Morning Guy, I agree the Mason & Dixon documentary was wonderful. Can you please tell us who accompanied you and Mark on acoustic guitar. All the best
Mason & Dixon.
I saw you guys on the tv program about Mason & Dixon and I just wanted to say how beautifull could be a video recording of a little concert at British Grove. Hope you give it a chance to do it with all the band involve in it.
Thank you Guy
Hi Guy, I wonder how it feels to tell a master player like Glen Worf “Sorry no need for you to play bass on the two coolest tracks on Tracker, I did the Job already?” Will we have a chance to hear you again on the bass on the latest recordings maybe?
Hi Guy, today is my birthday! I don’t want cards or presents or flowers……I just want a bit of news as to what my favorite music men are up to. And I’m not asking for the big announcement, just any little tidbit at all would be a lovely gift 🙂
I wonder how many times I have heard about a song that wasn't originally thought to be on the album, but turned out to be the best one. It is only natural for us to ask about left out -songs, when we know that a song like Long highway was a "b-side".
Sorry Guy, I did not mean “Road America” but “Speedway to Nazareth” as you suggested. Great song preformed live. I did find a sound check of “Silvertown Blues” on You tube done in Munich and it sounded like Mark wasn’t happy with it, so as you say you moved on. BTW, Does Silvertown refer to Las Vegas? I read on “You tube” that someone thought it was a section in London that had been recently rebuilt.
Do it very well (no doubt it very well, bloody phone corrector) lol
Just a short message to congratulate MK for an extraordinary work as reporter for the Mason Dixon documentary. Watching him talking to camera so confident made me think that it looked as he does it all the time! So nice to see him doing something different and doubt it very well.
I was listening the Tracker album again and I had a doubt. This album contains (more or less) 17 tracks but, how many tracks were composed to wrap the album? How many songs he composes to make an album ? How do you select the best songs? Why don’t you make an album with the “un-selected songs”?
Thanks in advance
Hi sv: Very nice of you to say so. Thank you. x
Hi Stephen: Your posts made me smile. Love the ‘Dearest Guy’ bit in particular as we anxiously await more news about this, that and the other now that it’s September!
Hi Terri: Hope you had a good Labor Day weekend! I saw EC at MSG during the March 2017 shows. I’m a big fan so I was just grateful to be there, but he’s definitely looking frail. He cancelled the rest of his tour immediately after the show I saw in NY because he was ill. The crowd seemed pretty happy with the setlist although some of the omissions were surprising given that the spring shows were being billed as a celebration of 50 years of his music. But no more talk about setlists here! He also had a giant video screen behind him! Let us know what you think of the show this week.
Hello Guy: hope you are well. This summer I was at two wonderful outdoor concerts. One was Angelique Kidjo and the other was this amazing duo from Mali, Amadou & Mariam. Both concerts had these great Afro-jazz rhythms that had everyone on their feet and dancing. I recall you had mentioned that you love all kinds of jazz, and I was wondering whether you listen to world music, and in particular music from Africa. I feel like I have stepped into an enchanted forest in these last few weeks as I discovered other African musicians playing remarkable jazz rhythms. Looking forward to news soon!
Guy, We all know that MK chooses the music you play at live concerts and that many requests have been made on this website about playing “Silvertown Blues”. To my knowledge I don’t believe you have played it live as per Marks wishes. Could it be that you cannot replicate the sound on stage that we hear on the recording as the reason it is not played live? You do play “Road America” live which I thought would be difficult to play live. I suppose if it can be done in the studio, it can be done on stage. Your comments please.
Dear Terri: Thank you so much to you and anyone else who has been so kind about my post, written from the pit of despair to cheer myself up. It's interesting, I think, that the sound of 'Tracker' has generated so much attention. I think I wrote to Guy at the time of its release that there was a certain irony in the promulgation of the album's analog status given that, in the 1980s and early 1990s, the 'boys' were at the forefront of Philips' drive to make digital recording and playback a standard. Twenty-five years ago, I was recording on analog because I couldn't afford digital. Now, I am recording digital because I cannot afford analog. Funny old world.
Anyway, thanks again for your nice words. Cheers! x
No questions, just some observations and comments
1) Stephen Butler, thoroughly enjoyed your “barmy” post about U2 and their Joshua Tree tour. I just recently saw James Taylor live and thought the large video behind him did really detract from the music. So Guy, hopefully MK and you and Co. will never feel the need for a large video screen behind your band. 2) I have enjoyed the conversations about Tracker’s sound. I am in no way a technical musical person, but I LOVE the sound of Tracker, and it seems to me when I am listening, I am in the room with the band as those wonderful songs are being recorded. So I am looking forward to more of the same sound with the new project. 3) I guessed long ago that the new project was gonna be with Van Morrison (Guy, you gave a hint about backstage at Bill Wyman’s birthday bash). But I see Van Morrison is releasing a new album Sept. 22. Hmmmm. Then, I thought of Andy Fairweather Low. He and band are on tour this fall. So, I am at a loss. What IS the new project, and why all the secrecy? LOL. 4) I recently purchased “Western Wall/ The Tuscon Sessions” recorded by Emmylou Harris and Linda Rondstadt, released in 1999. Why had I never found this before?? I was very happy to see that it was produced and engineered by Glyn Johns, and almost all tracts had Ethan Johns on guitars, with a few featuring Andy Fairweather Low, and also Kate and Anna McGarrigle on backing vocals. It is an absolutely beautiful record, so if your readers have not heard it, I highly recommend that they correct that deficiency now. Looking forward to good news soon, about the new projects. Can’t wait. In the meantime, I am seeing Eric Clapton in NYC next week. Could EC be part of the new project? LOL. Thanks so much!!
Dearest Guy: One of the reasons for my frankly nuts postings of late is that I am driving myself crazy mixing a track for a band with which I seem to have got myself involved. It’s like this: the keyboard player has written a song which I have somehow ended up producing at home. Get this: it’s a local group we started to promote a studio in Cinderford (in the Forest of Dean) but 99% of it is recorded in my living room! The guy asked me to ‘throw the kitchen sink’ at the final third of the song. In other words, he wants a ‘big sound.’ I tried a whole orchestra, and now I’m trying a more ‘synthesized approach.’ I did write a string part to go over the last third, oh Lordy it was good, but now with Simple Minds-style big keyboards, you can’t hear the strings unless it’s bloody’ loud! Not to mention power chord electric guitar, similar acoustic guitar, bass, drums, the works – you know the drill. Guy, I need your advice, if you are prepared to shell out some of your bountiful wisdom: what do I do to get a big sound? Of course, if any other readers of this forum have any ideas, please do chip in! I’ve tried stripping the reverb off the synth sounds (they are VST synths), I’ve also tried stripping, but I end up losing the ‘big’ sound. At the moment the song is just an onslaught for the ears. It’s about 56 tracks in total at the moment. God it’s loud. It’s like sticking your head in a bucket of Jim Jones Revue CDs. I realise I haven’t given a lot of detail but if anyone can assist I would be most grateful. Cheers! x
Hey Doc – hope summer was good. September now here! Back at work twiddling, fiddling, experimenting on whatever towards a denouement on whatever you are working on?
Did you or Mark know that one of Dixon’s relatives are still alive?
This article from the BBC may be of interest.
I hope this finds you as well as can be. In catching up on the forum after an absence I wanted to mention a couple of things. Patrick, the tennisman, if you are in Los Angeles area I recommend McCabe's guitar shop in Santa Monica: quite the selection and they often have shows in there on weekend nights.
I also haven't noticed too many pictures, so I thought I would try to see if your suggestion works (an image file in the link box). From a post many years ago, it relates to the dangers of drinking and "driving". Hope it goes through.
For the guitar aficionados (like me), i believe that the Pensa-Suhr guitar is not used anymore mostly because of his sound.
My favorite electric guitar have the same set of EMGs pickups that the Pensa has.
The sound is fantastic but is not organic. The guitar needs a couple of effects and the right choose of amp to not sound thin.
The problem with active pickups is that they are not dynamic. Even with a light touch, they sound almost the same with a heavy picking.
But i believe the major problem with active pickups is the tonal characterist. These pickups are not aloowed to change their behavior and they not have the 'headroom' in comparison to a passive pickup.
In other hand, these pickups are plenty good to an 'stage guitar'. They are noiseless and not suffer with radio frequencies.
The Pensa-Shur is a great guitar? Yes! Its an amazing instrument and sounds terrific.
But, i believe, not fit with the actual, organic and vintage tones who comes with the 58'LP and the others fantastic instruments.
Thanks both Guy and Tom for your answer. I didn't know that reason about the fingers and a thin neck at the guitar. Thank you so much. This site is always is a good place to learn.