New DS Live Box Set, 3rd November 2023!

[iorch82]

Thanks Chris, I've always wondered about that and think its the source of many peoples often unwarranted criticism of your drumming on OES compared to earlier eras. Its also often 'Not what people are used to' so they take an instant dislike to it.

In a way I was a victim of circumstances and with hindsight I would have done some things differently. The stage had a weird sound, I was high up, away from most of the band. Mark wanted the drums loud (from the first day we went on stage with the PA and monitors), so I ended up slamming the drums for a lot of the show, which is NOT the way Sultans should have been played and also why I ended up cranking my snare too high.
Our a few months I drifted into playing a crappy drum solo at the end of MFN.
Other than that I stand by everything I did on the tour.

You did an awesome job Chris. Many fans have put that tour in a very high place - even in the top 1 in my case - It's crazy how well oiled was that machine back then; and your style fitted perfectly the big dad-rock stadium band that MK wanted Ds to sound like.

[Jules]

I'm totally on board with criticism, especially when it's personal opinion and also when fans have a different perspective to the people on the stage or in the studio. It sometimes goes too far, like calling one tiny fluff from P Palmer a 'major error', or suggesting the entire drum sound is 'crap'.
A better way is to say you don't like Palmer's guitar solo, or you don't like his playing on the tour, the drum sound is not your cup of tea, or in your opinion the drum sound could have been better, etc.....

Today listening to the box I had the impression that you played quite well the songs from the last records, the ones recorded by Jeff Porcaro and Manu Katche, but the classic DS songs, most of them played during different eras by Pick Withers and Terry Williams, seems to be that you felt quite or uncomfortable or less confident than with the rest. Am I right with this impression?

[Rolo]

Diehard fans are really hard to please.
They expects things that only pleases themselves.
And it never happens.

I listened the whole stuff.
The songs that i liked the most was OTN's Tunnel and Telegraph.

I agree with some here that Alchemy's Industrial Desease does not fit the athmosphere from the original Alchemy release.
In my opinion, By The Pool not fit either.
There is another 'Twist Like Song' on Alchemy. So, there is no need to be two of them.
But, in terms of fidelity, the LOG Tour concerts was like that.  So, there is.
 
I didn't like The Rainbow Theather show.
There is a LOT of reverb to my ears.
The guitar tones are too thin.
Seems to my that Mark's guitar is a little out of tune during Six Blade Knife, Sultans and Setting Me Up.

The rest, its all the same.
Great band, great musicians.

[Darling Pretty]

Thanks Chris, I've always wondered about that and think its the source of many peoples often unwarranted criticism of your drumming on OES compared to earlier eras. Its also often 'Not what people are used to' so they take an instant dislike to it.

In a way I was a victim of circumstances and with hindsight I would have done some things differently. The stage had a weird sound, I was high up, away from most of the band. Mark wanted the drums loud (from the first day we went on stage with the PA and monitors), so I ended up slamming the drums for a lot of the show, which is NOT the way Sultans should have been played and also why I ended up cranking my snare too high.
Our a few months I drifted into playing a crappy drum solo at the end of MFN.
Other than that I stand by everything I did on the tour.

Hi Chris, welcome back again here in this Forum.

Well I really loved the way you played Sultans on that Tour.
It has a great Snare sound and you really played it incredibly fast. I somehow loved it. Nimes Sep 1992 especially.
Your fast playing really pushed Mark into great and also fast solos. He improvised a lot.
So really no complaints from my side.
OK, maybe Sultans should be played in another way but your different approach is the one I love. Maybe just because of that. The difference
My Dire Straits Box did not show up today because Amazon just sucked here. Have to wait 1 or 2 days. But cannot await to hear the version on that one.
Cheers Chris

[vape68]

I'm totally on board with criticism, especially when it's personal opinion and also when fans have a different perspective to the people on the stage or in the studio. It sometimes goes too far, like calling one tiny fluff from P Palmer a 'major error', or suggesting the entire drum sound is 'crap'.
A better way is to say you don't like Palmer's guitar solo, or you don't like his playing on the tour, the drum sound is not your cup of tea, or in your opinion the drum sound could have been better, etc.....

Your posts confirmed Phil made 2 errors, so major or not they are there and Guy Fletcher lowered the volume because of that. Guy too confirmed these 2 errors were well spotted on the audience recording from Rotterdam 05-30

I wrote the drums sound crap but that's because of the recording which is really far from perfect, not because of you, I have always liked your style. MK's guitar on Tunnel has a 'huge gigantic' delay/reverb, there are several issues of different kind.

[Knut]

You guys.....
Phil Palmer's second solo on ITILYTM does not contain a 'major error', he plays one note slightly out of scale, which I personally don't mind, then on the following run down there is a slightly scuffed note - which happens when you are improvising.
Some people want musicians to take risks, go for it, other people aren't happy unless every show is note for note perfect.
The drum sound (at least on the same song) is not 'crap'. Personally I think the kick and toms sound fantastic. The snare is too thin and high pitched, which was how it ended up on the tour because the stage volume was so loud I couldn't hear my snare at lower tunings. I regret that I didn't try and stick with a better, lower tuning, which would have fitted the material better. I am sure that Neil Dorfsman added a lower tuned snare sample to my snare when he mixed the original OTN record.
The beginning of MFN is a waste of time unless you were in the audience at the show. Mark teases the guitar riff (as you know) and the audience goes crazy for 5 minutes or so. Absolutely nothing lost by editing the false start from this reissue.
My CD box set (which I bought off Amazon) arrives this afternoon.

Exactly. The thing is, that there sometimes is a double standard. I doubt many of those who call this a (major) mistake would call out Mark on the same thing. Maybe I'm weird, but I can enjoy a live performance with it's flaws and focus on the good bits and pieces. Like, I enjoy the BIA version from Berlin in 2007 - but there's a mistake during the solo there that's much more obvious than what people complain about here. Still, it's got that little bit of "something" that makes me listen to it every now and then.

The MFN intro had some twiddly bits at the very beginning that would've been nice to have, but not sure how you'd put it together in a package that makes sense for an audio release. I agree that the "strike" is more of a completist thing than something that adds musical value to the release.

[milicz]

You guys.....
Phil Palmer's second solo on ITILYTM does not contain a 'major error', he plays one note slightly out of scale, which I personally don't mind, then on the following run down there is a slightly scuffed note - which happens when you are improvising.
Some people want musicians to take risks, go for it, other people aren't happy unless every show is note for note perfect.
The drum sound (at least on the same song) is not 'crap'. Personally I think the kick and toms sound fantastic. The snare is too thin and high pitched, which was how it ended up on the tour because the stage volume was so loud I couldn't hear my snare at lower tunings. I regret that I didn't try and stick with a better, lower tuning, which would have fitted the material better. I am sure that Neil Dorfsman added a lower tuned snare sample to my snare when he mixed the original OTN record.
The beginning of MFN is a waste of time unless you were in the audience at the show. Mark teases the guitar riff (as you know) and the audience goes crazy for 5 minutes or so. Absolutely nothing lost by editing the false start from this reissue.
My CD box set (which I bought off Amazon) arrives this afternoon.

You are a brave man to venture onto a fan board!  I hope you illuminated some of the issues, I think it would be great if more people worked or saw behind the scenes of a concert so they could understand what issues arise.  That said, the criticisms are silly, but that's what you get on a fan board when a new album hasn't come out in 30 years!  Gotta talk about something.

[Chris W]

Today listening to the box I had the impression that you played quite well the songs from the last records, the ones recorded by Jeff Porcaro and Manu Katche, but the classic DS songs, most of them played during different eras by Pick Withers and Terry Williams, seems to be that you felt quite or uncomfortable or less confident than with the rest. Am I right with this impression?

No, that's not right. I am very proud of my playing on things like Tunnel Of Love and Romeo for example.
My style at the time (on recording sessions and with other bands) was influenced by Omar Hakim and Porcaro. I didn't 'get' Pick probably and I wasn't a fan of Terry. I perceive Mark and John hired me because on the past two studio albums they had used Hakim and Porcaro, which was a more stripped back, US rock style, which is what I also liked at the time.
What people ALWAYS forget is that Mark was the boss and I rarely played anything he hadn't directed me to play. If he had asked me to play more like Pick I would have 100% done it.

[Chris W]

Your posts confirmed Phil made 2 errors, so major or not they are there and Guy Fletcher lowered the volume because of that.

The drum recording was the same for all the shows (Nimes, Rotterdam and Paris?).
I wouldn't call the guitar bits 'errors'.
The thing is, in a live situation you go for it, otherwise the audience might as well stay at home and listen to the CD. Everyone, including Mark, especially Mark, played off notes and miscues on any given night. That's how the show develops and improves from the first gig to 6 months later. You suddenly think of a new bit mid song, you play it and it sounds rushed, scruffy, you play it the next night and it is tight, sounding good. Then it becomes part of the song.

[Robson]

Isn't it beautiful? Chris Whitten - DS drummer talks with fans Chris, do you remember the concert in Basel? Very important for many fans because it was broadcast to many countries.

I have my box!!!

[herlock]

 RAINBOW: a pure diamond ! I just regret that the song 'News' is not in the shape of 81-82 tour, ending with 'Private Investigations' outro !

I agree that News reached another level on the 80-81 ( not 81-82 😂) tour, it became epic! I'm glad we have the video of Dormund 80, I wished we had a good multitrack recording of Wiesbaden or Paris '81!

[Chris W]

Chris, do you remember the concert in Basel?

Vividly. Also because it has been on Youtube for years. I remember being completely relaxed about playing a demanding 2+ hour show for live TV.
I think we had some ups and downs at the beginning of the tour, then especially North America (Jan/Feb/March 92) and by the time we hit Europe again we were battle hardened and slick.

[Robson]

Chris, do you remember the concert in Basel?

Vividly. Also because it has been on Youtube for years. I remember being completely relaxed about playing a demanding 2+ hour show for live TV.
I think we had some ups and downs at the beginning of the tour, then especially North America (Jan/Feb/March 92) and by the time we hit Europe again we were battle hardened and slick.

Thank you for your answer It's a fantastic concert. I have great sentiment for this concert:)

[ds1984]

Thank you Chris for your insights

[Chris W]

but the classic DS songs, most of them played during different eras by Pick Withers and Terry Williams, seems to be that you felt quite or uncomfortable or less confident than with the rest. Am I right with this impression?

The other thing people forget that just prior to the On Every Street tour I had worked with Paul McCartney for three years, including a highly acclaimed world tour. His music spanned a far longer period than Dire Straits. We played 50's Rock n Roll in the show, a bunch of Beatles songs and the post Beatles repertoire from early 70's Wings to his latest album (1989). Many of The Beatles songs had never been played live before, and I really wanted to be true to Ringo if I could. Paul, by the way, gave me free reign to do as I wish.
So I would never be unsure or unconfident playing a major show.
We rehearsed with Mark for 3 months? Everything we played was worked out in detail, with Mark, Guy and Allan all acting as musical directors.
As I've said before, when we set up on the stage the first time, Mark said he couldn't feel the energy from my drums, so he had me play louder and louder and when I was pretty much at max volume he asked me to play at that intensity from then on.
Slamming the drums didn't really lend itself to the more sensitive Pick performances. Terry was a louder rock drummer, but in a later interview John said I was the loudest drummer they had ever played with - which was not MY choice.