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admin_DSMK.
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Howdy all !
I have just returned from Bombay !
The concert details are as follows ::::::
The concert was at an open air ground on the 5th of March, 2005. The crowd was fairly large 15,000-17,000 as per the newspaper reports. Another friend and I had flown down to attend (Would miss it for my life !)
The gates opened at 5.45 pm. and we were one of the first few to enter the area. We got place right in front and centre.
Mark was not scheduled till 7.30 so I went off to discover what else was going on. Some one was selling Mark Knopfler t-shirts. I bought a white one with Navy Blue sleeves with the Shangri-La sunny sea-side graphic and "Mark Knopfler " written in running hand on top.
Patience.
I'll get to the main concert.....
Mark came in at 7.43pm. wearing a plain white full sleeved cotton shirt and Light Blue Jeans. (Someone must have warned him about the mosquitoes) because the sleeve kept on coming in the way of his right hand and he constantly had to pull it back !).
Why Aye Man got the first spot and it was simply amazing ! From where we were standing, the Bass was hitting the chest like a sledge hammer. Later on in the show someone adjusted the sound so that Mark's guitar got more prominence than the rest of the instruments.
The line-up consisted of :
Guy Fetcher - Piano
Matt Rollings - Organ, Accordion
Gleen Worf - Bass
Chad Cromwell from Memphis - Drums = Was Real GOOD !
Richard Bennett - Guitar
The songs were :
Why Aye man
Baloony Again
Sailing to Philadelphia
Sultans of Swing
Telegraph Road
Money for Nothing
Walk of Life
Romeo and Juliet
Donegan's Gone
5.15 a.m.
Song for Sonny
Rag Pickers Dream
And finally the closing song after 2 Encores :
So far away.
Note : This list is not complete nor is it in order.
Mark was in a good mood shooting one liners between songs. However, the heat seemed to be bothering him. It was around 32 C and he was sweating after the first few songs.
In the old DS Songs the energy flowed, whereas in the newer MK songs, the rhythm flowed.
Mark asked for a chair and sat down for the slower S-L and STP songs. They were beautifully rendered.
Surprisingly, there were no songs from On Every Street.
The show ended at around 10.00 p.m.
The lights and effects were ok.
The guitaring was amazing.
Overall, I can die a satisfied man.
Amen.
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nicooooooooo,
sei contento di 5:15am!!!!!!!!!!!!
bye
M
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nico92.
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CITAZIONE (marknet @ 10/3/2005, 12:05) nicooooooooo,
sei contento di 5:15am!!!!!!!!!!!!
bye
M
Madonna che notizia non sto' nella pelle, davvero non ci credo......avevo solo 2 desideri e li avevo da sempre resi pubblici, Speedway e 5,15am, del resto della scaletta quello che vuol suonare che lo faccia pure!!!!
A riportarmi sulla terra ecco la scaletta riportata dal sito local.hero:
1. Why Aye Man
2. Walk Of Life
3. What It Is
4. Sailing To Philadelphia
5. The Trawlerman’s Song
6. Romeo & Juliet
7. Sultans Of Swing
8. Done With Bonaparte
9. Song For Sonny Liston
10. Donegan's Gone
11. Speedway At Nazareth
12. Boom, Like That
13. Telegraph Road
Encores
14. Brothers In Arms
15. Money For Nothing
16. So Far Away
17. The Mist Covered Mountains/Going Home
A chi credere???? Rispondetemi vi prego, ne va della mia salute mentale
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andrea80.
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e' un dubbio che mi attanaglia e che ho esposto in un'altra sezione del sito: qual e' la scaletta veritiera??? quella che sta su local-hero o quella di questo an che e' stato al concerto? puo' aver confuso una canzone per un 'altra???? se poi si va su un altro sito di cui non ricordo il link perche' lo trovo col motore di ricerca, c'e' una terza scaletta!!!! vacci a capi' qualcosa!. -
danmk.
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Mi dispiace ma quella di 5.15 am era una gran balla. Tutte le questioni però potrebbero essere risolte: sembra che le scalette verranno messe volta per volta anche sul diario di Guy Fletcher. . -
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......valli a capire quelli che "postano" certe bufale, che illudono tutti (me compreso) ma soprattutto nicoooooooooooooo
bye
M
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nico92.
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CITAZIONE (marknet @ 14/3/2005, 10:23) ......valli a capire quelli che "postano" certe bufale, che illudono tutti (me compreso) ma soprattutto nicoooooooooooooo
bye
M
Era certamente qualcuno che non ricorda nemmeno i titoli delle canzoni.
Marco, resta il fatto che sono realmente dispiaciuto, non capisco il motivo dell'esclusione di questa canzone dalla set-list del tour, sara' che come detto da Mimmo (mc), è una song di non difficile costruzione, ma a mio modesto parere ha un qualcosa che la rende differente da tutte le altre canzoni scritte da Mark, e il desiderio di ascoltarla dal vivo è davvero forte......poi a quanto pare non sono l'unico dispiaciuto tra i fans di MK in tutto il mondo
CIAO. -
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CITAZIONE (nico92 @ 14/3/2005, 10:38) CITAZIONE (marknet @ 14/3/2005, 10:23) ......valli a capire quelli che "postano" certe bufale, che illudono tutti (me compreso) ma soprattutto nicoooooooooooooo
bye
M
Era certamente qualcuno che non ricorda nemmeno i titoli delle canzoni.
Marco, resta il fatto che sono realmente dispiaciuto, non capisco il motivo dell'esclusione di questa canzone dalla set-list del tour, sara' che come detto da Mimmo (mc), è una song di non difficile costruzione, ma a mio modesto parere ha un qualcosa che la rende differente da tutte le altre canzoni scritte da Mark, e il desiderio di ascoltarla dal vivo è davvero forte......poi a quanto pare non sono l'unico dispiaciuto tra i fans di MK in tutto il mondo
CIAO
nico,
hai ragione. anche a me 5:15am piace da morire e spero proprio che Mark la suoni prima o poi......ma se Silvertown Blues ci ha insegnato qualcosa.......qualche timore al riguardo ce l'ho.....
se ti può consolare (ma non credo) la prox volta che ci vediamo per un concerto dei Solid Rock.....5:15am promessa!!!
l'abbiamo suonata qualche volta (anche con Chris che ha fatto un bellissimo solo di sax nel mezzo).......e devo dire che è un brando.....da intenditori.....e i più che vengono a vedere i ns concerti preferiscono sicuramente ascoltare Walk of life o The bug piuttosto che 5:15am.......
bye
M
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nico92.
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Marco, straquoto tutto quello che hai scritto, Silvertown altro brano strepitoso escluso dalle versioni live
Tante grazie per la promessa
, ti diro'....se non siete voi che venite dalle mie parti, cerchero' di organizzarmi per qualche data tarda primavera-estate.
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Slavi.
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Essere invidioso a voi, ragazzi !!! 
5;15am e la mia amata canzone !!!
E...con sax nel mezzo,marknet...WWWOOOWWW!!!. -
Slavi.
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'Why didn't you invite me earlier?'
The Rediff Interview
Sumit Bhattacharya
The key to understanding Mark Knopfler, the legendary guitarist, is Knopfler, the man.
In March 2004, he ran his 800cc Honda motorcycle into a car which had turned right without indicating. Knopfler broke nine bones, could not play guitar for months, and fans doubted whether their everyman hero would be the same.
In an interview to the Telegraph, the minimalist maestro said, 'Poor woman, she didn't have much going for her,' about the person who nearly killed him.
When rediff.com asked the guitar God why he didn't press charges, and if it reflected the real him, Knopfler's response was typical of his solos – short, sweet and more eloquent than a thousand words – "Why the hassle?"
Excerpts from an interview with the man who will play in Mumbai on March 5 and Bangalore on March 7:
What was your first reaction when you were approached to play in India?
I was ecstatic. I readily accepted [Event organiser DNA chief] Venkat Vardhan's invitation. He gave me a report on all the great acts he had brought down to India and I said, 'Why didn't you invite me earlier?'
India is perceived in the West as the land of yoga and mysticism. Does coming to play a rock concert here seem paradoxical?
No. Rock has plenty to do with yoga and mysticism. There's years of practice and pain. Composing and writing is quite mystical. The inspiration can come all of a sudden or it can take a long while…
How much do you know of India? Have you ever been here before?
These days you read about India, or hear about it all the time. As a musician, one can't escape the influence of Indian classical music…
This is my first time [in India].
Are you aware you have many ardent fans here?
I heard about it from Venkat and my management.
You were a journalist once upon a time. What was it like?
I was a cub reporter doing the music beat during my journalism days. I enjoyed it, for I was covering something I loved.
You and Carlos Santana are probably the only two living rock guitar players with an instantly identifiable sound. What's the secret?
There is no secret, just years and years of picking, strumming, plucking, practicing chords, listening to classical music, jazz, the blues, rock…accompanying great musicians.
Will you be playing any Dire Straits songs, like Romeo and Juliet?
I'll play all the Dire Straits songs, including Romeo and Juliet.
What is Mark Knopfler the man like, as opposed to Mark Knopfler the star?
One segues into the other. The family man and musician are the same.
What is the line-up you will be visiting India with?
There's Chad Cromwell on drums, Glenn Worf on bass/vocals, Richard Bennett on guitars and Matt Rollins, piano, Hammond/vocals. There'll also be backup.
Do you believe Mark Knopfler was too good to be just part of Dire Straits?
There's a time and a place for everything. Dire Straits was part of my musical journey. I have outgrown those days of the mega-band and tours.
As for my solo career, it's you the critic, and listeners who decide whether I have evolved.
You walked away from stadium rock to do soothing music you listen to with a cup of coffee looking at the sunset. Was that a conscious decision?
I think I still offer a blend of stadium rock and the softer, more mellow songs of the recent past. Check out Boom, like that on Shangri-La.
Do you believe honest plug-in-and-play music can survive technological advancements, software, DJs?
Yes, because creativity will always outpace technology.
Your favourite guitar?
All of them really. I carry half a dozen guitars or more on concert. I use different kinds for different songs.
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Slavi.
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Sumit Bhattacharya in Mumbai | March 05, 2005 02:48 IST
Mark Knopfler speaks exactly the way he plays his guitar. His words are well spaced; his sentences slow. His humour is as subtle as his songs; he flashes stabs that make you go, 'Wow, what was that!'
And the 'voice and guitar of Dire Straits' soloed with signature élan through questions thrown at him at a press conference in Mumbai on Friday.
"Well I hope I've got less to say," the 56-year-old English guitar legend said when a reporter asked why he did not "experiment with forms so much any more in his songs."
"I recommend success to anybody," the man, with a fan list that includes Sachin Tendulkar and the late princess Diana, said, quick as a bolt, to "What did you feel about the success of Sultans of Swing?"
You don't be a journalist if you get bogged down at one attempt.
"What was Sultans of Swing about? It was such a simple song and yet it succeeded so much," the persistent reporter asked back.
Knopfler's reply: "A journalist once told me that it works on several different levels. And I said, 'Really?'"
When rediff.com asked Knopfler if rumours that Bob Dylan had put in all the bits of his playing he didn't want put in Infidels, a Dylan album he played on, were true, Knopfler said, "I don't think that was what happened. What happened in Infidels was that I had to go on tour, 'cause I like going on tours, and Bob had to bring a record out in a hurry, that's all."
"Who is Romeo and Juliet really about, Mark?" we asked. "A song is never very particularly about somebody," he answered.
"Sometimes if I say what a song's about, it spoils it. Because I want you to have your own picture. It's like a book. Everybody has their own pictures of the characters. Which is why books essentially are better than films."
Somebody asked him what he would like aspiring guitar players to learn from him.
"Oh I do everything wrong!" was Knopfler's answer. "It's a combination of doing things wrong. I used to fall asleep playing, so I perfected that. I usually start to play and then I'll come down onto the floor, assume a horizontal position slowly, with the guitar underneath me.
"My late friend (country guitar great) Chet Atkins told me the same thing. He used to fall asleep playing. Maybe that's what it is. You just repeat the same old nonsense till you get very tired. So if anybody asks me, 'Do you ever get tired of what you play,' I say yes!"
The man who can make you cry by varying finger pressure on a guitar string said, "I wouldn't choose me as a teacher of anything particularly. I would not be a very good choice."
On the 'evolution' of music in his life, he said, "Evolution to me is very slow. I do everything very slowly. It takes me a long time to finish a sentence usually. I'm a pretty slow learner. I see myself more as really just as a kind of a folk musician. Because it's all folk music really in the end, I think just about all of it."
"The guitar for me is just something that I use to write songs with. So, a proper guitar teacher would regard me as a nightmare student."
Someone asked about Slow Train Coming -- another Dylan album he played on -- and the 'controversy' around it being about Dylan's embracing Christianity.
"My only connection is I ran down the songs with Bob. I didn't pry, I didn't intrude on a man's religious position," Knopfler replied.
He said he would love to travel in India. "But you can't really be a tourist when you're doing this, so. I'll come back with my family, and we'll come back and do this properly, don't worry. We're determined to do it."
What did he like about India other than the food, the women and the Taj, a woman asked, because "they are the standard celebrity answers. Give us something different."
Knopfler said, "I'm a pretty ordinary guy, I kind of like the things that men like, you know."
"One of the things that's obvious to me, that really strikes me, is the intelligence, which is a rare commodity"
The yoga and spirituality question was handled with, "My manager has just started doing the yoga and I was saying this morning I would be able to take it up one day. I do try to look after myself, I work out."
On composing, he said, "I never know when the song's going to hit me. I never know where a song comes from. It's still a mystery."
"I don't know anything about anything orthodox, or classical, I'm afraid," was the answer to "Do you know any Indian classical music?"
On the near fatal accident last year, he said, "I think it helped me get the most out of now, out of every situation because you realise everything can change, pretty quickly."
Knopfler said he and Chet Atkins "never had a budget to do it (their album Neck and Neck), "properly. We just did it in each other's houses. It was that kind of a thing."
What was Shangri-La his latest album, about? "Well everybody has their own. I'm sure you have yours -- your idea of Shangri-La -- and I have mine. That song, there's a song called Our Shangri La on the album, is really about trying to teach myself to enjoy the present, enjoy the now. Because it's not gonna happen again."
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Slavi.
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At a press conference a day before his concert in Mumbai, a reporter asked Mark Knopfler how he left his 'literayturey [sic]' background behind when writing songs.
The guitar legend replied, "Songwriting has its own set of rules… so you say something really complex, like, 'who's your baby now? Your baby now? Baby Now.' And then, you say, 'Aaahhh.'"
To experience what he meant, 15 feet away from him -- as the crow flies, because he was on higher ground -- in the front row is a good place to be.
A little earlier, his sound crew was checking the microphones, not with the usual 'mic testing one, two, three,' but poetry.
By the time Knopfler walked onstage with a sunburst Gibson Les Paul and began his performance with Why Aye Man from his album The Ragpicker's Dream, Mumbai's MMRDA ground was packed to the brim. Glen Worf was hitting his bass, not playing it, as he fingered the notes on the fretboard.
When the guitar God swapped his Les Paul for a red Fender Telecaster to twang the evergreen Dire Straits hit Walk of life, the audience erupted, singing along and dancing.
What It Is, from Knopfler's album Sailing To Philadelphia, was next, followed by the title track from the same album.
The electric guitar made way for a shiny dobro, with a capo on the fifth fret, as the touch artist coaxed the opening notes of Romeo & Juliet.
The ballad of love gone wrong was played stadium rock style, with Chad Cromwell's snare sounding like an electronic drum and reverberating across the ground.
It was the stuff of goose pimples, as Knopfler slung his Strat on to play the solo -- complete with signature staccato ghost notes.
Immediately after Romeo & Juliet came the biggest Dire Straits hit ever, Sultans Of Swing.
The venue was a blur of moving heads and flailing arms. "Are you feeling okay?" asked Knopfler, hands over his eyebrows to see the crowd.
He need not have asked. The roar was answer enough.
There were enough guitars by the side of the stage to fill a shop, and between Knopfler and co-strummer Richard Bennett -- who also played a bouzouki, a Celtic instrument resembling a banjo -- they used many.
There were two Les Pauls, a couple of Teles, a sunburst Strat with a modified tremolo arm raised at an angle, a red one, a Gretsch flat top, a Fender Jazzmaster and a tiger striped guitar this correspondent could not recognise the make of.
All the songs were played with signature sensitivity.
Done With Bonaparte was performed with Matt Rollins playing the lilting melody on the accordion and Chad Cromwell switching to a smaller drum set.
The two-hour-ten minute show was a mix of new and old numbers, including Telegraph Road and Brothers In arms from the Dire Straits days and Boom Like That, Song For Sonny Liston and Donegan's Gone from Knofler's latest album Shangri-La.
But if there was one complaint the crowd had, it was that the 'voice and guitar of Dire Straits' did not play enough of his band's songs.
In all fairness, perhaps we need to learn to respect an artiste's evolution, and not force him to churn out a greatest hits compilation every time he plays in India.
In the middle of the show, someone screamed, "I want my MTV," the opening line of Money for nothing. "You'll get it," Knopfler replied, adding, "but then we might not do it."
That was, thankfully, not to be, as the second encore was indeed the rock anthem.
The band was, to say the least, extraordinary. Glenn Worf played the electric bass as well as the upright double bass with equal aplomb.
Richard Bennett was amazing in the way he caressed the chords. You could make out here was a man who followed Carlos Santana's philosophy -- 'A note is like a flower. You can make it bloom or leave it like a bud.'
Chad Cromwell gave each of the tunes the treatment they deserved, and Guy Fletcher and Matt Rollins on keyboards set up the songs to perfection.
Knopfler's stage presence was as subtle as his music. As he stood there bathed in purple light -- in white shirt, jeans and glasses -- he exuded an aura of grace.
He said to Richard Bennett, "It's you and me Richard. How about it? As for the rest of you [the band], best of luck," before launching into Done With Bonaparte.
The guitar hero unleashed a flurry of 'chicken-picked' notes, spread his arms and flexed his fingers. Two seconds later, Mumbai was getting its Money For Nothing.
The end, the third encore, was the haunting theme from Local Hero. As Guy Fletcher and Knopfler transported the crowd to a different universe, the backdrop of the stage had changed to a spar spangled night sky.
Alas, it was time to go home.
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thanks slavi
bye
M
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07-03-05 IndiaBangalore |
