That Ain't Workin' - My New Book

[YorkshirePudding]

I kind of morphed into the solo ending on MFN over a few shows.
That's the other thing I massively regret (other than Sultans). I played it a few times and Mark never asked me to stop. Most nights it wasn't very good, I'm not a great soloist. Some nights it came off.
I was too scared to stop doing it after a while, I think would have been better had I never started it in the first place.
Those are the three things I regret.
The ending of MFN.
The bulldozer approach to Sultans.
The fact I didn't take Pick's style of playing seriously enough to understand it.

Other than that I am proud of my contribution to the OES tour and did the absolute best I could, under the circumstances.

I just went to youtube and searched for the MFN from the Nimes tv broadcast, as it's been many years I didn't see it. From my point of view the drum solo suits perfectly well not only the song but that exact part of the song, actually I forgot that during the solo the band played along faster and faster which made it quite a great ending for the song in my opinion.

Personally I thought the ending to MfN with the drums and then that keyboard loop was great, and it certainly sounded absolutely amazing live.

[Jimbo]

I kind of morphed into the solo ending on MFN over a few shows.
That's the other thing I massively regret (other than Sultans). I played it a few times and Mark never asked me to stop. Most nights it wasn't very good, I'm not a great soloist. Some nights it came off.
I was too scared to stop doing it after a while, I think would have been better had I never started it in the first place.
Those are the three things I regret.
The ending of MFN.
The bulldozer approach to Sultans.
The fact I didn't take Pick's style of playing seriously enough to understand it.

Other than that I am proud of my contribution to the OES tour and did the absolute best I could, under the circumstances.

I read about the problems with the Pick era songs.
I saw you three times during the tour and you were great also because DS played so many different styles, so many different rhythms.
Your latest trick is opposite to The bug, Tunnel of love is opposite to Planet of New Orleans.
Withers' style was a mix of swing/jazz and always ended with little solos (just look at Rainbow and BBC), the music they played with him was the opposite of what DS played in 1992.
DS live shows from 1978-1981 were imperfect, but sublime for that reason.
From BIA onwards they tended towards perfection, MK had become like Roger Waters.
Two different planets.

[Chris W]

I agree with all of that.

[dustyvalentino]

I agree with all of that.

Christ, I know things were bad, but surely comparing MK with Roger Waters is a step too far!

[diremania]

IEM's probably make things better. But also Mark and John are old school. They came up through sweaty clubs. I did too.
There is a kind of energy you feel from drums if you stand in front of them. You can't really replicate it with monitors or IEMs.
I'm sure they could FEEL Terry on the BIA tour.
That's why we brought in the separate Sultans kit from USA onwards. However it was a compromise. I didn't have great monitoring and I was sat at head height right in front of Marks multiple guitar amps. I could barely hear what I was doing and that also contributed to my frantic, heavy handed way of playing the song.

Where exactly were the speaker cabs located on stage? I’ve always thought they were off stage..? Was they below the podiums, facing the front and covered by molton?

[Chris W]

Christ, I know things were bad, but surely comparing MK with Roger Waters is a step too far!

I didn't think I would be taken so literally. I don't actually mind Roger Waters. He comes across as difficult and IS apparently difficult.
Besides that one name check, the rest of the post was absolutely right from my experience.

[Chris W]

Where exactly were the speaker cabs located on stage?

Yes, hidden under the stage risers, pointing out towards Phil, Mark and John. It was loud!

[dustyvalentino]

Christ, I know things were bad, but surely comparing MK with Roger Waters is a step too far!

I didn't think I would be taken so literally. I don't actually mind Roger Waters. He comes across as difficult and IS apparently difficult.
Besides that one name check, the rest of the post was absolutely right from my experience.

Was just having a bit of fun

[Jimbo]

I agree with all of that.

Chris, I remember a stunning and extended live version of MFN, whose idea was it to end with that beautiful solo (which does not appear in OtN)?
Which were the most complex songs of the tour to perform?

[Chris W]

Planet Of New Orleans

[Ingrained]

The bulldozer approach to Sultans.

One thing my drawing tutor used to say back in the 90’s that always stuck with me, was that she liked to see some “struggle” in a drawing. So, I tend to look for some “struggle” in any art. Incidentally, AI images seem to lack any of that struggle for me. The element of struggle seems to be something that we can relate to as people and is something that makes us connect with art, music and other people when we sense it.

Your drums on Sultans, Basel ’92 seem to me that you are pushing it into that edgy area, which makes it exciting. It adds tension. Mark’s playing seemed to have become almost gracefully “effortless” by that period, and your drumming adds the feeling of pushing things, and adds that tension and struggle rather than it being just a “walk in the park” for incredible musicians. The combination of you really going for it and pushing yourself hard, and Mark dancing around the fretboard in his prime is what makes the Basel Sultans performance so great to me.

I don’t know whether Mark had instinctively sensed that his playing had developed to such a point that DS needed some struggle added back in, somehow, hence pushing the drums harder and harder. For me, if things were played live as effortlessly as the post-Pick studio album drumming feels, in a kind of comfort zone maybe, it could have felt more like his solo years, to me. I’m glad you played it as you did. It was great.

[Marnix]

Planet Of New Orleans

Although it was difficult to play can you imagine that that song was a highlight / fan favorite?
To be honest I am happy that Some great sounding bootlegs circulate with that song because there is not an official recording of it.

[Chris W]

I preferred other songs in the set.
Obviously 'Calling Elvis' was fun. I liked Romeo and Juliet, You And Your Friend in particular.

[Chris W]

I don’t know whether Mark had instinctively sensed that his playing had developed to such a point that DS needed some struggle added back in, somehow, hence pushing the drums harder and harder.

Mark just wanted me to play louder, which actually was not a good thing.
The way I tried to playoff Mark's guitar was more of an instinctive thing. My first pro gig was with fusion guitarist Gary Boyle. His jazz-rock guitar solos were long and evolved they went a long. It was my thing to match his intensity with my drumming.
Then in the 80's I played a lot of New Wave, which again meant playing business and louder as the song progressed.
So I took that to Dire Straits, rather than just sitting back and playing the grooves.
It did push myself to my limit many times during the show, but really that was my decision, based on the usual way I played.