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new live album about to be released and
unveiled why another live album please
well what I mean actually when I was you
know when we were originally talking
about it I suggested to the record
companies that put some new things on
and said no no no it's everybody wants a
souvenir of the tour so I said fine in
and and that was the companies all
around Europe and apparently that's what
people want they want to have a souvenir
they want to it's just the same of the
film the video of the of the show they
just want to have a souvenir reminder of
what it was like to be there on the
event but shouldn't a live album be like
when I think back to the sort of
Frampton Comes Alive albums and he and
the best of the film or and and like you
know things like that and I think that a
live album should be an item within
itself should be something that even if
you weren't there you can still enjoy
the atmosphere of the event well I think
yeah Minister I still think that I mean
it's relevant as a recording just
because you know when you once you start
going out live you're changing the songs
about I mean as soon as you start
rehearsing which is my favorite time
actually and because you know you're
putting new pieces in here knocking
things out yeah slicing and cutting and
sticking pedal steel solos in and this
that and the other and it's just a
different thing from the record and
you've got different people to you've
got different drummers and you've got
percussionists and this that and the
other so it's it's a different
experience altogether so it's worth
having just from that point of view I
think it's it's it's a different entity
from a live record from frustrate from a
studio record you know we certainly
weren't being slavish about being
retentive about album parts necessarily
I'm part of the fun is being able to do
it in different ways you know they moved
to take the songs and
change them about and and I mean if you
take something like : Elvis it just live
it just became something else that's
what happens with crowds that's what
happens with rehearsals you have to put
endings onto things and all the rest of
it you're making a show you make it
something flow so it becomes the show
itself in a way becomes something with
its own life made up of different songs
and the order that they were on and so
on and so forth you eventually call me
Elvis now it's been elongated to
enormous proportions west about ten
minutes something how do you justify
that then because surely that could be a
collection of long solos and how do you
also say to yourself right calling our
son any good like this but in rehearsal
wouldn't it be nice to do this how do
you how do you pick out those songs that
you think would suit the extensions that
you very often give them life you can't
justify it I think you just say it's
nothing nothing really short of
indulgence and time-wasting and you know
you the only excuse that I could
possibly make would be that it gets
everybody played in at the beginning of
the set you can drummers can bash away
and percussionists can hit everything
that they've got as loud as possible and
as so the sound people can get a chance
to get the PA sorted out and we get
played in I mean that's a way of getting
warmed up really well played in and we
have had quite a lot of fun with it in
rehearsal because I just found myself
adding bits and it's just a failing of
mine really I think it's just something
that happens and I have no excuses
really whatsoever apart from the playing
in aspect and getting any getting the
oil warmed up if you like I was nice to
be honesty and a musician it just says
well I just having a bit of a go really
Charlie galette gave you an opportunity
many many years ago and I actually
remember the broadcast which is quite an
amazing situation to be in um and and
there was just such a good feeling about
that now he gave you an opportunity do
you now have the opportunity to give
our younger musicians a chance do you do
things for other musicians in the
position you're now in you do just by
being successful I mean that's that
happened that started happening straight
away in fact in 77 78 when first of all
that the the record company gets to be
in a very healthy position cause it's
got a number-one album all over the
world and that we'll all the kind of
signings that they make but apart from
that what happens when you go out on
tour for example you take people out on
support and this and that when you know
you've begun by supporting opening for
other people and so that the chain goes
on down and then you start producing
people and you start there's a
circulation of music that goes on after
a while if you show an interest in any
particular musician the fact that you've
shown interest generates an interest in
turn you know through the game through
the music game and that's what happens
really it's just a it's a natural
impulse I think you certainly don't feel
threatened by I certainly never have
felt threatened by anybody else coming
in the first when you hear something
great the the natural inclination is to
rejoice because it's such a refreshing
thing you're so happy to hear it
and you can't ignore that and certainly
you you know the idea of the idea of not
and not encouraging it was repugnant to
me not encouraging somebody or not
trying to help somebody along the same
thing happens with with the business
side of it I mean not me but my
management people help young managers a
lot demands a lot to be said for that
and in fact for years I've been pressing
IDI
my manager and Porter former managers
association so that can help young
managers to find their footing I mean
when ed started with us he thought that
mechanicals were something to do with
cars and he would be quite happy to tell
you that so you have to knife and fork
your way through a lot of these things
and if you can
put somebody on it on it there ain't
millions for instance you might get
somebody from America calling up wanting
to know which promoter they should deal
with which venue should they play so on
and so forth and in fact a lot of ends
time was spent really it's like you know
dr. ed you know helping out people that
happens quite a lot and there is a
network of like-minded people who
because of the problems that they've
encountered they become in a way
committed to leaving the business in a
better state than they found it
excellent and the serious thing well the
arguments you said that they put some
money back into the record company which
there means they can develop new acts
that's one of the arguments now the
record companies are saying for the
price of CDs and yet your management and
yourself are very much against the costs
of CDs at the moment doesn't that isn't
that sort of a reverse argument in there
somewhere
well possibly and just in terms of the
amount of money that they say that
they've got available for X but in terms
of the CD theme and I'm talking I'm
talking before CD even this was in 77 or
whenever it was that were the first
album you know did so well around the
world CD thing has been I think as I'd
puts it the great North Sea oil of the
record companies and anybody who really
has studies the figures and has a look
well no I mean part of the reason why
had got involved in all of this is
because of the galling experiences that
we've had with compactus you know in
terms of new formats coming in the only
thing that I could would say really I
mean because it's a massive subject but
and not nearly as important as Bosnia
but it's a small thing in some respects
but if you were asked or if you were
told by your employers that a new
broadcasting format was going to
necessitate a 50% cut in your salary
for an indeterminate period I should
imagine it'd be for some fairly loud
squeaking from your direction followed
by a search for new employment and you
know it's it's a fairly complex business
but there seems to be absolutely no
question whatsoever that that the
figures that the record company they're
BPI have been putting out incidentally
they haven't put any figures out for the
past three years since the consumer
Council which magazine or whatever it
was got on their backs about it though
the figures are questionable to say the
least
and that what they say that artistic
royalties that they said that artists
were getting for CDs fictional and even
though I'm I know that that Edie has
renegotiated our situation to the point
where we're probably getting a higher
rate than a lot of other artists are for
CDs it's still way under what they say
all artists are getting and you can bet
that that we are getting a heck of a lot
more than Bo Diddley or somebody like
that only you can I wouldn't mind
betting that Bo Diddley with all respect
and all love that I do have for his
music is getting Diddley and it so in
that sense they've they have been
cleaning up interesting you mentioned CD
it was I remember going to try and get
my first CD play and I said well there's
only one album you should listen to on
CD and the album that sold millions do
you think possibly that may have with
the great respect to yourself inflated
the sales of the album but what it did
do was it brought it to the ears of a
lot of people who may not have been into
the band before that point I really
don't know I think it probably has more
to do with singles hits that you get off
albums and what happened was an American
that money for nothing and and walk of
life were both top five hits or whatever
they were
I think I have no idea actually where
they got to you'd have to help me on
that but that's really what makes the
big sales differences is whether you
have these kind of singles hits and I've
never set out to make a single just do
records and I think that's that had a
lot to do with it also the fact that it
was early in the technology that the
record came out early in the technology
of of CD it's just luck I don't I don't
think it's because it was a particularly
outstanding record it's just happened to
be in that place at that time and to do
with the singles successes that it came
off it had pushed up album sales in
America I mean obviously did an awful
lot better in America and then you know
other records that we made that beat
simply because of the singles and the
radio the radio do you I mean - tracks
really have made an art form and a
touring and when you spend so long
touring and it's it's a natural
progression there should be a live album
I you know in danger
two things one burning yourselves out
completely we're spending so much time
on the road because it is a pressure
thank you to the circular saw okay I
danger a burning your cells out and also
saturating the market in that there
could be too much of dire straits at the
moment it's like dire straits tickets
are you know one of the most
sought-after things people want to try
to find out when you're gonna play what
you're gonna do but if you keep touring
at the level you have been touring those
two factors could come into play and
that the week too much of a good thing
oh yeah I mean I wouldn't do it to the
same extent as we have done anymore now
I mean it just seemed like the best way
of doing it at the time and playing lies
a very important part of being being a
musician I think I mean other people can
think what they like there's nothing
like being there playing to a crowd
and it's a very important part of what
it is it's what you dreamed about when
you were kid it's a and fans around the
world let you know how happy they are
that you've bothered to turn up that's
oh that's really all I would say about
it I mean I don't I never think about
saturation or anything else like it I
mean you know just you just plan a tour
and go off and do it and if you're gonna
do it you might as well do it properly
you have got an obligation to people but
when you see it when you actually go to
France and see it or go to Germany and
see him you realize what it what it what
it means to people so there's a
relationship that's set up if you like
that you have to put a value on you know
do you think when you see these holes
full of people and you think that I mean
there's a tremendous responsibility
there that yeah these people have
welcomed to see and you've got to play
well that night it's it's got to be a
good night you've got to do your job
does that give you a pressure or just
being happy being a musician does that
come across on stage do you see what I'm
getting at yeah I used to feel pressed
for a lot more than I do now and I think
that just comes from time spent in the
driving seat really that the more you do
it the more you can pay attention to
other things that are going on and you
can't you're not just caught up in in
the performance itself or in what you're
up to yourself and that's just that that
sort of thing comes with time spent
doing it but it's an interesting thing
pressure people always ask me about that
and when I was a kid I used to get to me
a lot more when I was 15 and I went to
see Chuck Berry at City Hall in
Newcastle I thought that I thought the
City Hall was was the biggest place I'd
ever seen it seemed like a cathedral to
me yeah a few years later you know you
go back and look at it and it's it's
like it's just like a little it seems
like a small room to you so you grow
into the big places without
without realizing it is just time spent
you grow into and you got to be able to
do to handle bigger crowds without going
over the top and or changing anything
too much and altering what you would do
too much just to still make it somehow
intimate at times without without it not
that too much of the expense of the of
the of the show you know the performance
have you had anything on to this because
it must be very tempting if you're
listening to a live hour think I was
just a dreadful no that was awful
if you docked it I'll play with it at
all or is it as it happened oh no you
have to know I mean with but I think
that one of the problems apart from
anything else is that when you're
recording a band that is a little as
loud as that one was on this last or
they get leakage coming in and all sorts
of problems coming in from monitoring
and certain the other and you do end up
with live albums I mean all live albums
have have to be repaired here in there
and and you can do that the the
important thing is to try to preserve as
much of the of what really happened and
mistakes you know after a while mistake
start sounding right like chat cans
I was once doing a an interview with
Chet and we would we were talking to the
interviewer together and I'd said
something about how on the every street
album I tried to get the whole band to
play together and if and if I had a cold
or something
it didn't you just had to learn to live
with it or there was leakage a lot of
leakage from because I was playing a
guitar and singing into the same mic I
into in same booth and you know one was
leaking onto the other which can be an
engineer's nightmare
I like leakage and I like mistakes on
recordings and something comes to the
air when you're all playing together
which is I think it's worth having on
records if you can get it and so and
I've made all my mistakes in public you
know before that we'll the separation
and everything else and
so mr. mistakes if you have a mistake
that doesn't really matter too much then
just just leave it in and it's like Chet
says for a while then mistake they start
sounding right I'm interested to you did
you ever get to produce a never leave
others album good today
because the writ this is really strange
connection now is that Albert Lee plays
guitar with Everly Brothers and he
played setting me up on a live Clapton
album so there's a real weird because I
think Albert Lee is just one of the
great musicians and that he now plays
with the ever least did you get to do
the Everly's album no I haven't managed
to get that up laughs talked to the ABS
about doing a record at some point and
I'm making a little list of possible
things that we can do and I don't know
when it could could possibly be actually
I'd I'd love to get stuck in it
something like that I mean the Everly's
was so important to me you know I mean
when I started playing I had a little
friend Vince and he was he was done and
I was filled I suppose or the other way
around I think he got higher than I
could and it was so it's a it's all very
but I didn't know then that Chet had
made those records and it was wonderful
arrangements on those records but it's
it is important to me and we have talked
about about it and I would love to that
you know they would like permitted to
get something going I think their
management recently wanted them to
rerecord some of their old hits which i
think is a big mistake and I hope I hope
fervently that they don't that they
don't go that route I think they should
be doing new things which still have
that very special color and that that
only they can get you varied country
music and you talk about country music
and yeah I I just think that a lot of
your arrangements a lot of your songs
could be countrified if you will
you could actually
but a country arrangement that waka lie
for example could have a country rose it
is getting there
have you ever thought you know you might
like to do just a country album or doing
it with very strong country feel to it
well I mean if we've just been talking
about the Everly Brothers I mean they
that's country music really in a way it
just becomes something else here and
there and you have R&B elements and the
Blues is really is how I came up with as
well so a lot of my songs have been
recorded by people in Nashville and but
when you hear them sometimes there's a
lack of attitude I mean if you hear a
country version of the buck or something
they've taken the R&B out if you hear a
country version of walk of life they've
taken the R&B out and things can flatten
out quite a bit I mean my only criticism
of a lot of the current Nashville music
is is in fact that that kind of digging
in and R&B attitude is missing but there
you know then again some things that get
recorded there are recorded there are
absolutely great still and on and on it
goes I mean a lot of a lot of country
so-called country artists are making
records now that are very bluesy and
rock influenced if you like so this is
if it's all a bit of a jumble really you
know just listening to the new wynonna
judd record the other night and you know
you can hear all these influences coming
in there's getting to be a lot more R&B
influence to say and it's great you know
that so that's somebody like Bonnie
Raitt is influencing somebody like why
no never it's a it's a wonderful thing
it's a beauty to be happening so I don't
really know how to and listening to John
Anderson's new record that well you know
John recorded one of in Nashville John
recorded know one of the songs from
every street record listening to his new
stuff as well you can hear them more and
more R&B
creeping into so-called country music a
lot of country artists have got to be
quite careful over there because country
radio which is probably where they get a
lot of their bread and butter from is
quite a conservative setup and they they
can't really you know they'd get people
saying things like you know where's a
pedal steel guitar you know ain't no
fiddle in that song so you've got to be
quite careful how they approach things I
mean there are people who really come
from more of a rockabilly background
like mark calling and people like that
but then they're in some ways that maybe
being forced into a more well behaved
area just in order to get played on the
country radio stations there are so many
of them around the country and that
doesn't happen to rock and roll acts and
I certainly never happened to me you can
please yourself really the way that
should go again you know if you're doing
something in a country ish kind of vein
I can put a big heavy distorted guitar
over it and that so that wouldn't really
wash with country radio which was why
you know they wouldn't my version
wouldn't really be played over there and
they would want something a little more
well behaved you say these people are
adhering to the country format and the
country formula that you have been
accused on various occasions of playing
safe of sticking with a tried and tested
Mark Knopfler formula now do you feel
that valid criticism or not absolutely
no I mean nobody's ever I've never done
anything you know for the radio in fact
I mean one you know all of my songs
usually far too long or don't you know
fall into that radio ability at all and
in fact I remember one time and being
told that you know I think we can get
this they can get this song down to
so-and-so so-and-so minutes
and it works because because they've
done it you know and you just have to
say no one I mean I wrote it that way
and I don't want to edit edit ate or
shortened to the regulation length I
mean there are all kinds of horror
stories and you can go over there and
hear your record being played faster to
get it into timeframes and all the rest
of it no I don't think I mean I don't
think that rock and roll has been
subject to to let anything like as much
as country artists have that kind of
control I mean there are lots of
drawbacks to to entering into this
particular arena you know you find that
radio is because of these radio
consultancies so-called over in America
and playlist that DJ's have now become
just puppets who who play what they're
told to play they have a playlist and so
on and so forth but now I got used to
that fairly quickly in a way and I
remember when they wouldn't play
something to swing in England for for
ages it was it was a hit all over the
world but it was the last place it was a
hit was in England because there was a
committee then with a woman called Doris
or something at the head of it who said
it had too many words which is properly
write it properly does but it was just
the way that it was it was then and I
think it only really became a hit in
England after Paul Gambaccini was
playing it as part of his an American so
people heard it and realized eventually
that it was a British you know effort
and it sort of took off in England but
it took off in England miles behind the
rest of the world do you find a lot of
these situations that you build up okay
make you quite rebellious people might
think you were quite arrogant because
you do stand up for your music like you
just said it's a speeded-up artists bit
to cut out of thing and people might get
the wrong attitude about a guy who just
believes that without sorry but that was
the way it was recorded and that was the
way it should be her
no I mean you can't be too you can't be
too pleased with yourself about any of
that but the only reason I think that
I've been allowed to meander about
relatively unscathed is the fact that we
were successful from the beginning I
think for acts who who have a more of a
borderline thing happening for them at
the beginning can be subject to a lot
more bullying from record companies
people who don't really know what
they're talking about and that's when
you get damaged when when when I think
when people are telling them what to do
instead they can't just necessarily
follow their heart so at that point I
think when that starts to happen you
lose sight of the truth and what
actually moves people ultimately is some
kind of truth isn't it it's something
that reverberates through the artist in
to them and they don't necessarily sit
around and analyze it they just like it
there's some kind of recognition of
something and the more you start messing
about with that and trying to push it
into some formula for radio or for
whatever you can run into you can run
into problems but I do think that one of
the diseases that there's been allowed
to happen is energy I mean it probably
would apply to me now if I was starting
off now is that a lot of artists
encouraged to write everything
themselves you know this doesn't happen
in Nashville and so that you get
probably more good tunes on a record and
then you get with a lot of rock and roll
records I think a lot of kids are being
encouraged to write everything
themselves now whether it's its
financial it's partly that they can get
publishing money to bolster their
recording money in order to stay alive
that can be part of it that the
publishing advances can look quite
attractive to them or it's the idea of
being an artist you know
I'm an artist I do all my own writing
and I think some people you can see that
some people have actually suffered for
for that whereas there's a far less
pretentious atmosphere that goes on in
in somewhere like Nashville where people
just take songs and that they don't
really care who's written them so when
they die strikes last record somebody
else's song well I know I mean it
should've actually I think you're quite
right I mean I think I think I could
have made better records half the time
by by sticking in songs by other people
for that to be quite honest with you I'm
interested too about the track listing
you said that you know it's all stuff on
there and who do you think a bit more
upset if and walk of life and
brothers-in-arms were not on this live
album you the fans or the record company
well I wouldn't mind bob was on it
or you know or not on it really I mean I
don't I don't know what the record
company would say because I don't I'm
just informed occasionally of what they
think through management company it's
it's kind of a fan thing really I mean I
had a couple of little kids in I went
him see a couple of little kids in the
office management office the other week
got cancer and stuff and and and anyway
I'm showing them some of the some of the
video that we've done and showed him a
list of songs I said well would you like
to would you like to see and they both
said at the same time money for nothing
now I mean I for me too
I'm you know I don't really have much of
a an emotional attachment to that
particular song it's so but there's a
sense when you see that you know there's
a sense in which you think well it's
they wanted they wanted that amount of
it
bless them it's that I miss the only
thing you think yeah I really wish that
was because you obviously had to listen
to hours and hours of tapes for this
thing you must have done with all the
showers and things is there anything you
thought well you know I really would
have liked to put that on there but
maybe it's a little bit off the wall
well there was a couple overcome the
things I mean I would have liked to have
had a sultans on there but I never
played one that I thought was any good
and that was my I was just down to me I
mean I just didn't think I played one
that was worth particularly that people
would particularly want to have and also
we did this little thing where we made
it a four piece for quite a lot of this
song and we're little drum kit that came
came down onto the floor behind so it
was a bit like playing in the original
club band but the sound off that kid was
so bad he we couldn't actually was a big
too big a problem to record it that way
it was good fun playing it live but we
couldn't really get anything that would
I decided I just thought I never played
one that was any good so so that's
that's and also you know people have got
live recordings of it anyway so I
thought maybe not that and so that's why
that's not on there but that's all and
you can't listen to all I mean I I
literally would couldn't face listening
to all the recordings so we're about ten
of them ten different nights and I just
couldn't so i i i i slid out of it and
sneaked it off and got guy from the band
and and the endorsement to do a lot of
listening to to that sort of thing i
mean in the end i mean i I suppose I had
to listen to a fair bit of it but I'm
not very good at I mean if you've saw it
so in other words I haven't really been
involved in this album anything like as
much mean I know it really to two guy
and Neil and more than anything else I
haven't actually put much time in on it
I've been nipping off really and riding
my motorbike I haven't been a very good
boy on it
come in you know late and even see is
everything going alright cross my
fingers and hope that nothing was too
far gone but I can't actually bring
myself even back with alchemy I couldn't
listen to the tape in 84 I think it was
I couldn't listen to the tapes I started
doing it and after 10 minutes as I can't
listen to 10 nights of this arena so I
said wow what was the good my Saturday
night seemed a pretty good night I was
in the hammersmith odeon and we'll just
do that just take it from that but and
it was literally just laziness and if
I'd been really retentive about it I
would have probably waded through a
conscientious I would have probably
created through it all but I just
couldn't face it did you get easily
poured these days for things do you find
that you you really would love to be out
like so producing an Evaline album or or
you know just it it's a bit too much of
a drag sometimes yep yep I know actually
I'm sure that my attention span as has
gone off as certainly as far as my own
stuff is concerned it certainly has and
I don't what to do about that I really
don't know I mean I I just like to have
a sofa in an acoustic guitar and please
myself not playing a bit of mandolin at
the moment I can't get that excited
about about what I've done already in a
way and I mean it's the same it's the
same with rehearsing really is the most
exciting time for me writing is very
it's exciting when you've got something
and then it's exciting rehearsing it and
it's exciting recording and you've got
to really want to do it obviously I mean
you wouldn't be able to take these tours
on a few unless you loved it and you
really wanted to do it I suppose I'm
lucky in a sense that I like of all the
bits of the cycle if you like but I'm
always looking ahead to the new thing
really that's what turns me on is then
is the the thing that you want to record
and the other thing that's coming up or
yes I mean a a Nashville session or a
blue session a Buddy Guy thing or
something like that it's great just to
go off and and just do a one-off like
that I'm you know the things coming up
I'm going to play with the Chieftains so
or maybe get stuck into another film or
thinking about everything from uilleann
pipes to fiddles is is exciting to me
talking to somebody about a theatre
production it's exciting to me because
it's different I think when you come off
these long tours that you need a variety
to keep you alive to it or you know to
keep you excited about it all and it's
I've got some good friends around the
place and I'm one pal of mine in
Nashville them sends me these he's got a
huge record collection and he's a
songwriter over there and he sends me
these little care packages of cassettes
with them with music on from it's got
and he has these lovely titles and more
cool stuff or all sorts and this and
that and there's Appalachian music mixed
up with obscure hillbilly rockers
jukebox hits blues R&B thinks Cajun
music French stuff anything you name it
just things that turn him on and that's
what keeps me alive that kind of spread
and that kind of involvement were the
roots of music as well as I mean as well
as it as well as new stuff so it's a
good time as well when you're away from
the tour to get back and enjoy music in
that direct way and it reminds you to
that it reminds me certainly that a lot
of my favorite music really it comes
from however complicated you might end
up getting that my favorite stuff is
really very simple music so after 16
years then is
it's time to say well it's been all very
nice and very good but you know now I
think I'd like to do something else for
example work a lot more with Brendan
Croker I'm not quitting I mean I'm gonna
make records and just play with yeah
different outfits and and go on with it
all it's a it's an endless thing and I I
love it and a very lucky boy to be able
to do it and that's all I can tell you
I'm still just as in love with whole
thing as always was I wouldn't I
wouldn't tour again or anything like the
same length and I mean that's not going
to help me anymore but you just get to a
stage when you know that that's your
last shot around the world in a way at
that level that kind of intensity so you
might as well go and do it properly but
that's not going to be happening now
there are too many other exciting things
to do do you think if you weren't in the
band you just be if we go back many many
years we used to be a strolling minstrel
just going around and playing a guitar
or mandolin or whatever and that would
give you similar rewards to what you're
getting now oh yes absolutely I'm better
in some ways I think yes I think that's
exactly what the deal would have been
that's exactly what would have happened
and in a way that's what you still are
and it's a lot of the things that that
you end up doing it's you're just going
off to play the blues it's basically
what you're doing and a lot of the rest
of it is nonsense and outside people's
perceptions things that become confused
with that I mean that there for example
a success yes I love I'd recommend it to
anybody but Fame which is a is a
completely different thing from success
has nothing to recommend it whatsoever I
mean fact in fact if there isn't an
equation you could say that Fame is the
price that you pay for
says Fame itself doesn't have anything
particularly to nothing in fact I can't
see anything personally I can't see
anything
that's that great about that but success
or love I mean success is great because
it's I've been able to meet so many
fabulous people through it and to share
their music and to you know to have
their friendship so and that's that's
what's important to to you I mean that's
one of the success and you know being
able to move around the world in that
way has been able to and to be able to
buy a tape machine that you need or
something like that as is what and to or
to work with a Paul Franklin for example
or something like that is this is
never-ending source of joy to me you
know but but but ultimately there's
there's no difference now you know what
we're feeling now is when I'm sitting in
like I was last week with Steve from the
the hillbillies and were just sitting
playing to an audience of one or an
audience of two in our case and laughing
and drinking and playing I mean that is
there's not enough of that
when you're out on the road on tour and
that's what you hunger to get back to
and that never goes away never will go
away in strength and there's one
interesting M edit possibly on the album
that heavy fuel and to Romeo and Juliet
sort of goes boom and then it comes and
I think I wonder if that was the same
night it just it doesn't seem to work so
well well it was just one of those tough
corners that you have to negotiate and
we did that it did go that way in fact
that's how it went on on the stage yet
and in fact I think it might well have
been from the same night and if it
sounds like a mistake I'm sorry that's I
mean we why isn't it a mark knopfler
solo album when you've done the sound
tracks you've produced why isn't the now
Sullivan do you need that band we
all the songs are written by you and so
we read anyway the credits are always
you so why not a solo album why do you
have to have that band I don't actually
I'm gonna do one that's good question no
I mean you know I love bands because it
grew up wanting to be in a band and I
mean to make a solo album I'll have to
get a band together to make it so you're
doing the same thing really it's just a
name and that's all it is and I like the
idea of hiding in a band in a way you
you just it's a way that it's a
childhood schoolboy thing you love bands
and you wanted to be in a band you
wanted to have a band and but I'm gonna
do what I'm gonna do a record just the
same the nice thing about I think about
you know probably being able to go into
your own record to xik and you can play
about with the personnel a lot for
different songs and that's really what I
want to be able to do
would you also play about with the songs
would you do other people's material
because that would give you the
opportunity to do that wouldn't it yeah
it would be able to do that too or that
I'd actually actually some point I'd
really love to do a record of entirely
if but you know other people's things
and it's a I'm forever - I mean that's
what I what I do when I'm at home I was
just playing other music so I eventually
I'll get something like that together
you know like it covers kind of a kind
of thing or aversions I swing at an
attempt be great actually when you went
if you went to this that's all it is
so it would be fun you know if you go at
the theater and you're seeing Macbeth
would be great if somebody came came out
and said no good evening ladies and
gentlemen we're about to have a swing at
Macbeth you know we're taking a stab at
King Lear or something that's all it is
it's just when you record anything or
attempt to play anything that it's only
there's no such thing as a definitive
just it's just an attempt on the on the
day Charlie glass sell on the sleeve
notes to the honky-tonk demos which has
got the original thing he he made a
little comment about the band where he
said he felt a sense of responsibility
when you said you'd given up your
previous careers and would commit
yourself to music and these note was
especially with the name like dire
straits I mean do you feel it's been
worth it oh yeah of course and I was and
the music was pushing so hard you know
for me to do it I was I was in I had to
do it there and I couldn't go back to
anything else it's it's a wonderful
thing to be doing the thing that you
like to do more than anything else it's
what I would say to any child or to any
kid is is matter I know because I spent
a lot of years doing the opposite is you
you know to play safe is it's not the
way I think you have to find what it is
that you like doing more than anything
else and then try to do it as well as
possible and if you can make a living at
that that's that's great the thing about
music is you don't have to be a
professional musician I mean you it
looked at the thing about music and or
the guitar or something it is that it
will be a friend to you all your life
and when other things can let you down
or other people might even let you down
it will be there for you
it's a great source of comfort to you
and the other thing is of course that
you never get to the bottom of it that
you realize that you've only just
tickled it really that there's a a
universe of of of material earth of
information there that you you never
really will be be part of it it's an
endless thing
you said you the Urim and about on you
are at motorbike it doesn't want it
privilege to know what type of motorbike
this is without making a wild stab it's
a triumph Trident so it's not the
holiday recently brilliant I keep my
enough well thank you very much your new
thank you
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