Former channel: "Alive in Memories": Featuring the best live concert performances (mostly remastered Audio recordings only) find me @bestlivemusic_guide on Instagram
Tim Renwick has played with or on albums from a number of artists, such as Elton John, Michael Jackson, Eric Clapton, Tom Jones, Al Stewart, Mike and the Mechanics, John Lennon, Mick Jagger, Paul McCartney and countless others---quite a career.
Ik moet nog wat vaat doen en opruimen.heb ik mijn vriendin beloofd en ik wil een nacht door blowen en roken en ik wil bidden tot de morgen stond en een nachtwake houden wat voor lul zou ik dan zijn nu al naar bed te gaan
Word een nachtje door blowen en roken.ik stam uit een familie van tuinders .die waren soms al om drie op hun land stonden .ik heb dat ook eens gedaan op ons volkstuintje beetje eng.wil het vanavond weer doen .maar ik kan n het niet maken voor mijn vriendin Om nu deze nacht buiten te gaan fietsen Moet nog een geducht voor onze buurman schrijven pas overleden En wat opruimen Heb een paar keer moeten liegen en stelen En ben ik met een beeld gevangen onrust bezig Geeft mij.grip op de wereld
I recently came across my ticket stub from the previous night, Sunday 19th December 1982, which cost me the princely sum of £7.75! Only Pink Flyod doing The Wall at Earl's Court ever came close to this beating this as a concert.
Two interesting facts that I would like to point out in this show: 1- The introduction of TR, there is a moment when something happens and Alan Clark does two beats of a passage, I believe that Mark was not with the National to start his part, this forces Alan to repeat the "turn" of the melody, when the The audience gets more excited and this is the sign that Mark has the spotlight on him and starts his fingering on Natiinal Steel. 2- This is the only version of Solid Rock where this type of synthesizer sound occurs at the 1:47:42 point, there is no other version where this occurs, Alan or Tommy experimenting with something new, this was typical of this period of the tour, in May 1983, just listen to the versions of SOS in Munich 83 and Frankfurt 83, there is a short synthesizer solo at one point when Mark is singing, it is before the first solo.
The bridge between TOL and PB is more beautiful and emotional made by Dire Straits, in my opinion, and this will be developed further during the tour in 1983. It is interesting to note from the angle that it is a transition from a Communiqué song to another song from the following album, Making Movies, in the middle of the Love Over Gold tour. One of the main reasons I'm totally in love with the LOG tour 82/83 is that they were still connected with songs from the first two albums, we have the presence of Sultans of Swing, Once Upon a Time in the West and Portobello Belle, (two from Communiqué), (those who know me know that I am a complete devotee of the sound of the original formation) but, on the Love Over Gold tour they became true musical alchemists, it is impressive how they turned these songs into epic, impeccable pieces, it reveals the creative level and the band was, pure gold!
I love the direct and objective way in which DS interprets Private Investigations on the LOG tour 82-83, I'm listening right now to this wonderful version of the Zurich 83 bootleg and totally enchanted by the atmosphere that the band puts here, there is no excess, listening to the what they do here, it's always clear to me how they ended up "sinning" by excessively making things increasingly overproduced on the BIA tour and OES tour, with a few exceptions of course, like Ride Across the River and The Man's Too Strong, live have gained a new dimension since the first time they were played live and for me it is superior to the studio. Returning to PI, taking as an example the version in Zurich 83, the interpretation is engaging, especially the sounds of synthesizers, piano, which are TOTALLY different from the OES tour 91-92 and when Hal Lindes' guitar comes in, notice how subtle it is in the parts sung, what a beautiful timbre, clean and "icy", (I can feel the dry ice on the stage)😄 and how it gains weight towards the end, that was something remarkable that formed the band's new sonic dimension, it must have been shocking at the time . The effect of the pick sliding on the strings at 41:38 the delay generates an incredible sensation, at 41:46, it seems that someone in the audience says, "Pink Floyd", making some kind of allusion... these are aspects that make bootlegs a peculiar universe in its own right and one that I love. Anyway, I could talk about each song and its nuances in this and many other bootlegs, but I won't take up your time by giving spoilers, just say that it's a tremendous pleasure to hear this again, the feeling is priceless, it's almost as if I was there, at least in thought 🎸
was it dry ice? lol funny story when I was like 5 years old or younger, my parents used to set me up with a toy guitar and the whole Alchemy concert video... it used to play on loops until 8 or 10pm! I remember trying to recreate the private investigation outro to sultans intro "powdery bomb" vibe with the baby powder everywhere in the room to make the foggy effect haha... the floor was a mess and slippery.
An exquisite work done, starting with the choice of the cover, which captures the atmosphere of the period very well, in addition to all the effort in recovering track by track and bringing this precious moment from the past to our present with fantastic quality. Put on your headphones and teleport, travel through time and space and contemplate this sonic treasure of Dire Straits, probably on their most incredible tour, when they established themselves as a band that delivered a cinematic show through atmospheres created around each song, sharpening mental/musical images, much of this is due to the triumvirate formed by Mark, Alan and Terry, a totally different dimension from DS 77/81. Thanks, my dear!!! 👏🏼👏🏼👏🏼👏🏼🎸🎹
