Special Q & A with Ed Bicknell - THE ANSWERS

[dustyvalentino]

Ed,

Thank you for the good laughs and for the finest british humour. I felt that I was at kindergarten.
And, thanks to Dusty for the spiritual translation of some jokes.

I don't have a question (thank god)
I have two questions! 

Thanks for the laughs.


add:
I just read you answer and the Rolo Thread (LOL)

Don't need to apologize.
I didn't felt offended, I never felt.
I understand the sense of humour barrier. It's absolutely normal.
I know that you have passed thru a LOT during all this years managing and been a musician.
So, I tried to be spontaneous but with carefull to not be intrusive or, even offensive. Because of that, I (like Quizzy) tend to write a lot and it can be boring to read.

The coment about my finger was purely innoscet. I garantee.
However, my good friend Brunno Niny Nyonny turned it into a good joke.

Now I'll pick my guettar and play the newest hits from AMIT.
- The Way She Always Fart
- Golden Fart


Thanks, Ed.
You are pure gold.

Thank God. It’s Rolo and  he is grovelling before me, no need, spontaneity is everything. 
Gold but not Golden Heart.
Thank you.

[dustyvalentino]

You mentioned how Terry and Jack didn't really get an explanation on why they were not asked back and Pick became marginalized at the time which you didn't really understood, and I guess there are quite some other examples. But you were also there. You were the manager. Why didn't you speak up about this, or did you, or was it just not your role to talk about this? I can image that in a group which such pressures relationships brake done, but I'm surprise that in almost all those cases it seems, nobody managed to go out to dinner and have a conversation about it and at least have some closure. 

Edit: I'm not sure if you still want to answer questions related to DS after reading your lasts answers. As an alternative; You mentioned in the Bob Lefsetz interview that of course you are very proud of your children and how they have quite different jobs. Do you think you career has influenced them in any way in their career choice, or are they just finding their own path in life?

Possibly the most interesting and perplexing question I've had.
I say that because it really made me think and realise there are some things that still mystify me all these years later.
.
WHY was it like that?
WHY did things evolve the way they did?

Here I was managing this huge act and things are going on that I wasn’t told about, asked about, or included in OR was I just so busy I couldn't see them?
And I was VERY hands on.

You would have to know the personalities and I can’t deliver that for you.

My answer to this is that I have no answer.
I don't mean I'm not telling you something, I simply don't know, or at least I don't know or can't recall the minutiae of how these things arose in the way they did certainly after BIA.
That was a watershed, after BIA things shifted in a very subtle way.

Gradually I sensed M didn't want my opinion or pushback any more, he wanted me to “do” or, as it turned out, eventually get somebody else to “do” and not question his direction or decisions eg doing crap soundtracks for crap movies…..Wag The Dog, LETB, MetroLand, whilst turning down Thelma and Louise or Last of The Mohicans or Maverick or, or whatever.
 
That didn't happen overnight , not at all, there were lots of interesting and exciting things we did, ( eg Nelson Mandela, Clapton tours, charity stuff ) but there was no real central focus more a string of bits and pieces, and maybe the issue was with me, not him, I really don't know. After all he wasn’t working for me!

I'm not sure he was/is even aware of that shift and ironically, speaking up was the seed that led to my quitting as it is with just about EVERY manager I know.
Every one.
Do you keep your mouth shut and take the money, or be the last bastion of truth as you see it and inevitably get dumped on?
What would you do?
And as you will have realised, I’m not one to keep my mouth shut .

I have spoken to Terry since we started these Q and A's and he is as baffled as I am because his take is TOTALLY different to what John told me at the time and I'm still trying to piece together what happened ( actually today and he told me not to bother, that he enjoyed his time in the band and it was a long time ago.)
Gracious and easy as always, lovely man., Welsh you know.

Jack and I were able to meet in California around 2008 for several hours and what he told me was basically what he said in those final podcasts he did, all of which was news to me and boy was he angry and bitter. It was very very sad to hear , he felt abandoned by his friend.

As Guy has said, other than Pick and David, every musician that went through the band was hired record by record, tour by tour and understood that there were no guarantees after each project finished. That’s common to ALL bands that use sidemen, backing singers or whatever, it's the lot of the professional musician .

So it wasn’t a question of “having dinner” as you put it, things ended and that was that until something started up again.

Could things have been handled better? In some cases yes, for sure, but I can't change yesterday and as I found out myself, it turned out that what I thought was a deep friendship with both M and J had morphed into something else ..more a business thing …as we say in the Biz, “ it’s not about the money, it’s about the money”

Not sure why you think I don't want to answer DS questions.
Not at all, thats what  I'm here for.

My daughter Lauren is a senior lawyer at META in the Data Protection area.
My son Joe teaches foreign students English on the web. I can hook some of you up if you want!
He used to be a suicide counsellor until he just couldn’t do that anymore , just too difficult bordering on the traumatic I think.
The only thing I can tell you is that Lauren toyed very briefly about getting into the music biz and decided against “ because I saw what it did to you”.
Good for her, and she’s is a fantastic wife and Mum to my two gorgeous grandkids.
She went to see Taylor Swift recently and loved it.
Joe is into hip hop and hardcore rap.
No idea where he got that from!

concerning desert island discs, what would be your 10 (yes, 10)
also, pls do feedback after you went to the Gilmour show. the man is a treasure, unlike his bass playing megalomaniac former "bud"
seen him twice, experiences to treasure (hence ...)
also, do you remember a fella called "Herman Schueremans"
i heard stories bout him and you guys. great festival i used to love to go to. but only managed to see you guys there in May of 1992...not 78, ..or 79...(stuff of legends)

I KNEW that was a mistake as soon as I posted it!
In no particular order and I’m going to cheat because I can!

Fantasia On A Theme by Thomas Tallis by Vaughan Williams .
The Adagio from Mahler’s 5th Symphony.
Milestones, Miles Davis
Kind of Blue, Miles Davis
Night Train, Oscar Peterson
Sensual, Sensual, B Tribe.
El Indio’s Theme, Ennio Morricone.
The Lonely Night, Moby ( from his Reprise Album)
The Sun Records Collection, Elvis Presley.
Elvis’ Gold Records volume one Elvis Presley
Bonus …By The Time I Get to Phoenix Isaac Hayes ( the 19 minute version) , Gene’s Blues, Gene Krupa and anything by Buddy Rich, Elvin Jones, Art Blakey , Joe Morello , oh and Wonderful Land by The Shadows.

On a desert island i'd want my Slingerland drum kit and paper/pens so I could write my memoirs.

Gilmour is Oct 9. Remind me. Wonderful musician and awesome guy..lovely wife and family ( dont really know him). .

I emailed Herman two days ago. A great great guy, one of the best promoters I dealt with by far ( helped get him started), a gentleman an a real friend who helped me when I needed it.

Hi Ed, thanks for your time and your stories! MK has mentioned many times that if a song doesn't work out, he doesn't push or stress; he may try it later on or work on it (Speedway, Rudiger, Secondary Waltz, Do America, etc.). As there were about 20 songs for the LOG sessions, do you remember if anything was passed to the BIA record? In '82, he had already written BIA (the song), but maybe it was after the LOG sessions. Also, I wonder if that happened often during the DS days or if he started to revisit songs more later on in his career.

No. Sorry. I cant recall any except the ones that made it onto to the record. I'm guessing many got dumped, some got used and some got changed.
That’s been a career long thing and is common to MANY writers. Certainly all the ones I worked with.
Don't know, M generally writes at home and in private.

[dustyvalentino]

Dear Ed, regarding my Stevie Nicks question, yes, I meant SHE (not he), I'm posting from my phone and not only the small screen but the corrector doesn't help too much, lol

The song SHE released in a record called 24 karat gold, with rare and unreleased songs, is called "She loves him still" and it's basically the MK song "Irish road" from the Cal score sounding at the background with Stevie singing his song over it:

https://youtu.be/ATYhiepD0FE?si=FxJDQ2a2gIQ5qnN1

If I'm allowed to filter another question in this post, you said you managed Paul Brady, would you tell us anything about him, his career, personality, friendship with MK and collaborations? As far as I recall MK played on "the game of love" song by Brady and many years later, during the 2000 (can't remember if you were still MK's manager then), Paul Brady did some special shows at Vicar Street in Dublin, and MK played one of those gigs with Brady, and they both shared the stage during maybe a 80% of the song, and with Bonnie Raitt for some songs

Thanks in advance.

Thanks for clarifying. I assume MK knows about that, I didn't.
Sounds dreary to me, like she’s got piles.

Brady.
Ace bloke. We are still very good friends though I don't see him sadly.
He and his wife Mary are the best and finally both his kids have got parole .
Wonderful writer and an intense and exciting performer.
I didn't really manage him, that was my ex partner Paul mCummins, I just did his deals
He’s pretty friendly with M.
They tried writing together eons ago but it didn't work. They are both too pig headed!
I wasn’t there but I recall the shows you mention.
I’m so glad we represented him and he got the career he wanted. One of my favourites.

Bonnie is a class act. WONDERFUL woman and artist and really helped me during a bereavement, great writer and performer. .

I know you'll think she has no taste in music, but Golden Heart is my wife's favorite of all the DS/MK albums.

I seem to recall that you had a whole tour lined up behind the release of GH, and then Mark decided he needed to record more songs, so you had to scrap the whole tour and start over.  Did you have any input into Mark deciding he needed more material for that album?  as in, "Mark, this album as currently constructed really doesn't cut it", or similar, or was that all Mark's doing?

And I imagine the PITA it was to start all over with the tour - was the original tour going to be more extensive than the one that ultimately was done?

Did you suggest the album be titled "Blade of Love"? 

No. Your wife has no taste in men.

I have no recollection of that at all.
No. I'm sure that’s not right either re more songs or moving the tour.
I definitely didn’t do the latter and what we did was what I planned from the outset.
No changes additions or subtractions. .
No idea where you are getting this from.
 
All the records were “ his doing”.
Didn't understand that comment. .

No. HE suggested that…...
We were having dinner at Julies in Notting Hill and I called over a waitress I knew and said
“ If I said Blade of Love to you what would you think I was referring to?”
“ Your cock?”
I did the same with another one.
“ A penis”.
M got the message.
Sometimes you have to save artists from themselves. I knew the press would have a field day with that one 😂

Dear Ed, regarding my Stevie Nicks question, yes, I meant SHE (not he), I'm posting from my phone and not only the small screen but the corrector doesn't help too much, lol

The song SHE released in a record called 24 karat gold, with rare and unreleased songs, is called "She loves him still" and it's basically the MK song "Irish road" from the Cal score sounding at the background with Stevie singing his song over it:

https://youtu.be/ATYhiepD0FE?si=FxJDQ2a2gIQ5qnN1

If I'm allowed to filter another question in this post, you said you managed Paul Brady, would you tell us anything about him, his career, personality, friendship with MK and collaborations? As far as I recall MK played on "the game of love" song by Brady and many years later, during the 2000 (can't remember if you were still MK's manager then), Paul Brady did some special shows at Vicar Street in Dublin, and MK played one of those gigs with Brady, and they both shared the stage during maybe a 80% of the song, and with Bonnie Raitt for some songs

Thanks in advance.

Yes, MK composed the music. I completely forgot about it. "Irish Road" in the background. Beautiful. Thanks wayaman:)

Chad Cromwell – drums

I agree “Irish Road “ is beautiful.

[dustyvalentino]

Dear Ed, I want to thank you on behalf of my father for mentioning some shows that were memorable to you. When I saw your list, I immediately realized the historical importance of each one of them.

The show in Madison Square Garden NY, BIA tour with guests Billy Joel and David Sanborn RIP, has always been in my top 5 shows of the BIA tour. The bootleg recording reveals the incredible atmosphere of a band at their peak.🔥

Whitney Houston's question in your dressing room in 1988 was absolutely hilarious!😂🤦🏻

It's interesting that you mention the Auckland show in March 1986. Almost two years ago I came across a recording of that show made by a cameraman you had hired. His name is Avital Davidzon. According to him, you liked his work and invited him to the tour in Australia and New Zealand in 1986 to film the band for the big screens at stadium shows. For us it was a find, a time capsule that remained unreleased for almost 40 years and that reveals an incredible performance by a band at the height of its career, ending an impressive tour.🔥 I released it here at AMIT, we were all very happy with this recording. Avital also made available a very fun video of the band and the road crew playing a game of cricket, a way to relax a little, to get away from the routine during a tour of Australia and New Zealand in March 1986. I don't know if you know these recordings, but you might want to see them. I'm leaving the links here:

Footage of the show in Auckland 86, improved quality.
https://youtu.be/FLxUVCPIdzw?si=RhzlWJsB72uRvWSw

Band v's Crew part 1
https://youtu.be/WhfL6ghT-kE?si=Eh3mENW7UzQFnwFj

Band v's Crew part 2
https://youtu.be/3kb-A-ZOkhY?si=G9W1jy46njywWqvA

Regarding Mark's statement about having recorded some of the shows in Paris in 1983, the information that it was an interview on Top of the Pops may not be correct, I saw this information on an old website a while ago and it stuck in my mind, but I'm leaving the link to the interview below, a video of only 3:27, at the end, when asked about Alchemy, Mark addresses this issue.
Personally, I believe they used the Rolling Stone Mobile to record some of the 5 nights in Paris 83, a month before the Hammesmith Odeon shows.

https://youtu.be/BfjjHANqovE?si=uTcfCaR_u0nECmOP

If Portobello Belle live in June 83 was recorded by the band and is present in the MFN compilation released in 88, who knows if there are more recordings from that occasion, or even from others, 80/81, 85/86. (Just a hypothesis). Rainbow 79 was certainly recorded by the BBC for the BBC Arena, very lucky for us (the fans) that they recorded the audio of the entire show, it would be great if they had the complete footage, from a historical point of view, a record of the end of the band's first phase. Although for you it is the worst period of the band, September to December of 79 is the period that fascinates me the most musically, I love the setlist from that period, especially the versions,🔥❤️ they are incredible, but, I am just a fan looking from the outside at everything that happened, and you were the band's manager and your view is from the inside out, you saw everything happen in real time, another experience completely different from ours, which is very fascinating, very grateful for sharing.👏🏻👏🏻👏🏻

This morning I revisited the song "Mustang" by the Shads. Not only Bruce's rhythm guitar, but the drums here also do an excellent job. Everything about this song takes me back to the Old West. I love that feeling. Listening to The Shadows has always been a luxury at any time.💎❤️🎸

If you'll allow me, I would be interested in a few more aspects related to DS (and I believe others would be too) I will return to the topic again, live releases of the band: The question of how Alchemy was planned and elaborated was already wonderfully explained by you, so I would like to know if at any point was a live release of the BIA tour 85/86 planned, given the size of the success of the album, as well as the tour? And of course, to finish, how was the planning of what became On The Night? Was it a decision of the record company, or between you and the band? By the time it was recorded in May 1992, the band had been on the road for almost a year, so Nimes and Rotterdam were chosen for this production, a very different dimension to what Alchemy was, the result of one night. Did On The Night happen as planned?

Was STP initially planned to be a DS album? Or was that "The voice and guitar of Dire Straits" thing just marketing?

The Police and Dire Straits are from the same generation. They emerged at the same time and in the same place, but with different sound proposals. In retrospect, when you look at the trajectory of both, is there any parallel in their careers? What could you consider? I am impressed by the amount of video recordings that The Police have between 77/81 (the first three albums), many of them filmed shows, Dire Straits doesn't even come close to the amount of recordings that they have, was the reason for this some internal politics of the band, or rather, of its management?

Finally, have you ever visited Brazil? Is there anything in our music that you appreciate? I imagine that you know names like Tom Jobim, Vinícius de Moraes, João Gilberto, maybe Ivan Lins, Hermeto Pasqual or Gilberto Gil.

Cheers!

OK Brunno, here’s your very own essay by your para.

That was a great gig made doubly so by the audience response which was deafening, unbelievable, especially at the end of SOS, 5 mins at least.
Proud moment for me and numero one album and single to boot.
Perfect alignment.

Afterwards we were back at the hotel winding down and M called my room…….
“ Do you know anywhere to eat round here that would be open now?’

As it happens I did, so he and I and Paula my gf walked down to Richoux ( open all night) on 6th Avenue and saw Paul Crockford going the other way across the street probably looking for passing trade..
How weird is that?
Anyway he joined us and we got a table next to two guys.
After we’d ordered I whispered to M,

“ This guy on my left is Joe Pass RIP ( one of THE great jazz guitarists) and the other one is the writer Jerzy Kosinki ( who wrote “ Being There” ..became a great Peter Sellers movie )"
“ Do you know him?
“ No”
“Well can you talk to him. He’s an amazing player| ”

So I introduced myself, then the rest of us and we had a fantastic chat, mainly with Joe ( this guy had played with Oscar Peterson, Ella Fitzgerald, dozens of others, Holy Shit , a real guitarist who played art not pop so Quizzy will know him.)

He asked if we were musicians and where we’d played that night. I told him MSG.
“ How many did you have in?"
“ About 19,000 ”
“I just did ( he mentioned a small jazz club) to around 130 folks “ which we all thought was pretty funny, especially him .
Lovely guy, ridiculous player what a treat.

When we were walking back M said to me “ you know meeting him really capped tonight off, it was better than the gig! ”.

Yes. Whitney thought NM was the headliner!  In the US very few knew who he was or about the apartheid issue, they had/have their own.
Americans only look inwards.

I remember that guy! I think he was hired by Philips who were providing the screens as part of the Sponsorship. I also recall that cricket game on the pitch behind the Sebel Town House hotel, scene of much debauchery.
So weird seeing those clips now.
That black and red cowboy shirt was Jack's.
He never got it back.

That interview was for an Old Grey Whistle Test. The hosts were Mark Ellen and David Hepworth. They look as nervous as M does.

Paris. As I thought, the shows were audio recorded only, the filming was only done at Hammersmith and only the second show was released. It is NOT a composite of the two as some on AMIT keep suggesting ( and it wouldn’t matter if it was). .
So yes, presumably somewhere are other tapes from Paris in a vault , the problem is who knows WHERE?
Polygram routinely “lost” tons of tapes by everyone imaginable and alot “walked”.
And then there was the Universal fire.

Yes re Rainbow, which ended up in bits on the BBC Arena doc. .
Problem was it was terrible footage due to lack of white light…….gig stage lighting back then was inadequate for TV eg see Prince gig in Syracuse which despite “fixing” is still way too dark, ( amazing show though ).

I understand your interest but I simply can't recall what was recorded or filmed other than what’s out there. We were quite “picky” about filming etc although I had no issue with fans doing it ( the venues were often a pain about that ).

I'm seeing Bruce and Brian Dec 3. I’ll tell him!

BIA live. No. Just didn't happen.
A bit of Jerusalem filmed and owned by The Tube, that last night in Sydney and the Wembley 85 ( owned by the TV companies) are the best you're going to get.
I regret we didn't but there you go.

OTN. How many times do I have to repeat  that the record companies had NO say in what we did or released ? Once we got past MM I took no notice of them BUT in fairness they never asked for or about anything. They were there to manufacture, market, promote and sell.
That's it.
They had no part to play in the creative side.

Somewhere along the way M/J and I decided to do what became OTN …...a mistake in my view but that's with hindsight and I know most reading this will disagree.
It did tick off a contractual commitment but we were not OBLIGED to do it.
That was up to us so that wasn’t really a factor.

These Q and A’s tell me that most of you don't understand how record deals work, at least pre streaming, and there’s no reason why you should. I don't have the gas to tell you I'm afraid ( and they’ve changed out of all recognition)
.
There were technical issues with the actual recording ( bass I think ) which led to some later overdubbing ( only a few bits ) and some other tweaking .
No I'm not telling you what ( ask Guy …I’m sure he’ll tell you everything 😇😇😂 …..I LOVE him and Laurie Ann 👩) .
It doesn’t matter, it is what it is. .
I know of live albums where only the audience track was retained and everything was re recorded. So they weren’t live at all!.

I also don't know what songs came from what shows or what underpants in what colours those who WORE underpants put on ..not my job description!

STP.
NO.
NEVER ( where DO you get this stuff from?)

DS were dead and buried by then, never to return 🤮.
The OES tour destroyed any hope of that being revived and I would likely have quit at the suggestion.
Like M but for slightly different reasons because it wasn’t affecting me in the same way it was affecting him, I was DONE with it, done with a certain musician and his pathetic politicking, done with 900 lights and stadiums, and I could afford to let it go as could MK/JI.
That's important in the mix of things but never mentioned ( John would like to have kept it going and/or revived it as he’s often said ).
Money buys you CHOICE
 
That marketing phrase/sticker came from me because I was very concerned after GH ( where it was used as well ) that the GENERAL AUDIENCE, not the fanbase, not you lot, did not know or associate MK with DS .
He did not have the profile of, say Gordon Sting , Eric C  or George Michael, Annie Lennox,  or others who had left huge bands. Hard to believe I know but he didn't.

GH was disappointing to me in terms of sales, esp in the US , I don't think M ever asked me what it had done but he’s not stupid, he must have realised  that commercially it was a bit of a dud ( not everywhere and I did give him regular reports.)

But then agin he was travelling a different path by now and part of the reason for that was to “reduce the heat” of being in this mega band, or at least that's what he was trotting out in interviews back then. I'm not sure I entirely believed him ( there were other non musical reasons that are nobody else’s business.)

Let me give you an example re his “ profile” .
The day AFTER the Mandela show which DS headlined and was seen by 72000 in Wembley Stadium and 800million + on TV, he and I went into a local wine bar on Westbourne Grove.
It was packed 200-250 people easy and many were wearing T shirts from that event, so they’d been there.
 
We had two drinks and NOT ONE person recognised him in over an hour. .
As we were leaving a guy came up and said “ you look a bit like , eeeeerrr, um, that guy from, what are they called, eeeerr ah yes, Dire Straits. What's your name again? I know, Mark Knopfler, are you him?".
“ Nah, but I wish I had his money,”
And we left.
No autograph. Nothing.
A small incident but telling ( AND the guy was wearing a T shirt ) .

Dingwalls. 13/12/77
Mark had a red Fender Stratocaster.
That was IT. Seriously.
Echoes of Hank Marvin!
Plus I really needed to sort a support for Talking Heads FAST. I'd left it a bit late…that was starting in less than a month.
.
Musically I can't remember but I do recall  they were playing "Down to the Waterline" when we walked in and it wasn’t very loud ( I'd just been on the road with Deep Purple 💥).

The only other song they did was “Nadine” ( Chuck Berry).
They might have done “ What's the Matter Baby”…just can't remember.
 Because it’s not memorable.

I was and am great friends with Miles Copeland, manager and impresario.
We had been in business together 1970-73 ( agency ) and he dragged me go to a very early Police rehearsal before they got the A and M deal…so maybe 1977?
They played “Roxanne" had dyed blonde hair and it was obvious Gordon Sting was a star.
He was maybe 5 feet in front of me and had a cucumber down the front of his pants left over from Robert Plant’s fruit bowl. .
Stewart was in Curved Air who I booked and Ian RIP I gave his first job to in 1971 I think .
So I knew all the family ( still do ).

Both bands started out together.
Funnily Miles passed on DS and picked Squeeze after both bands did a gig together at the Albany in Deptford by the Sea.

We did several early festival gigs with The Police at Pinkpop in Holland and 4 in Germany and both bands were great pals.
Of course M and Gordon Sting came from Newcastle but I don't think they knew each other then.

No. Unplanned, no politics, no management policy, completely random.
Of course from a TV point of view Gordon Sting was a sex symbol and MK definitely was not.

Gordon Sting was on at least one of the BIA Paris Bercy gigs.
Doing "I want my Mommyeeee “ and being especially golden.

I have some hilarious tales about him but they’re for my book if I ever get round to it.
Good guy, all the Police were.
I often email Stewart who has become a really good TV presenter.
He never replies.

Sadly not and no plans. I've promised to take Sadie to Whitley Bay and show her the Spanish City so that's on our bucket list. I do know some of those artists, actually nearly all of them..
Always loved the music of your country, great percussionists. That’s where the rhythm for YLT came from.

[dustyvalentino]

"No. Your wife has no taste in men."

That was a given, but turned out great for me.

"I have no recollection of that at all.
No. I'm sure that’s not right either re more songs or moving the tour.
I definitely didn’t do the latter and what we did was what I planned from the outset."

This i remembered from one of Liz's last DSIS letters, which I have tracked down.Here is the relevant section :
The reason for the postponement is that Mark wants to write and record some additional tracks. Since it will take him a little time to do this (he hasn't even written the songs yet), we will not be able to deliver the finished product to the record company in time for them to meet the proposed March 1st release date. The most likely time for the album to come out will now be autumn of 1995, and the tour will be after that, possibly even as far off as 1996. We will keep all names ...

Very, very sorry about this - but there's nothing I can do about it. We had an exceptionally well routed tour set up which took months of planning and which we have now had to cancel, and a lot of people lined up to work on the tour who are now without work for next summer, so believe me, it is not a decision that was taken lightly... and we are all just as disappointed by the whole thing as you probably are (understatement of the year)!

https://neck-and-neck.hier-im-netz.de/dsis/9501/jan_95.htm

Well well well I stand corrected 💀.
Funny but it was 28 years ago…….
If that came from Liz then it came via me.
 
The tour we did was almost exactly the one I had previously set up. I just moved the dates and thankfully most fitted since the replacement was quite a long time ahead.
Reading her note I assume she sent it out in late 94 , its hard to remember the chronology now and before you ask I cannot remember what “ extra “ songs resulted.
As I’ve said I'm not a fan of that record.

Some of Mark's songs, including one's you won't have heard, involve shady sarcastic macho characters: Money for Nothing, Mans too strong, Cleaning My Gun, Rudiger, Boom Like That, 5:15AM. Can you see shadow aspects of Mark's personality in these characters ?

MFN..NO! But he does like dressing up as a microwave salesman sometimes ( whoops, I'm giving too much away, thats just between me and thee)
MTS..that’s about a war criminal so NO!
Rudiger was an actual person in Berlin I think. Mad autograph hunter who sold them.
The others I don't know.

M is an observer, not an auto- biographer ( with a few romantic exceptions).

Ed. Thanks for doing this. Some quite enlightening answers.

Being a big Sting/Police fan as well as an MK fan, I’ll ask this. Did you ever encounter their manager Miles Copeland III on your travels? I gather he’s quite the character. I wish Mark and Sting had performed together more often over the years.

It's Miles AXE Copeland 111.
His Dad was Miles Axe Copeland 11.
His grandad was Miles Axe Copeland 1
His great grandad was Miles Axe Copeland 0 and he had a mighty chopper.

Answered above ….one of my dearest friends, hugely likeable, rude, obnoxious , complete tosser, everything a great manager should be then.
Just like me.

[dustyvalentino]

Ed, Thank you for the ton of info you gave us

My Q: When you say 'dozens of unreleased DS songs' do you mean finished songs ? if so, can you reveal any title ?
and if there were some that you think should have been absolutely released?

Uncle Q: Is the rumor of about 20-25 OES concerts recorded for On The Night correct ? Who had the idea to mix
2 shows (Rotterdam + Nimes) for On the Night ? Did you agree with the decision (by MK ?) to leave out many important songs ?

Friend #1 Q: What MK's guitar sound you like most ?

Friend #2 Q: Any chance of a NHB live concert release ?

Friend #3 Q: Can you describe the relation between MK and money ?

Friend #4 Q: Any idea why MK has not released any video official live concert during the whole very long solo career ?

You're welcome.

I can't remember…I was referring to his lyric notepads I think, not recordings.
Recording is expensive so very unlikely and certainly not dozens.
Maybe some were finished …..not sure.
As I've said many times ALL intelligent artists self edit, dump stuff, change stuff. .M is no exception.

LOG was originally going to be a double album and I do remember listening to more tracks, maybe 5, 6,  and fought tooth and nail for that to be a single album as explained elsewhere.
This was when things were still discussed.
TR and PI , maybe INR wiped the floor with everything else I hears. ID is not a fave for me ( or Pick) .
There was no point diluting the impact of those songs with second division stuff.
I always thought double albums were too often an excuse for self indulgent fillers, this was one of those cases.

“The Way She Always Farts” might have been one which ended up on LH.
No titles.
Released…..no, actually the other way round.

OTN 20-25. That's a silly rumour ..bonkers for same reason as above, cost.
Absolute rubbish…...25 recordings!!!!! .
Why?
The gigs were basically the same determined by the lighting computer!

R and N. No idea. Guy maybe? Neil Dorfsman after listening to what we had?.
My memory is we only recorded/filmed those two, we didn't need more and Nimes was chosen because it's such a beautiful venue aesthetically.

I seem to remember I had quite a big input into what went on it and I was anxious not to duplicate songs eg Solid Rock, Local Hero that had appeared on Alchemy.

All the other tracks came out on the Encores EP so the whole show WAS/IS available so he didn't leave any out.
He didn't play much of a role in mixing that.
Too exhausted with it all I think, I know I was.

Easy. The red Stratocaster, that sang. Had soul.

Easy. No. Nothing recorded unfortunately some good BLeg's on YT. The Lonnie evening especially.

Easy. He has a small French boy aged 15 called Assaad who walks behind him carrying a bag of coins to pay the dentist, a melted credit card and some dinars from the gigs we did in Yugoslavia in 1903 which no one will change.
He is actually allergic to banknotes ( the ink I think) hence this arrangement.
Assaad also carries a counting frame since M's calculator exploded when he tried to convert several billion lire I gave him in 1980 into sterling to buy some replacement garden gnomes .
He has a cash allowance of £200 a week for cabs, Snicker bars and miniatures of gin in case Chet calls from Heaven.

Easy. Hair-loss.
Him and most of the band so the lights bounce off their sweaty bald domes and screw up the camera shots.
This was an issue going back to the post headband era.
I know Crockford looked for a hair restorer company to sponsor a video but no one stepped forwards. The Wig company that did volunteer and offered free wigs used slaughtered snow leopards to make their product so that was a no no on eco grounds.

Dear Ed, thanks for answering my wife's questions, now here's mine:
what can you tell us about DS album covers? You said that from MM onwards the record company had no say in artistic matters. Who chose the covers for the first two albums? And the others? You, M, someone else? Are there any anecdotes about the covers? Do you like them? Why is the OES cover so bad? 

Ha! Good question.
Not much. Not a strong point with DS.
PERSONAL opinions coming …..well all my opinions are personal but some are shared by many.

DS…chosen from a bunch of photos the record co hired design team produced after a huge fight between the brothers about what constitutes ART.
Yes.
Seriously, and Quizzy wasn’t even born then but instinctively they knew they’d have to answer to him one day.
I didn't care. I just wanted a sleeve so we could meet the release date.
IT HAS NO SIGNIFICANCE ARTISTICALLY.
Completely random.
It could just have easily been a shot of a baboon's or Sala Hu Din wrapping a gold turban round his head sitting on a children’s swing

Those glorious hip and cool back pix were done at the vid shoot for SOS, v early in the morning when it was v cold.
A joyous day as you can tell.

Comm. Almost the same.
A compromise after sibling arguments.
The envelope has some vague connection to the title. Halley fucking loo yah.
Otherwise no significance.
Back shots done at  Compass Point, Bahamas. It was v warm there so smiles.
Little did we know the mosquito egg laying season was about to start 🦗🦗🦗🦟 HOLY SHIT.

MM.The blue insert ( vinyl) was supposed to protrude 1/2’' from the red outer sleeve but the factory bagging machines couldn't do that. So last minute a facsimile was produced which actually worked really well.
No idea which genius thought that one up.
Less is always more, like the black sleeve of “Smell The Glove” in Spinal Tap.
I wonder if they based that on MM?

LOG. Stock photo someone chose.
Probably M and J, not me guv'na , I was somewhere else, you can’t pin this one on me.
IT HAS NO SIGNIFICANCE ARTISTICALLY.
Completely random.

BIA. Lucky shot by Deborah Feingold who was on Montserrat to take band press shots.
I think Ron Eve held it up and she just snapped it.
NO SIGNIFICANCE but it did the job, best we had. Iconic, thank you Debby.

OES. Something M and Cummins came up with. I was past caring. Truly dreadful.
So bad I couldn’t be bothered to argue.
IT HAS NO SIGNIFICANCE ARTISTICALLY.

OTN
Even worse. M was given a book of stock photos. He chose that , if he’d turned the page over he might have chosen that.

Do I like them?. No.
BIA ..yes.
But they are ART so Quizzy’s trousers will be flapping around now.

GH …another dreadful one and STP!  What the fuck!!! . When I queried that M said “ Why? Don't you like planes?”

The soundtracks are obvious.

[dustyvalentino]

Where is Liz Whatley? She was great managing DSIS

Liz …..Well it’s Monday. Probably doing errands, hoovering, in Hampstead anyway.
We are still in touch ( Ditto Jean, John H, Tony Wigens, Clay Schell, Gilly Tarrant, not Cummins )
Yes. A really professional, on it, caring person, loved the fans and they loved her.
Brilliant to work with, loyal, no headache but sadly felt things were flagging at GH time and left and went to work for Elton’s charity.
I was VERY sorry to lose her. VERY.
A class act.

Hi Ed and thanks for the opportunity to ask questions.

The closest thing to DS reunion must’ve been John Illsley’s wedding back in 99? What can you recall about that event?

What about offers for reunion, any particular stories about those? Festivals or one off events?

Thank you for your time and patience 😄

Was that in 99?
Time flies when you are learning triple paradiddles and playing to 1999 by Prince.

There was a house band he’d hired ( £75 quid I think , no expense spared anyway ) and after the speeches, Mark, Guy, myself, John, played MFN , something else maybe SOS, and LH on their equipment.
Chris White was there but hadn’t brought his sax.
It was knock about rubbish but alot of fun.
The drum kit was all but unplayable and everyone was pissed 🤮.
Except me. I was stoned 🤪.

Some years ago I was at a music conference dinner sitting next to a guy I think from AEG , Live Nation’s biggest competitors and a great company., their boss Jay Marciano is a gentleman and a scholar.
 
He asked me if DS would ever get back together.
This was LONG after I’d quit.
“ No” I said
“ But why not, they’d make alot of money.”
“ They’ve got alot of money, tell you what, send an offer to Paul Crockford the Best Manager in           the World “ ( that’s biting sarcasm folks prompted by my bitter and twisted mood today).
 He’ll give it to Mark and he’ll make a paper plane with it and fly it into his waste bin”
“ I don't understand?”
“ No. I know you don't. Your offer would be so silly it would mean playing stadiums at ridiculous
ticket prices and MK definitely does not want to do that. He’d rather play Ronnie Scotts ”
The guy just didn't get it.
Gilmour has the right approach, Waters doesn’t.

I'm sure Crockford gets them periodically and I'm sure M’s waste bin is full of unread offers.
Anyway health issues …not just him, preclude that.
I can't imagine anything he’d want to do LESS, and he’s stopped touring now and I do believe he HAS stopped.

Hello Ed, another question from a cousin. Do you remember or even know who wrote what parts of What's The Matter Baby? it is the only track credited to both Knopfler brothers, so, that in itself makes it unique, but was it a case of one writing the words the other the music? Also, was a studio version of it recorded?

Your cousin needs to get out more.
No. See 153 below.

Hello Ed.
I was just thinking about you saying that MK used to say during the NA promo of the first tours there than "guitar George" was a coal miner from Leeds, but it wasn't true, but was just a rhyme between George and chords... Do you remember any other story that MK had been telling to the press that it wasn't true, or just partially?

No but I'm sure he did.
It's no one's fault but ALL artists get the same unimaginative questions over and over and start inventing stuff to stay awake. .

Japan is funny..” What is your favourite colour, do you like black, what is your favourite sex position, do you like lotus flowers, do you drink your own urine, what do you think of our country, what is a Dire Straits, are you going to a steam bath tonight and get your privates pummelled by a sumo wrestler in drag, is your urine golden like sake, will you make love to my sister, WHY NOT? “

Now you are laughing at this but I've heard all those and more.

Still, it makes a welcome difference from “ how long were you in the studio? , how many OES shows did you record for OTN, did anybody tape Mark coughing during Railroad Worksong on night three at Ronnie Scotts in 1998 at 9.09 pm, has Hal Lindes learned any new chords since his operation, is David Knopfler planning a boxed set of his own albums packaged in old Newcastle Brown crates, is Ed Bicknell doing a tour of comedy clubs next year backed by The Dire Straits Experience ”, is ART just POP music or is POP music ART, is there a studio recording of “ What’s The Matter Baby?”
Oh Whoops.
SHIT.

Hello Ed, another question from a cousin. Do you remember or even know who wrote what parts of What's The Matter Baby? it is the only track credited to both Knopfler brothers, so, that in itself makes it unique, but was it a case of one writing the words the other the music? Also, was a studio version of it recorded?

Hello, I am posting here a message on behalf of my friend Mimmo Carrata in reply to the James Floyd question. 

'If I may: Yes, What's The Matter Baby was actually recorded in studio.  Around 15 years ago I found two unreleased acetates recorded in 1979 with the studio version of What's The Matter Baby recorded on side B, a very powerful studio version.  The side A has the full alternate version of Solid Rock that was officially released on the soundtrack LP Riding High, but the version on the acetate is longer than that.  Both songs were recorded by the original band: MK, DK, JI, PW.  One acetate is a 10" and it was cut at the Trident Studios in London, the second acetate is a 7" with the same songs but the label is Audiodisc and it is autographed by Mark. 

A big hello to all my friends on Amit and to Ed. He won't remember about me, but we had a long chat at Ronnie Scott's in London in 1998 after a NHB concert, I think it was on 27.Jul, I asked him a lot of questions that he answered with enthusiasm, and for the next couple of years I used to send Damage Management some faxes for Ed with others DS/MK questions that Ed always kindly answered. I still have all your faxes Ed ! So Ed, many thanks for that, great memories for me, it was 25 years ago".

Mimmo Carrata, rhymes with burrata ..I remember him.
Oh Lordy this is almost transcendental…I've come over all queer.
MIMMO. Mwah. 🎸

There is no such thing as a “powerful” studio version of that song.
You can't polish a doo doo …didn't I read that somewhere on this site ?
I know nothing about the recordings you mention and is Riding High about riding horses on heroin?
Of course I remember you. I LOVE burrata.

What you don't know MIMMO is that I secretly taped that conversation because it was the most grovelling fan approach I'd ever had or experienced. Still is.

Even more grovelling than a bloke in Muscle Shoals who asked Bob “ Rambling”  Dylan if Bob remembered him at a gig in Kansas 15 years before and “Rambling" said “ yes” and the guy shot his load ( which was really not pleasant) .
When M said to “ Rambling, ”
“ You don't remember him, what are you going on about?”  , the great man replied
“ It’s just easier ”.
Classic line and “Rambling” is not known for his humour.
True story.
If you have all my faxes/answers do you fancy doing this?
Just one more day to go.

[dustyvalentino]

Dear Ed,
Love all the answers so far. Thank you so much for taking the time to do this! Here comes the "uncle" one.

How did the band present the new material to you? We know the story about the debut album but how about the rest? Did they invite you to their rehearsals and play you a finished product live once they figured out all arrangements, or did they record demos before going into the studio and played you those? We know that some songs evolved on tours, like TR or fragments of PI during the On Location tour. Did Mark play you the early drafts of the songs (i.e. on his acoustic only as he does these days when he gets the band together)? Did he ask for your feedback on these early versions? Did any song make a particularly strong impression on you when you first heard it? I imagine hearing something like BIA for the first time must have been special.

Hard to remember.
Communique…alot happened on the road starting with second US tour, sound-checks and performances was a common thread throughout. I don't remember demos for that but I might be wrong because I can't imagine Wexler showed up not having heard anything.

Yes I went to rehearsals but that was now and then.
Not a particularly good use of my time.
M came and lived with me in late 79 I think so he’d play stuff, write stuff while I made tea.
Suicide Towers was one because of the high rise I was in ( Barbican in London) which thankfully bit the dust ( the song not the building).

Really it was all the permutations you suggest.
He did play me R and J on an acoustic in my office I think. I have this memory of not knowing what to say!
Yes he was very open to feedback, suggestions.
 
Sometimes I'd say “ great " and sometimes I'd say “ smelly ” , he was very open like that back then.
Alot of stuff got dropped after try outs.
The crew would write out set lists and if they didn't like something they’d leave it off and the band would just go on to the next on the list.
It's much more random and spontaneous than people realise.

As for strong impressions yes. TOL, R and J, TR, PI, SFA ,MFN, BIA, YLT, LH, YAYF, HF, PONO others I'm sure I’m missing. .
Some made strong negative impressions as well!  LB for one.
I hope that helps.

[dustyvalentino]

You mentioned that we get-a-lifers as a group have little knowledge of how a record deal works.  I confess to this.  My question is this:

I have read of other artists who were obligated by their contract to deliver a certain number of albums, even when the band was itself imploding.  What if DS had had say two records left on their deal (after On the Night)?  Could Mark have just said "here's an album of Rarities and B-Sides, and here's an album of half-finished crap" and the record company has to take it?  Can he say "There will be no further Dire Straits product" and terminate the contract? Or could he use a solo record to satisfy this?  How does this work (or how did it work back in the day)?

Did OTN complete Dire Straits' obligation to the record companies?  Were they just going one record at a time by that point?

Also:  My brother (JT) wants to know:  did you ever get to read Jack's unreleased book?  I can imagine it would make a nice counterpoint to John's well-polished account.

My dad (JJ) wants to know:  if you could manage one (other) act from modern history, who would it be?  Doesn't have to coincide with your career exactly.  Elvis, the Beatles, U2, Taylor Swift, anyone.

Thanks again for doing this Q&A, it's been fabulous to read.

Good question.
If you are as successful as DS and have a respected and strong manager eg say Peter Grant, Tony Smith, Roger Forrester, Steve O Rourke RIP, then really you dictate the terms BUT a contract is a contract so you better get the best deal AND the most control you can at the outset.
It's really how you approach it. I negotiated all our deals incl records, publishing, merch, sponsorship, shows, but most acts use lawyers and pay for it.
I would do that now because its become ludicrously complicated eg AI.
Your hypothetical is technically true but in that scenario I would not have put out crap to finish a deal, that's very short sighted ( but people have eg Lou Reed).

If you have leverage and you only get that through commercial success, then things get worked out.
Record companies are pragmatic.
 
I might not like their business model but it's VERY rare anybody gets into a legal fight, esp in the UK ( the US is more litigious generally).

George Michael did and his lawyer who was my upstairs neighbour kept asking me every evening “ how are we doing?” and I kept saying "you’ll lose, because GM signed a contract on which he had legal advice”.
And he’d sob.
He did lose but It got sorted when Geffen bought his contract off Sony.
Courts enforce facts, not opinions  or changes of mind, as they should.
Prince had this whole thing with Warners our US label ( “ slave ” era )
But it got sorted, of course it did.

OTN. No. I don't remember what we “ owed  “ at that point but they did accept it as part of the contractual commitment which a live album wouldn’t normally count against, I just forced them to.
I was extremely tough on Phonogram and much less with Warners.
Different corporate personalities, one had great leadership, the other didn't.

 Jack. No. He told me he was doing quite early on but no.
He would have had a hugely different take than John’s effort.

Elvis Presley if I could have found him at the Sun records stage.
He would have had a VERY different career but he became very difficult for the Colonel, I don't gamble and they were very different times.

None of the others you mention…geez U2 , are you kidding me? 
.
Vangelis. Miles Davis pre electronic phase.
 I would love to have had a company handling the great soundtrack composers, they are the classical composers of now. Morricone, Hans Zimmer, Two Steps from Hell ( Thomas Bergersen), Trevor Jones. Check them out
.
And for pure self indulgence, Buddy Rich.

You are welcome. It's been fun and educational for me, and quite exhausting!

Hello Ed, another question from a cousin. Do you remember or even know who wrote what parts of What's The Matter Baby? it is the only track credited to both Knopfler brothers, so, that in itself makes it unique, but was it a case of one writing the words the other the music? Also, was a studio version of it recorded?

Hello, I am posting here a message on behalf of my friend Mimmo Carrata in reply to the James Floyd question. 

'If I may: Yes, What's The Matter Baby was actually recorded in studio.  Around 15 years ago I found two unreleased acetates recorded in 1979 with the studio version of What's The Matter Baby recorded on side B, a very powerful studio version.  The side A has the full alternate version of Solid Rock that was officially released on the soundtrack LP Riding High, but the version on the acetate is longer than that.  Both songs were recorded by the original band: MK, DK, JI, PW.  One acetate is a 10" and it was cut at the Trident Studios in London, the second acetate is a 7" with the same songs but the label is Audiodisc and it is autographed by Mark. 

A big hello to all my friends on Amit and to Ed. He won't remember about me, but we had a long chat at Ronnie Scott's in London in 1998 after a NHB concert, I think it was on 27.Jul, I asked him a lot of questions that he answered with enthusiasm, and for the next couple of years I used to send Damage Management some faxes for Ed with others DS/MK questions that Ed always kindly answered. I still have all your faxes Ed ! So Ed, many thanks for that, great memories for me, it was 25 years ago".

It's a very interesting thing to see, even more so if one day we all get the chance to hear this studio version of Whats The Matter Baby.

About the version of Solid Rock on side A of this recording, I wonder if it could be the Demo they recorded back in 79? On Bootleg 18.11.79 - Tivoli Theatre, Copenhagen, Denmark, (recently discovered) we can hear the demo of Solid Rock at the end of the show, the recording coming out of the band's PA, something I found very interesting at the time, because it means they could release it as a Single, who knows, maybe in late 79 or early 80. Hearing this recording is one of my dreams.🤩🙌🏻

I don't have anything to add here except you must have weird dreams.

First of all, thank you very much for taking the time to answer all those questions and for being so open! I may have missed it, but was there a specific moment that Mark told you he wanted to have a solo career and did he then ask you to manage it? Or was he contractually 'bound' to you at the time? If he asked you, did you realize what you were getting yourself into at the time?

'm as open as I want to be.
No. After OES I knew the band was done .
I also knew we had to take a break, sort out our lives.

We did have a contract then ( often we didn’t but commission was/is tax deductible overseas ) and we just sort of extended that. If he had wanted to leave me or vice versa a contract won’t hold you, then it just becomes about a settlement.
Like a divorce really.

Hi Ed

A question from my mum, Lusty Valentino. She says she met you after a gig in the 70s, and because my dad was working nights at the time you kindly took her home and fixed her Soda Stream.

Anyway, she is wondering if you knew the Spiders From Mars from back in your Hull days?

Absolutely I do .
They were The Rats then, a blues trio getting £20 a night in local pubs.
I often put them on as support eg to The Who and became good pals with Mick Ronson and we stayed friends right up to…..
I saw him the day he died which was really sad, but I'm glad I did.

A really good, sweet man, great and underrated musician, fab arranger ( Jack and Diane) no side to him, and he never changed. I would like to have managed him.
I was thinking about him just the other day funnily enough and I’m still in touch with Woody Woodmansey occasionally.

[dustyvalentino]

Dear Ed,
here are two last-minute ones from two friends (who are totally unrelated to the Valentino clan):
Rusty wants to know about the famous red Schecter strat that was stolen. How did that happen, and did anyone ever find out what happened to it (or its parts)?
Crusty would like to know what inspired the decision to record MM in New York rather than in the UK. Was it the feeling of needing a fresh start, MK's love for all things American, money/strategic issues, studio quality or something else?
Once again, thank you very much for all your time and patience with all of us get-a-lifers! :-)

Must have been after me because I know nothing about this.
What a bummer for M.
He had a brand new car stolen for parts as well.
And his gnomes., he loved those gnomes , he applied for a shotgun licence after finding the airgun didn't produce enough “splat” but was turned down.

MM. Once we’d hooked up with Jimmy Iovine in Feb/March 1980 he suggested the Power Station which coincidentally Lourdes was managing.
Then Roy Bittan was drafted in and he lived in New Jersey I think.
So MK and I visited the studio and Lourdes thought I was M and he was me 🤡..I mean HOW could that be?. I'm suave, hip, cool and beautifully dressed and back then M was…well he wasn’t!  He looked like he’d been dragged through a car wash backwards 😀.

So perfect alignment all the way (my partner’s words for luck ,) sealed the deal and NY it was.
It turned out great , no monetary thing, just a huge energy which fitted the songs perfectly.
It’s sad to see how shitty, filthy and run down that city has become.
I took Sadie there last year, her first time and it was sad.
Rats and scaffolding is what she’ll remember, and traffic, we actually gave up and went to Rochester to see Keb Mo and dear Bonnie Raitt at the Jazz Fest.
In Rochester the rats wear hats and carry tiny brief cases.

Just a very simple question, but i've always wondered; how tall is Mark? At the On the night show he always appeared really tall to me(over 6 foot something?)  but on other occasions/pictures/movies he could also be 5ft10 or 5ft11.
Thanks!

 have no idea. Not after all these years because I've only seen him in high heels.
I would say about same as me, about 5ft 10’’ because when we slept together everything lined up perfectly.

Def not 6ft. John is up there, on windy outdoor gigs we had to stick John’s hair on extra tight.

M surrounded himself with tiny people. .
All the crew had to be 5 6” or under.
The caterers 5 4’ or under.
The truck drivers were never allowed out of their cabs ( they were monsters), ditto the bus drivers.
Chris White had to stand in a trench.
That was why Jack didn't wear shoes and Guy’s riser was slightly lower than Alan’s to level them up.
Paul Franklin was fine. He actually fitted UNDER his pedal steel and we had to get him a higher bench to sit on. His bed was the flight case to save money.

[dustyvalentino]

Hi Ed, a couple of easy ones…:

1. OES tour - what would you do differently if it was 1991 now (and you’d decided to stick with whatever the reason might have been), could it have been a happier better tour? More indoor arenas maybe like the 1991 stint?

2. Would you work with MK again?

Cheers!

I wouldn’t do it at all until certain persons ….note plural…had sorted out their lives.
Changing venues, band members, routing etc would have made no difference because that would not have addressed the underlying issues, the ones I can't tell you about and “ running away” is a gross understatement, no disrespect to M, he knows it was way more than that.

Very good question.
Well at this stage he’s winding down and so am I, so no.
In life when it's done, it's done.
Never go backwards, always forwards.
There's some wisdom  for you! 🥁

Message from Mimmo with 4 photos in attachment:

Dear Ed,
english is not my language. Hard for me to understand if yours it's just british humour or something different. But I am not neither a dreamer nor a liar, see the 4 attached photos.  I was happy to get in touch again with you after so many years, at least just to say hello, but I wish I'd never posted that message. I'll stay with my happy memories of 25 years ago. All the best .

This is where language and humour collide.
It was my humour but apologies if you didn't get it. I don't get it either at 2am. !
I recognised your name straight away.

Your pics haven’t been posted ( Dusty can you send separately? ) and there was nothing wrong with your message AT ALL.
I was very pleased to hear from you, very, and it gave me the opportunity to tell a Rambling Dylan story.
Take care, don't take stuff too seriously.

I can't find if this was asked already, but my distant relative from Uranus, Rusty Valentino, is curious about other "unusual" celebrities you or M met. You've mentioned Pat Boone and Joe Pass, which I never knew, and it made my day. Joe Pass successfully inspired thousands of guitar players to quit guitar, what a legend. M mentioned Ennio Morricone, Chet Baker, and Rüdiger himself, being close friends with Lonnie Donegan and a million obvious examples. It seems he met everybody who wasn't dead. If Elvis lived as long as Colonel Tom Parker, I bet we'd have a duet. So if you have something else to share on this front, that would be great.

No. Not asked.
I don't think you mean “quit” guitar, you mean “take up guitar”.
 
That was SUCH a thrill for us and so perfect  after that amazing MSG gig to bump into HIM!

One of the real perks in our lives was meeting all these people, many teenage or later heroes, and when they turn out to be really nice, not pretentious narcissists , then that's a bonus, the icing on the cake.

“Unusual”…that's subjective …here’s a random list off the top of my head and don't forget I'd been in the business 7 years b4 I met DS.
 
I won’t mention the hundreds of musos but in no particular order here’s a few ….
Buddy Rich, Elvin Jones,  Oscar Peterson, Clint Eastwood, Dennis Hopper, Shirley Bassey,
Helen Mirren, Jimi Hendrix,  Prince Charles , Princess Diana , Leonard Cohen, Ennio Morricone, Sergio Leone, Chet Atkins, The Everly Brothers, Dolly Parton, David Puttnam, alot of UK politicians, a couple of US porn actresses, Noddy Holder, Cliff Richard, The Shadows, ….a few assholes…Bill Cosby, Harvey Weinstein.

Never met the Colonel but know alot who did…he gets a unfairly bad rap. As previously noted Elvis was NOT easy to manage.

Hi Ed. 

I'm a bit late to the party and have not yet been able to read all responses so far, so apologies if some of this has already been covered and if there are too many questions. 

1] Dire Straits were recorded live at the Hope & Anchor, London in 1977 and Eastbound Train was released on the “Front Row Festival” LP and as a DS b-side. Do you recall the circumstances around this recording? Was the whole show recorded by the band and that track given to the LP organisers?

2] Do you know if MK ever recorded any home demos of any of his songs (eg on a portastudio or just strumming on an acoustic guitar to a cassette) to present to the band (or management) before LP sessions or would the usual process be for MK to just play the songs live to the band in rehearsal?

3] From a previous answer you seem to have been unaware of the Solid Rock demo being released on the 1981 Riding High soundtrack – I had presumed this may have been given to the soundtrack compilers by the record company by mistake, but the back of the LP sleeve states "Many of the tracks featured on this album were specially composed, recorded or re-arranged for the film.", so looks like a different version of Solid Rock was intended to be used, so surely the band/management would have been aware at the time? (Also, DS are seen recording this version at Basing Street studios in the 1980 Arena BBC special.)

4] Another demo question – the version of Where Do You Think You’re Going on the 1988 Money For Nothing LP was a demo (but not noted as such on the sleeve) – any recollections why this was specifically chosen over the LP version for that release? 

5] Were any additional unreleased tracks recorded for Brothers In Arms? Any additional tracks recorded for On Every Street-possibly Think I Love You Too Much or The Long Highway that were played on the tour? 

6] Did you accompany MK to his Steely Dan session? If so, any recollections? 

7] Were you present in the studio when MK recorded Blanket Roll Blues with Scott Walker? If so, any recollections? Are you aware if MK recorded any other material with Scott for the Climate of Hunter LP? 

8] Any recollections from the Knebworth 1990 show where DS appeared augmented by Eric Clapton’s band? Also, were any of the 1988 Hammersmith Mandela shows recorded to your knowledge? 

9] Looking back, any thoughts on why the On Every Street LP may not have been more successful in terms of sales/critical attention at the time? May these reasons include the success of Brothers In Arms being too big a yardstick for any band to be measured against and also many other big selling albums being released around the same time that may have taken some attention away from DS? 

10] And finally - I previously worked for the BBC and one of the “perks” of the job was access to some of their digital archive including the full unedited recordings of some pre broadcast interviews. I once found an interview of MK with Johnnie Walker from 2015, where at the end, once the main interview was finished and they were preparing to leave, Mr Walker could be heard asking MK “So how is Basher Bicknell these days?” (I can’t remember MK’s exact answer – I think he replied along the lines that you were no longer working together).

My question is - I had never heard you referred to as “Basher” before - was this a music industry nickname for you back in the day and what was the origin?

Many thanks!

Better late than never. Welcome.
1. No. Just before my time. I’m pretty sure not because I've never heard anything other than ET.
2. No. Yes.
3. I have no memory of this AT ALL.
 Do not trust generalised sleeve notes.
I just googled the film.
This was a record co fuck up.
They did not get my clearance to put SR in and I would NEVER have allowed a demo to go into a picture or be released in any form commercially.
Are you SURE it's a demo? I don't remember any demos being done for MM. Where? When? Who engineered?
But it was 44 yeas ago and that film tanked completely so no harm done .
4. It was?  It's an alternate mix I think, not a demo.
5. No. No. No.
6. Yes. A complete pain in the ass.
They referred to him as “ he, him “ in the third person constantly, never used his name.
I was introduced to Walter RIP when he was asleep.
After getting him to play that solo about 20 times + we took a fag break and M said to me “I'm going to play that thing exactly the same for as long as I'm here” , he was pretty frustrated .
I  had toured them In UK in 1974 as agent. .
Tremendous band ( including a 16 year old Pocaro ) but a couple of pretentious wankers who thought being rude was cool.
It's not.
I left at 2 am bored silly, M left at 4am, wiped out.
Very disappointing evening then it didn't come out for what, another year? Ridiculous.
7  No. No. (I was managing Scott, a wonderful man.)
8. No. As Elton said while we were all sitting around “ this feels like one too many ( charity shows).
No.
9. In Mark’s words “ I made a crap album” ( it's not crap but it wasn’t as commercial. It was done for the wrong reasons ).
No hit singles.
Left it too long after BIA .
Yes expectations were way too high, esp idiot record companies and media.
Alot of this I addressed way back in EB thread…check that out.
 
I don't know what came out around that time. I never cared or thought about it as a competion. I was only interested in MY acts, not the other pop junk swirling about. I LOVED my artists, the rest could go screw themselves ( I don't mean personally I was and am friends with many).

10 By 2015 I was long gone having a nice life. Johnnie W  is an ace guy, lovely man , knows his stuff. “Basher”.....no. He was referring to the drumming part of my life, funny. I industry nickname, if there was one, was probably more….” medical ”.

[dustyvalentino]

Dear Ed, I have no words to thank you for your patience and attention in answering my questions. What a privilege I had and so many others had here. Who knows, maybe the more than 100 questions you answered here will inspire you to write a book. You have the fuel to take this journey through your memories and take us together through a fun and exciting reading materialized in a book. This can be an essay, if you want. But if you don't want to, that's not a problem at all. I'm sure that we will ALL be eternally grateful for the opportunity you gave us here at AMIT.  Speaking for myself, I never imagined that this would be possible. This is the miracle of the internet, one of its best fruits.


Since we are nearing the end, and the bells are about to ring, I will paraphrase:
"And then the man he steps right up to the microphone
And says at last just as the time bell rings
"Goodnight, now it's time to go home"
Then he makes it fast with one more thing..."🎸🎸🎸

The last questions will be from my uncle, Kingsley Nunes I:🫢😅

What are the moments you miss most when you think of Dire Straits?

There is a benefit show that the Notting Hillbillies did shortly after the OES tour ended, at Swan Hunter 06.07.93, Newcastle City Hall, Newcastle, UK, we have the audio of it available for our enjoyment, however, it was filmed as we can see in the following photo from the Swan Hunter show 06.07.93. in the link below to the wonderful website, On Every Bootleg.

http://www.oneverybootleg.nl/swanhunter_04.jpg

http://www.oneverybootleg.nl/swanhunter_02.jpg

To this day it has never been released, at this show, Alan Clark was in Guy's place for some reason that we do not know. Are you aware of this video recording? What do you remember about that performance?


It's a shame that none of the NHB shows between 97 and 99 were officially recorded by you. It would have been fabulous. Thank goodness some kind people were able to record it on video for our enjoyment.

Finally, a daydream (thinking outside the box, playing with your imagination):😱 If in the 90s a sought-after filmmaker told you that he wanted to make a film about Mark Knopfler, telling his love for music, for instruments, since his childhood, his talent as a guitarist and the paths that led him to Dire Straits... In your opinion, is there any way that something like this could be told on the big screen someday? Even if it was with a pinch of fiction, a bit of drama or comedy (these things happen), but without straying too far from the band's biography? How would you react?👽🖖🏻

Many bands and musicians have had this kind of thing happen to them, Elton John, John Lennon, Queen, in 2025 we will have A Complete Unknown, a film that portrays the life of Bob Dylan. The story of how Jack became the guitarist for Dire Straits at the height of the band's popularity is a surreal story in itself, as he demonstrates in podcasts that I was able to watch, but also the beginning of the band, in the midst of the hurricane of Punk, New Wave in England and Disco Music in the United States, it was absolutely challenging for a band like they were in 77 to gain space and grow exponentially over the years, almost never following the musical trends of their time. A good filmmaker could make a good juice by squeezing this "orange" well, you can't completely underestimate it, I don't know if you agree, dear Ed.

This must have certainly been the worst question asked to you on this forum, without rhyme or reason, I'm almost asleep as I write, it's past midnight here in Brazil.🥱🥱🥱

May God bless you always, Ed, 🙏🏻as has already been written here, you are worth your weight in gold.🙌🏻

Fraternally.👏🏻

Brunno, it's been a trip.
It might. How do you know I haven’t and all this wasn't just audience research?
Those are very kind words.
Actually just about everyone has been kind, polite often funny and suitably grovelling,
 Quizzy being the exception.
He has not grovelled nearly enough but he is passionate I’ll give him that . 😂

The music up to and including BIA ( but that's accessible though I rarely listen to it )
The fun up to about 1998, travelling the World, meeting heroes, eating cannelloni as it should be made. .
The camaraderie after David had left and before certain people turned into tossers ( OES time) .
The NHB’s experience.
The success and I'm not afraid to admit it.
 When the dream happens, ENJOY IT.
 I wish M and the band had enjoyed it more instead of it becoming a burden.
 But to be honest, I DON’T miss it.
 That was a chapter in my life , there have been many others equally stimulating and       enjoyable and I've been blessed with a lovely family, the most amazing friends ( really incredible) and some wonderful romantic partners.
You get out what you put in.

SH. I've heard that but thanks. I can't recall , Guy had something else on I think. The only thing I remember is M wanted to go on first and consequently people missed the show ( our bit ) which was a shame. Can't remember why. Oh, and I was fabulous. But that's a given.

You’re asking the wrong person.
Nearly all music based dramatisations are rubbish although “Elvis “ wasn’t bad
I don't see them eg Elton, Queen, its bad enough knowing the real thing!
Dylan I will not be going to ( his manager Jeff Rosen is a real pal, lovely man)
MK would NEVER go along with that and who on earth could play him? Tom Hardy?
Olivia Coleman?

Maybe my book will come a script. If I ever get round to it that is.
Or John’s could be a B movie.

No. There have been others way sillier.
Hmm. Gold. I'm trying to lose 2 lbs. Maybe I should stop.

You take care Brunno. It's been a thrill having you know me xxx.

[dustyvalentino]

my alter ego MvP just realized no one asked (much) about the dylan connection
how was YOUR experience dealing with BD back in 79 and again in 82/83 as well as down under in 86?
and did Mark behave ANY different when he was around him? seeing as he calls him his main influence since his sis bought that first record of him...
pretty sure being around Dylan should be a source of some amazing stories, pls do not dissapoint.

Thank God they didn't.
Some plonker has written an entire book about “ Infidels” ( imagine waking up one day and thinking , “ I know, I'll write a whole book about the making of one album” )
I don't want to sell a book for him but get that.
It's a good portrait of Rambling and the unique way he goes about things.
 
I love some of his writing but mostly cover versions eg The Byrds, Julie Driscoll./Brian Auger.
The rest ..couldn't care less. I dont own one BD record.
The worst live performer I have ever seen except for Richard Hell and The Voidoids, Australia 86 with Tom Petty and HB.
Truly atrocious as Mike Campbell guitarist admitted to M and I - “ we rehearsed 8 weeks to play as badly as this”

Sorry but it's too long to get into that.
Chaotic.  Boring because it was chaotic, just so silly.
That's for the book if I ever….…..and maybe not even then, not sure I'd waste the paper.

M didn't behave any particular way that I recall .
Rambling is just a ( talented) bloke, nice enough, wouldn’t know me if I sat on his car bonnet and that’s ok, i'm not going to, I doubt I will ever meet/see him again.
His 60 Minutes TV interview is interesting.
It would be a bit like me hanging out with Elvin Jones ( which I did ) and having M string along bored silly.
Really sorry but I can't give you what you’re asking .

My uncle Ignatius is really curious about your thoughts on OES tour, musically speaking and its evolution through its duration.

- What do you think were the show's highlights and downs?
- On its beginning there was much more variety in terms of set list. On the later part, set list was pretty much set in stone with perhaps When It Comes To You or Fade To Black getting in and out. Do you have any insight on this? Was this consequential with the band mood's at that moment?
- Is there any song rendition/version you thought it was a downgrade from previous tours? What do you think about M using the Pensa Suhr for pretty much every classic song?

I’ve covered this ALOT already , not just on this Q and A …..have a listen to the Lefsetz podcasts esp the second and read what I've said elsewhere on AMIT.
 
It was so painful to ME, maybe no one else ( that's a joke) that I can't express any clear thoughts about it's musical aspects, they are too wrapped up emotionally in other stuff that went down particularly in the run up and at the end.

Right from the rehearsals I thought it was overblown, over rehearsed, no spontaneity, terrible onstage atmosphere, and strangely boring/flat certainly compared to the MM, LOG and especially BIA tours, it had no humour .

Being “perfect” musically for me is a really awful, misguided thing,
It becomes cabaret.
Bands like Springsteen, The Stones, ZZ Top, Skynyrd, Eric C, BB King,  all the jazz artists I love were/are driven by the FUN of playing .

I saw Anastasia not long ago. Utterly brilliant. Exciting. One of my best gigs ever.
And she didn't need 900 lights and a fucking orchestra, she sang from her SOUL and it was fun ( amazing audience, one of the loudest I've ever heard ).
 
OES had no fun.
Chris Whitten has covered that and I completely get what he’s said.
That M spoke maybe 10 words to him over the whole thing says it all.

That's no criticism of the band itself.
They were 100% professional, delivered EVERY night and managed to extract what they could out of, frankly, a very dark situation exacerbated by one of them busily politicking , a singularly pathetic individual I wouldn't piss on if he ran past me on fire.
 
I think Chris W called the atmosphere “ toxic".
Reading John’s book makes me wonder if he was even there. He doesn’t seem able to recall the itinerary which is on the web and accurately on ON EVERY BOOTLEG, an excellent site.
There were no highlights or downs.
It was flat, at least the gigs I saw, predictable, music should never be predictable. .
Yes, by the standards of 95% of touring acts back then it was tremendous.
The audiences loved it.
The sound and lighting state of the art , thank you Robert and Chas. Crew fantastic. I mean really fantastic, World class, never buckled once.

I have zero idea why songs rotated, that was down to M and sorry, I was a manager and a drummer, I have no thoughts about the guitars he used. Rudy is a good bloke.

Thing is as I've said over and over it's genesis was all wrong.

[dustyvalentino]

Ed, my cousin still won't get out more!!

Dire Straits played a show in the early 80's which also had Mike Oldfield on the bill, did you meet him? Did he and Mark chat? I know Mike is a fan of Mark.
What did you think of Mark's playing the first time you ever saw him play?
What would be written on your head stone?

Thanks for taking the time to answer all our questions.

Mike approached me for management three times I think.
Nice man, underrated guitarist, huge talent, a few personal issues ( don’t we all) and we didn't really “gel” as personalities ( I don't know what he made of me ).
We never discussed M at all.

I was impressed but I was MORE impressed by the red Strat ., an iconic instrument, and that he didn't use a pick because there was another Pick already there.

“ I told you I was ill ”.

Ed, a question from my stinky old uncle, Fusty Valentino.

He was prompted by the mention of Knebworth above.

On the original posters/programme/tv broadcast it was billed as "Mark Knopfler" appearing, but by the time the CD/video came out it had changed to DS, can you remember the reason for the change?

That sounds like opportunistic marketing to me! I guess John and his blue jacket justified calling it DS.

Question from my cousins friend Nark Kobbler.

Hello Ed

What was the deal with the Live At the BBC release?  Was this just a contractual thing and were there any other alternatives considered at the time?  E.g the Mandela gig, do you think Mandela set will ever be released?   

 Thanks for all the answers so great to read. A lot of joy.

I think the approach came from the BBC. They had all this archive stuff and had been releasing to and it was our turn. It had been decently recorded, historical piece so why not?
No contractual thing. I don't think Warners put it out in US.

[dustyvalentino]

Hi Ed,

Thank your for you dedication to this Q&A.

These are my sons' questions (one for each of them):

Sound evolution. From your point of view: What was the most unexpected musical approach change during the first five studio albums? Did MK anticipate you where his musical direction was heading to? Did he ask you for advice in that sense anytime?

The "7th" Studio Record. What type of record did you miss from DS career, that one that it should had been done? No need to be the last one, but any opportunity in between the other ones.

Songs and audience. Which song do you think it was never applauded enough (hidden gem) and which one surprised you being a top song to the audience?

Longer DS life. Would DS have kept releasing a few more albums if BIA had a success level Alchemy-like years? Not so burnout mentally and physically, less media exposure, less exhausting fan environment, etc.

Kicking-off. 1977-1979, the band is starting to feel that this time can really work and this is the opportunity of their lives. Were they stepping up to improve themselves as musicians (more hours of practice, music theory study, other professional players help)? Or they didn't have time for that with the early quick success train of promotions, gigs, recording sessions...

Hypothetical future. All planets align and you are back as MK (fit and looking forward to go back on tours) manager with plenty of powers: what would you do with his career?

MK in another band. Was MK tempted anytime to split DS and join any well/long time established band?

Ed is in back in town. How would it be the band that takes you back from your retirement? A band that ignites that fire that DS sparked 46 years ago, that it'll make you say: "this is my last dance". What ingredients would you like too see in a pub band to put you back in action?

...and finally my question:

MK and his approach to harder rock genres: does he like them? Did he listen to these bands? Did he try to walk on that route anytime (heavier sounds around the 79-80&BBC Arena era, also certains moments of the BIA Tour). I'm curious to know a little bit more of his thoughts related to that part of the rock history (interviews and himself mostly focusing 60's classic rock backwards onto blues/country pioneers). Just to mention a few, no need to go one by one, but if you consider to say anything about any of them (maybe they were another planet to Mark and he was not interested at all):

1st heavy metal/hard rock eras: Black Sabbath, Led Zeppelin, Deep Purple, Uriah Heep, Wishbone Ash, Budgie, Thin Lizzy, UFO, Kiss, Scorpions, AC/DC, Rainbow...
Until things went to next generations: Motorhead, Randy Rhoads, Judas Priest, Iron Maiden, Metallica, Megadeth, Helloween, Guns N' Roses, virtuosos like Eddie Van Halen, Joe Satriani, Steve Vai...

Anything from the prog-rock band Camel leaded by Andy Latimer? MK and AL share very deep emotional tones sometimes.

And the cherry on the top: could you tell us the name of any band we wouldn't imagine MK loves?


Thanks again.

Ah. A new face. Welcome to you and your “son".
Good questions, in order.

Addition of keyboards ( though not really “ unexpected ”.) I instinctively knew where he was heading. In that period he and I had a kind of mutual ESP. we didn't need to talk about it, so no need for advice from me, we kind of “floated” together. Quite an experience., like getting your drains done.

Never thought about it. One with a Symphony Orchestra ( real strings) might have been nice combining his songs with his soundtrack ethos. He loves the Nelson Riddle/Sinatra kind of orchestrations as I do.

Can't answer that. It varied by territory a bit but everything was a top song, even on the OES tour. The audience was unaware of the stresses of that and wouldn’t have cared anyway.
Oh and nothing in music ever surprises me, not since I first heard “ Hound Dog” aged 13 and “ Drum Boogie'’ ( Krupa) a year later.

Maybe. I’d be speculating. Don't know. It was what it was, although if you plotted it on a graph with the exception of Communique it went in a straight upwards trajectory from DS to BIA. .

You’ve answered your own question..no time. The roller coaster picked up speed very quickly.

You mean now? I would do what I always did, rely on his instincts and mine, I did that with all my acts ( ha! not always successfully. But M had a purpose and so did I and it was the SAME purpose.)
Trust your gut and not what the Biz thinks you should do. The rest is mechanics. No stadiums though and a much more careful selection of musicians to weed out a few plonkers ( I would certainly choose several from the BIA lineup if they could still stand up).
Excellent question. Your “son" is a little older than 15 I think.

No. Nobody would have him!

There is nobody who could do that. I’m 75 for goodness sake! I have a good life,  the same ups and downs as most people , and I do not go to pubs. Ever.
Well he liked Guns and Roses back when …Appetite etc. .
Listen …hmmmm, not that I know of, doubtful.
I don't know what he listens to except the obvious.

I worked with BS, LZ not them but Peter Grant was a best friend/loved him, DP, WA, and Mark and I never discussed Metal or Hard Rock that I can recall. .
But then we never discussed big bands, Miles, Coltrane, Motown, Stax, ambient or other guitar players much. Hendrix, Scotty Moore, Chet, Eric of course…..

He LOVES UK pop 1957-1963 ( as I do )and is a master at quizzes on that period.
Did alot of those on the bus.

We both love Elvis, early rock artists and blues.
Prog. No but he loves Tull as I do, Moodies maybe?

Camel…fuck. Used to see them at the Marquee and Audience, Rare Bird, Family ( he liked them) Fairports ( same), Mott The Hoople, The Nice, Spooky Tooth, Free , Quo and the mighty Slade, all that era .

Maybe he likes AC DC now. Ha!

No. No idea. I’d be guessing.

Ed, please more info on the funny wierd Assad boy

He’s working for Robert Plant now, same job description but he’s paid less.

Hi Ed

Thank you for taking your time to look at my question.

You’ve touched upon certain things in other peoples answers along the way, whether Alchemy was a mix of nights, also the filming of the Paris '83 gigs and Universal Studio Fire. It’s nice to be hearing this new info. The production logo for Alchemy says it was a PolyGram Music Video International production, who then presumably hired Limelight Films as the actual “film crew” to produce the footage. Polygram Filmed Entertainment then seems to have been sold on or taken over by several companies along it’s way such as Universal Pictures - then possibly onto a company called Vivendi - or Universal Studios - all according to Wikipedia. It's confusing to read but makes me wonder how any archives are dealt with during these changes. I do hope that any archived film footage wasn’t part of the 2008 Universal Studio fire that destroyed many original master tapes of artists. It had crossed my mind before whether DS lost anything in that fire.

So my question, can you recall if the original footage/negative of the “other” night of Alchemy (Hammersmith) was kept in it’s entirety and if so, was that kept in archive conditions somewhere? Or that same question more specifically from your managerial perspective maybe, was the “other” night also agreed to be supplied and archived or was the agreement with the film team at the time more something like - to simply “supply 1x DS concert movie”. Would there have been an effort to archive and store things like any unused footage and negatives back in 1983, even if deemed not “required” after completion?

As for any future releases, I’m not pursuing that question and I’m aware that it’s not your area now, just whether you recall if the “other” night was archived properly at the time and exists? Hopefully not lost in somewhere like the warehouse at the end of Raiders of the Lost Ark.

Thank you
Ingrained
<- ->
-> <-

PMV had literally just opened as a new division of Polygram
We might have been its first production, can't remember.
Yes, they hired Limelight, top vid promo co at the time to produce the program.
.
You are listing a sequence of buyouts  ( you have it correct I think) and I can't answer your question, I simply don't know nor anything re archives, nor do I know if any DS material was lost in that fire.
Footage….No. No idea.
That was not part of my remit or responsibility, that would have been a PMV matter.

I remember fighting over the contract with PMV as late as two hours before showtime.
They were trying to charge back to the deal/split THEIR interest costs.
I very nearly cancelled the whole thing there and then but they gave in.

When these companies are sold the buyers do “due diligence” to make sure that WHAT they are buying actually exists. So presumably in the bowels of some building it does.

We would have committed to providing a “finished performance of X minutes”  or something like that …along the lines of what you say.

I have no idea if they kept the first night or why the second was chosen, probably because there were fewer technical blips ( the first was really a run through).

I had to fight tooth and nail to even get it released as a video in most countries and get them to promote it.
The album sold extremely well, the video did not.
The market for concert videos then was only just starting.
Lesson? Dont be somebody else’s experiment.

Hi Ed,

My youngest son learnt to speak between my last post and this one. This is his question:

Can you tell us your dreamed DS line-up with musicians that weren't in the band?
Only three conditions:
1) Avoid players that participated in charities, obvious options or unrealistic chances -i.e: Clapton as the DS rhythm guitarist for years-).
2) They don't have to be the best ones, but they would match MK musically and they would blend tastefully with DS songs' spirit or adding a singular touch.
3) You can pick them from any moment in music history, not only active musicians during 77-92.

And my final question:
Can we know your opinion as a drummer yourself about Brian Downey?

Thank you!

No.
Sorry but I never dreamed about anything like that, and when you’re a manager you work with what you have and what they give you.
It would be easier to say who wouldn’t fit but I need to finish up , been at this all day.

Brian Downey is a great and strangely underrated drummer, no idea why.
Thin Lizzy were a band who NEARLY became huge but Phil just sort of collapsed inwards. I went to the "Kings Call" session and he was in a terrible state, tragic to see.
Chris Morrison Lizzy’s long suffering manager is one of my best friends. Great band.