be read as poetry in addition to being music.
-
The album is a masterpiece
it sounds magnificent, only in some songs I hear the low-mid range much more present, I have to keep the volume lower than usual, has anyone had the same feeling as me?
-
Had listened a “few” times now and I’m really impressed, both ODR and the EP, some slight vibes from JJ Cale, Leonard Cohen, Paolo Conte and Twin Peaks soundtrack. :clap Absolutely two masterpieces. Even my girlfriend likes a few songs. ;D