drummers

[dmg]

To date I did not pay attention on the drumming for TR. Was too occuped with Mark during the end solo. Chad was great on it.

I love Terry's crash cymbals during the outro the Alchemy version

Almost iconic!

[herlock]

To date I did not pay attention on the drumming for TR. Was too occuped with Mark during the end solo. Chad was great on it.

I love Terry's crash cymbals during the outro the Alchemy version

Almost iconic!

Alchemy is TR's reference version, I really cherish it, it is powerful, emotional, and we have it on Blu-Ray (the only one !).
Still it is not my absolute favourite. It is a bit too "rough" for my taste, and I would like some synth in the instrumental part after "3 lanes moving slow"... I think nothing can beat the 1996/2001/2005 versions, this was the pinacle of TR.
Next would be Alchemy, or the gorgeous first 1981 versions, so fresh...
The OES versions are getting on my nerve, fantastic end solo but all the rest is ruined, shortened intro, too much rush, horrible pedal steel, Kenny G guitar...
As for the 2008/2010/2013 versions, 'nuff said about the karaoke mode... even if I like the renewed energy of this year's end solo, Instanbul is quite awesome.

[JF]

To date I did not pay attention on the drumming for TR. Was too occuped with Mark during the end solo. Chad was great on it.

I love Terry's crash cymbals during the outro the Alchemy version

Almost iconic!

Alchemy is TR's reference version, I really cherish it, it is powerful, emotional, and we have it on Blu-Ray (the only one !).
Still it is not my absolute favourite. It is a bit too "rough" for my taste, and I would like some synth in the instrumental part after "3 lanes moving slow"... I think nothing can beat the 1996/2001/2005 versions, this was the pinacle of TR.
Next would be Alchemy, or the gorgeous first 1981 versions, so fresh...
The OES versions are getting on my nerve, fantastic end solo but all the rest is ruined, shortened intro, too much rush, horrible pedal steel, Kenny G guitar...
As for the 2008/2010/2013 versions, 'nuff said about the karaoke mode... even if I like the renewed energy of this year's end solo, Instanbul is quite awesome.

as for the "synth" atmosphere, I think that noone can't beat the studio version. It's of course the most produced, with so many guitars (7 ! check i there : http://www.mk-guitar.com/gear-on-all-songs-for-all-albums-wiki/gear-on-album-love-over-gold/#Track%201%20-%20Telegraph%20road), gorgeous tone, ambient effects, and.. it doesn't end !
I love the intro beacuse it' so "envelopped" with strings, synths and so one.

as for live versions, I agree for 96 (I love RAH 23/05), but my fav is Alchemy I think, and I love 81 versions too.

about 91, I agree about shortened intro, and about pedal steel, BUT I like the sax solo, can't explain why, but I remember feelin very surprised when I it heard live. I found it sounds "romantic" like you said for TOL Munich 91, I find it "etheral", "aerian", and I find it fit to the song. But of course, I do love the guitar solo on other versions too.
And I love some licks on final solo (especially on basel or Nimes) that he never played again.

after 2008, I must admit I skip TR when I listen to bootlegs. Or sometimes, I have a short listen for the final solo. The show end (from SAN to last encore) doesnt' really bother me, as it is the same since 3 tours.

Endly, as for 2001 and 2005 versions, I heard it live, but don't really remember it. I know you often quote Lyon 2005. Funny, I was there, and I don't remember being impressed (well not much more than in 96). The only thing that surprised me was that I saw TR played on a red strat for the first time !

[herlock]

To date I did not pay attention on the drumming for TR. Was too occuped with Mark during the end solo. Chad was great on it.

I love Terry's crash cymbals during the outro the Alchemy version

Almost iconic!

Alchemy is TR's reference version, I really cherish it, it is powerful, emotional, and we have it on Blu-Ray (the only one !).
Still it is not my absolute favourite. It is a bit too "rough" for my taste, and I would like some synth in the instrumental part after "3 lanes moving slow"... I think nothing can beat the 1996/2001/2005 versions, this was the pinacle of TR.
Next would be Alchemy, or the gorgeous first 1981 versions, so fresh...
The OES versions are getting on my nerve, fantastic end solo but all the rest is ruined, shortened intro, too much rush, horrible pedal steel, Kenny G guitar...
As for the 2008/2010/2013 versions, 'nuff said about the karaoke mode... even if I like the renewed energy of this year's end solo, Instanbul is quite awesome.

as for the "synth" atmosphere, I think that noone can't beat the studio version. It's of course the most produced, with so many guitars (7 ! check i there : http://www.mk-guitar.com/gear-on-all-songs-for-all-albums-wiki/gear-on-album-love-over-gold/#Track%201%20-%20Telegraph%20road), gorgeous tone, ambient effects, and.. it doesn't end !
I love the intro beacuse it' so "envelopped" with strings, synths and so one.

as for live versions, I agree for 96 (I love RAH 23/05), but my fav is Alchemy I think, and I love 81 versions too.

about 91, I agree about shortened intro, and about pedal steel, BUT I like the sax solo, can't explain why, but I remember feelin very surprised when I it heard live. I found it sounds "romantic" like you said for TOL Munich 91, I find it "etheral", "aerian", and I find it fit to the song. But of course, I do love the guitar solo on other versions too.
And I love some licks on final solo (especially on basel or Nimes) that he never played again.

after 2008, I must admit I skip TR when I listen to bootlegs. Or sometimes, I have a short listen for the final solo. The show end (from SAN to last encore) doesnt' really bother me, as it is the same since 3 tours.

Endly, as for 2001 and 2005 versions, I heard it live, but don't really remember it. I know you often quote Lyon 2005. Funny, I was there, and I don't remember being impressed (well not much more than in 96). The only thing that surprised me was that I saw TR played on a red strat for the first time !

The studio version is great but as MK himself said, it is too cold - the vocals are way less emotional than live...

[dmg]

As for the much lauded Lyon 2005 TR, although full of energy I found many other versions favourable from the same tour such as: Amsterdam 16th, Milan, Vancouver and also Sydney.

I think 2001 was the pinnacle because the intricate playing between verses was superb too which added a little bit more power and kept it flowing, keeping the attention. 

[hunter]

Sorry for the necro thread revival, but since this is the "drummers" thread, I thought you'd like this. Here's an interview with Chris Whitten. I think it sheds some light on why Chris wasn't a great fit.

Who the hell is Chris Whitten? by Darko.Audio podcast | Free Listening on SoundCloud

DS: Starts at about 40:00

Basically: a) He didn't like the music of DS, b) he wasn't motivated to go on a world tour again after the McCartney tour, c) he was very much into electronic music at the time, not guitar-driven rock, d) he had heard that MK was a tyrant and really hates drummers (!) (on tour he thought MK was hard to deal with, that he was a perfectionist and particularly hard on drummers), e) it was crazy loud on stage, etc.

Kind of hard to pour your soul into the music when you join the band just to do a job and you have an unpleasant time on the road, which lasted 1.5 years.

[quizzaciously]

Sorry for the necro thread revival, but since this is the "drummers" thread, I thought you'd like this. Here's an interview with Chris Whitten. I think it sheds some light on why Chris wasn't a great fit.


Who the hell is Chris Whitten? by Darko.Audio podcast | Free Listening on SoundCloud



DS: Starts at about 40:00


Basically: a) He didn't like the music of DS, b) he wasn't motivated to go on a world tour again after the McCartney tour, c) he was very much into electronic music at the time, not guitar-driven rock, d) he had heard that MK was a tyrant and really hates drummers (!) (on tour he thought MK was hard to deal with, that he was a perfectionist and particularly hard on drummers), e) it was crazy loud on stage, etc.


Kind of hard to pour your soul into the music when you join the band just to do a job and you have an unpleasant time on the road, which lasted 1.5 years.

It all makes sense, actually. What I don't understand is the criticism towards the sound of drums on On Every Street tour, even Mark has said something unpleasant about it. And I don't hear a thing, I think the drums sound pretty professional and good enough. I think the tour generally was extremely tough to pull off, so bashing single musicians is kind of pointless to me, I think after OES tour there's was no winners, only survivors.

You can say, how you can't love DS music? My wife once said, "not everyone loves MK and his music", and that's certainly true. My mum is not a fan of MK either. So people not loving DS is completely normal, especially if that's a session musician we're talking about.

[hunter]

Plus you have to remember that from the release of BIA and a few years onwards, Dire Straits were everywhere, on radio, in lifts, in shopping malls, on MTV, etc. And, even though they were popular, they were not "hip".


As for the drum sound, I think it is pretty harsh compared with what we are used to hearing today. However, that hard snare drum thing was quite popular at that time, so nothing unusual in that respect.

[dustyvalentino]

MK just wasn't happy in the OES era and it filtered down to everyone.

A lesson for any "leader", CEO, football manager etc...

[quizzaciously]

MK just wasn't happy in the OES era and it filtered down to everyone.

A lesson for any "leader", CEO, football manager etc...

A lesson, which Mark seems to learn only in parts even till today. He often says in interviews that "kids nowadays" won't ever think to do a 100-shows tour, while he, an old man, can do it no problem. I never understood that. I never understood why his biggest tours had to be THAT long, I mean a year and a half of playing same songs over and over again — man! I know in theater people can play the same role for decades, but this is not theater as far as I'm concerned.

[hunter]

MK just wasn't happy in the OES era and it filtered down to everyone.

That too, of course. On top of all the other factors that Chris mentions in the interview.

[Love Expresso]

I always loved Chris Whitten's drums on Sultans at the first indoor tour part 1991. I think that Chad Cromwell copied that for his 1996 Sultans or at least used it as a model for his version. I hate it to use the word really but I think Chris Whitten's drumming within MK's world is very underrated among fans. And for not being into it, he made a very good job. Much better than Ianto in 2013 I might add.

LE

[quizzaciously]

I always loved Chris Whitten's drums on Sultans at the first indoor tour part 1991. I think that Chad Cromwell copied that for his 1996 Sultans or at least used it as a model for his version. I hate it to use the word really but I think Chris Whitten's drumming within MK's world is very underrated among fans. And for not being into it, he made a very good job. Much better than Ianto in 2013 I might add.

LE

You nailed this LE. Somebody needed to say that, and you did.

[hunter]

I need to revisit to On The Night and have a listen to Chris' drumming.

[hunter]

Listening to Calling Elvis as I type. Chris' playing for sure is extremely tight, almost machine-like.


By the way, Mark's voice then time sounds as if Mark now had a cold LOL