Customer Reviews

Kill to Get Crimson

5 star:		(71)
4 star:		(23)
3 star:		(13)
2 star:		(15)
1 star:		(3)

 

 

I enjoy some of MK's music a lot. When listening to his albums, I just get the feeling that his music has 'quality written all over it' - fine songwriting (especially the lyrics), immaculate guitar playing and superior production. Yet, despite this, I often find each album contains only 3 or 4 songs that I really enjoy, a couple which bore me to tears, and the rest are just OK (but to be fair, enjoyment of his music does benefit from several listenings). There will be some people for whom MK 'can do no wrong' and I also feel that way about a few artists - but MK is not (yet) one of these. So, I was a little cautious about buying this album, but I thought I'd take a chance because some of the pre-release editorial reviews suggested that I might like it. As it turns out, I was not too disappointed.

THE SONGS - MK's lyrics are always fascinating but he seems to have surpassed himself on this album - in many songs, capturing the quintessence of post-WW2 life for ordinary English people. Although, for the most part, the melodies are good (a few having a distinct Gaelic flavour), I wouldn't describe them as 'infectious'; and I thought 2 or 3 were, by comparison, rather bland. There are no up-tempo songs to speak of (a couple come close) and there are certainly no 'full-tilt rockers'. Few of the songs have that 'americana' influence to be found on previous albums (the 'Springsteen-esque' 'True Love Will Never Fade' being the main exception) - MK has moved eastwards across the Atlantic for much of his inspiration on 'Kill to Get Crimson'. It is the songs that define the mood of the album and I would describe this as 'nostalgic-reflective' (in a very English sort of way).

THE PLAYING - You get little in the way of 'rock guitar' and most guitar solos are brief; but MK's playing permeates all tracks and the sound is absolutely sublime. In addition to percussion and bass, accompaniment is provided by accordion, violin, cittern, flute, saxophone, trumpet, clarinet and vibraphone; these are used judiciously (and very effectively) to enrich the overall sound - the phrase 'less means more' is very apt here.

THE VOCALS - MK has a rich baritone voice which is 'slightly frayed around the edges' - a voice which may be an acquired taste for some but one which I find very appealing; his singing is somewhat smoother than on past albums and he manages to inject a 'folksy' lilt from time to time. His limited vocal range has occasionally let him down in the past, but there is little evidence of this on 'Kill to Get Crimson'.

For a change, I enjoyed the majority of the songs on this album; for what it's worth, the following in particular : 'Heart Full of Holes', 'We Can Get Wild', 'Secondary Waltz', 'Punish the Monkey', 'Behind With The Rent', and 'Madame Geneva's'.

If I were rating this album purely on it's all-round musicality and 'technical' proficiency, then 5-stars would be amply justified (as another reviewer has summed it up, it is 'clean, clear and perfect'). However, 2 or 3 songs didn't do a lot for me and so, in terms of my subjective enjoyment, 3.5/4-stars are more appropriate. The extent to which you are likely to enjoy this album much depends on whether you prefer MK's music with a North American or an English/Gaelic influence. Also, if you liked All the Roadrunning, there's a good chance you will like 'Kill to Get Crimson'. When considering the album's mood and musical content, of his earlier albums, The Ragpicker's Dream probably comes closest - so this is something else to bear in mind (but don't sue me if I'm wrong!). It's a very mellow and relaxing album which, vocally and instrumentally, is almost devoid of any edginess.

I liked this album quite a lot, but if your initial reaction is 'more boring stuff from Mark Knopfler', I would ask you to sit down and LISTEN to the music, one or two tracks at a time spread over a few weeks, because 'coming to terms' with MK's music is a gradual process. I think this is a good way to start appreciating, more fully, MK's beguiling songs and accomplished playing.

If you are not too familiar with MK's solo work and would like to try a compilation of his music, I can recommend Private Investigations: The Best of Dire Straits & Mark Knopfler. Just over half the tracks are Dire Straits' best known songs and the others are MK solo performances. This album is available as a 'Standard' version (1 CD & 14 tracks) and a 'De-luxe' version (2 CDs & 21/22 tracks); the link here directs you to the 'De-luxe' version.

As a middle aged man, who also happens to be a guitar player, it was inevitable that I would be drawn to Mark Knopfler after hearing the first few bars of a song many, many years ago called Sultans of Swing.

At that time, of course, Mark was in a band that would later go on to become one of the biggest and most popular bands in the world - Dire Straits.

After the eventual breakup of the band, Mark pursued a solo career - and what a career it has been..!!

I've always said that Mark Knopfler may not be the BEST guitar player on the planet in terms of technical ability - I know there are lots of younger players out there who can tap out thousands of 64th notes in the span of 2 or 3 seconds with both hands.

But if there is a more tasteful player on the planet, frankly, I've yet to hear him.

Mark Knopfler is an incredible musician and songwriter, who just seems to get better and better with the passage of time. You listen to the songs on this album - as well as his other - and he's like an artist who can evoke the richest colors and the most beautiful hues with both his voice and his guitar.

I don't know of anybody who can create such intimate character studies and evoke the kind of emotions with his music as he can. And his ability to coax the perfect note or chord - and the PERFECT tone - at the most precise time in a song is, in my opinion, unparalleled amongst musicians/ songwriters.

Knopfler has been criticized for his relatively limited vocal range. Personally, I have never had a problem with his singing - his deep and comforting, baritone voice is like a fine 24 year old scotch going down for the first time. It's a perfect compliment to the incredible tapestry of tones and riffs that his guitars and fingers conjure up.

In common with his other recent solo efforts, I was luke warm about Kill To Get Crimson when I first listened to it. Again, it was very "laid back" in terms of the tempo and the absence of guitar solos was instantly apparent. I found myself waiting for a beautiful guitar solo a la "Darling Pretty".

However, as I repeatedly listened to it while driving to work, it just sounded better and better - which is EXACTLY the same phenomeon that happened while listening to his other recent albums. And the "need" to want to hear a guitar solo diminished with each listening - I was very content to hear the melodic guitar play a "secondary" and subdued role.

While younger guitar players perhaps feel compelled to have their guitar "front and centre" to appease a younger audience, Mark demonstrates remarkable restraint and the guitar is allowed to compliment the story that's being told - and not DOMINATE it. Mark Knopfler doesn't have to prove he's an incrdibly gifted player - he did that a long time ago. He has nothing to prove anymore.

This is a rich, textural album put together by a consumate professional and master songwriter. As well, Mark is ALWAYS smart enough to surround himself by incredibly talented musicians. And with this album, he again is playing with many of the same very talented people who he has worked and toured with for many, many years now. Clearly, they're very comfortable with each other.

I'm not sure I would have enjoyed this album as much if I were a 25 year old man. I can perhaps see why a younger person might listen to this album and ZZZZZZZZZZZ.

But you reach a certain age where you're able to clearly make a distinction between the steak and the sizzle.

And this album is another 5 star, filet mignon from a musician / songwriter who is just a pleasure to listen to. The news that Mark Knopfler has another project in the works or a new album release is imminent is now becoming a very anticipated moment for me each year or two.

Perhaps my generation was spoiled by the wealth of timeless music from the 60's - Beatles / Hendrix / Dylan / Rolling Stones / etc that the bar is now set so high for us that very few are able to match - never mind exceed - our expectations.

If so, it's nice to know that there are still people out there like Mark Knopfler, who consistently can put out some of the most enjoyable and beautiful music around.

This cd gets my highest recommendation - do yourself a big favour and treat yourself to this gem - you won't be disappointed..!

"Kill to Get Crimson" is another strong production from Mark Knopfler -- perhaps a bit slower and more meditative than his earlier solo albums, but recognizably Knopfler to the core. There is no single song here with the instantly infectuous nature of, say, "Postcards from Paraguay," but the new album is a compelling compilation of Knopfler compositions. There may be no dazzling intricate solo guitar interludes, but Knopfler's guitar work on this album is nonetheless crisply solid. As always, Mark Knopfler's lyrics are worth listening to again and again. And I agree with those other reviewers who emphasize that to really appreciate this album requires multiple listenings. I've been replaying it again and again since I bought it, and it seems each time through brings some new discovery.

Don't judge this record on the first listening. You have to savor it and let it fully steep. This album continues my pattern of experience for each new Knopfler record. Upon the first listening, I think, "I waited for this?" After a few repeated plays, I think "Hey, cool narratives." After about ten plays (yes, this has been spinning in my home and car CD players at least that many times) I think, "Knopfler is the best story teller in the business!"

There are many people churning out songs that are fully digested in one play through. Knopfler's song-craft is more like a great wine. It does not knock you over the head, but you know it stands out in subtle ways. It also has substance, so it will be valid for years to come.

There is some derivative music here, similar tone and tempo from previous Knopfler work... see if you can spot the clone of "Stand up guy" from Shangri-La. There is a dearth of guitar gymnastics, and indeed there is a simplification of sorts, relegating the guitar the second fiddle (pun intended) to the voice. None of this is bad, but a nice extended solo or a single up tempo track would have been welcome.

That said, this is the most "grown up" disc that I have bought this year, and one that will go into frequent rotation for my listening pleasure.

This album, fifth in an increasingly complex series, has created enormous controversy amongst the denizens of a forum dedicated to Mark Knopfler and his music. There seems to be little middle ground here; there are those who bewail the fact that this album, in its sweet, understated beauty, lacks the drive of Mark's early years. Still others - mostly those who have sailed along on this long boatride with him into musical oldsterism - are charmed by his ever-more-prevalent folksy leanings. It isn't that he doesn't still have it, as anyone who has attended his recent shows can attest - he can still smoke his way through "Speedway At Nazareth". It seems to be, rather, that he is more interested in exploring the essential roots. He's classed himself as a 'roots music' writer and performer. It doesn't get much more rootsy than this.

The album opens with "True Love Will Never Fade", a song about a tattoo artist (he got the idea from a book called The Electric Michelangelo - a good read, by the way), and it's clear with the first verse that his voice is improving with every album. No longer a growl, it's warm, introspective, affable...and loaded with longing, the vocal equivalent of a fine red wine. The music is gentle, never overbearing, and voice and instruments complement each other. The next song, "The Scaffolder's Wife", injects flute into the mix, and turns the piece into a haunting word-picture. Further in, "Heart Full Of Holes" - my favourite - is another haunting tale which starts out peaceably enough until you read all the lyrics and realize the narrator, an elderly pawn shop owner, is a survivor of horrific events that come out fleetingly and elusively through the words he speaks.

Mark Knopfler is a master at representation, of portrayal, of spinning a tale you want to hear to the end. I get a picture in my mind of the crafty tinker gathering everyone around him by the fire at night to hear his magical tales. This is that picture. Mark is no longer just to be revered for his guitar work...actually he was always a first-rate songwriter, but the blazing licks he used in the past to bolster his songs sometimes overshadowed the words. Now he is in partnership with his guitar, a meeting of equals, old friends that finish each other's sentences.

This is an album to savour, to listen to from every angle. You may be ambivalent on the first hearing, but I almost guarantee you that if you have always appreciated his music in the past, this is an album you cannot help but think about at odd moments in your day. I find myself hearing bits of it here and there throughout my waking hours.

Oh my, what a stunning set of songs. What a beautiful album. Mark's hitting on all cylinders here. Don't expect a guitar extravaganza, though. This a continuation of the Shangra La style, but with none of the yawn-inducing filler. This is a modern day, older man version of Tea for the Tillerman. The comforting beauty of Mark's vivid bedtime storytelling comes to full fruition here. Kill to Get Crimson is alive with vivid characters and stories and feelings, not too long, not too short, pretty much perfect.

It's like a whole hour of that feeling of waking up on a Sunday morning in bed with the sun shining through the windows, perfectly content, feeling as one with the sheets and smelling the girl next to you and knowing life is good.

This is possibly the best set of songs Mark has come up with since the self-titled Dire Straits album - the perfect blend of moody yet optimistic songs, delivered in such a comforting, confident voice that you can't help but be moved. I think I'd be hard pressed to name an album of his material that is this focused and well thought out. Each song flows like a river into the next, like a wonderous novel which ends only to force you to re-evaluate the begining, and as such I've found myself listening to it back to back to back many times in the short week I've owned it.

Like I said, it's Very Mellow, but in this instance that's not a bad thing. Crack open a fresh Lager or Pinot Noir and prepare for some of the best songwriting you've heard since the aforementioned Tea for the Tillerman. Thanks Mark, many happy returns.

Truth is, thi is one of the most endearing and human records Knopfler has ever created - on a par with the scores from Cal and Local Hero, and as poignant as Ragpicker's Waltz. It just is down to very real stories about very real characters who suffer, much as the protagonist in "heart full of holes". These are songs that will not reduce you to tears but leave you thinking long after they have ended. Knopfler is down to a basic quartet this time as well : Guy Fletcher and compadres are all the accompaniement he needs. What few guests there are absolutely add something shimmering to the quality of this recording. There are no numbskull duest with the King of Ponce, Sting, or rehashes of paeans to poolside twisting, mtv, ray kroc or whatever else he was on to when stumped for legitimate inspiration.
Instead the stories flow seamlessly from the tattoo artist paean to love that will never fade through to the borrowed Irsih lament that infuses the bird and the fish right to the very last tune. Perhaps time with EmmyLou Harris reminded him of telling a genuine story and how powerful that can be on its own terms. There is no flash, no hooks, just great, great songwriting and genuine stories. In the end, as this came to a conclusion, I thought that this might be the greatest example of songwriting this side of Gordon Lightfoot - real people, real lives, genuine human pathos. It doesn't get any better. Kudos to Knopfler.

So many negative reviews and comments about this CD. Yes, it's different from earlier works of his. But different doesn't necessarily mean bad. If you're accepting only a similar sound to a previous work, you shouldn't buy this CD. This CD definitely has its own sound. It is not a "rocking - turn up the volume" CD. It's a great CD simply to play. Perhaps it is the slightly mellowing Knopfler that turns away the hard-core rockers. Too bad if so.

I readily admit my first couple of plays through this CD were met with skepticism, as the songs and mood represented a change from earlier solo efforts. Being a huge fan of Sailing to Philadelphia and Shangri-La, I was hoping for more of the same, and took a step back at first. That said, I took the CD to my car to give it a solid week of listening while driving to/from work. If I wasn't going to like it, a week's listening would prove the point. That was months ago and it's still in the car.

I wouldn't expect anyone to stand up and claim to like every song on this CD, and indeed there are a few I don't care for. But how many CD's can make a claim that every song is great? Music strikes everyone in a unique way. If you are one of the people who borrowed this for one listen or two and gave up on it, I recommend you try again. Listen to it more than just a couple of times, and I would guess you'll come away with an appreciation for a lot of what's on this CD. I found many songs that not only grew on me, I can listen to them again and again as with previous Knopfler works. And there is plenty of excellent guitar work throughout this CD, both electric and acoustic. My preferences:

Behind with the Rent - to me this is vintage Knopfler. Outstanding music, great guitar, great story, and my personal favorite.

Punish the Monkey - the most rocking song on the CD, and worthy of increased volume. A fun listen. Possibly Enron's theme song (belated).

Madame Geneva's - a place we've all been, keeping demons away. The refrain will stick with you long after the song stops.

In the Sky - an acoustic gem. I continue to like this song more as I hear it. And a bit of sax adds an interesting sound to the ending.

True Love Will Never Fade - A bit of the "5:15 am" format from Shangri-La, as the song starts out quiet with not much more than Mark and his guitar and picks up from there. It's another song that sticks with you.

There are some great new sounds on a few songs. The Scaffolder's Wife has the unmistakable sound of Knopfler guitar, but adds a flute. I realize this might seem like a strange combination, but it works well. The Secondary Waltz is a sound all to itself, with an accordian waltz track throughout. The words bring some of us older folks back to the days of our youth, hesitant to learn dancing in the gym where (gasp) we might have to touch girls. Even my kids like to sing along with this song.

Overall, I've really grown to like this CD and am glad I have it. Yes, it's somewhat different for Mark Knopfler music. And yes, it's great. Just give it a chance.

This fifth solo album from Mark covers territory that has been sorely missed out of his previous solo albums. A set list of songs primarily influenced by his life in the UK, rather than heavy doses of his always-wonderful interpretations of American music. Knopfler's songs have obviously always had Scottish, Irish, and GB influences, but this is the first, in my mind, which showcases them. Kill To Get Crimson is all at once sentimental, meditative, melancholy, and joyous. A profoundly important piece to the grand jig-saw puzzle that is Mark Knopfler's musical legacy.

"I wonder if there's no forever
No walking hand in hand
Down a yellow brick road
To never never land
These days I get to where I'm going
Make it there eventually
Follow the trail of breadcrumbs
To where I'm meant to be "
Mark Knopfler

'True Love Will Never Fade' is a quintessential Mark Knopfler song. It has the wonderful tune and the lyrics that paint a picture. 'Kill To Get Crimson' is a CD that takes a painter's palatte and tries to get that certain color, Crimson. The album cover pictures a woman wanting to buy a red scooter. A very Enlish album is what we are told, much different than a CD made here in the US. To my ears this is a magical CD full of images and pictures reflections of various times in a life. The theme and the music are, however, tried and true Mark Knopfler.

The CD is soft country rock songs with the voice and guitar we have come to love. 12 songs written and sung by Mark Knopfler. Most of them tell a story, an autobiograhy maybe of the 60's?

The first single is ' True Love Will Never Fade' - my favorite,a love song.

'The Scaffolder's Wife' an aging spouse in ballad form.

Scottish folk song of a down and outer in 'Heart Full of Holes'.

'We Can get Wild'- 'listen now right here, it is gonna be a beautiful year'- we can get wild.

'Secondary Waltz'- dance lesson for the school Christmas party- don't we all remember those dance lessons?

'Punish The Monkey' sounds like an old Dire Straits song-it is a rollin', rockin' song--punish the monkey let the organ grinder go.

'Madame Geneva'-writer of ballads, a basker's saga it is told.

'In The Sky'-home from the sea, far away from here, weathered a storm,part of the fray, crossed every ocean in the boat thatyou made.

"Three decades after Dire Straits broke onto the scene with their remarkable debut, Mark Knopfler remains an iconic figure in popular music, his graceful guitar playing equaled only by his genial baritone and a novelist's ability to create distinct characters and themes in his songs, with its vagabond pensiveness. If you like Marks husky voice accompanied by a soaring guitar then this album is for you. It is perfect listening for a cold winters night when the curtains are drawn and the log fire is burning". Scott Holter

Mark Knopfler has always brought the life of a balladeer to the fore. His guitar and husky voice have the trademark of a singer that yearns to be heard. This CD is soothing and rockin' and the rhythm, beat,gentle flow of Knopfler's guitar make a glorious CD.

Highly Recommended. prisrob 09-18-07

All the Roadrunning