Customer Reviews

The Ragpicker's Dream

5 star:		(76)
4 star:		(19)
3 star:		(8)
2 star:		(4)
1 star:		(7)

 

 

Finally! A rock star who understands his strengths and knows how to use them to optimal effect! This is a brilliant, exquisite dispaly of song craft, subtle and sophisticated guitar playing, sublimely wrought melodies and arrangements that will stand as a hallmark of one of the truly great writers to have emerged at the end of the seventies. 25 years on and Mark Knopfler is more in command of his considerable powers than ever before. Perhaps through his soundtracks, stint with the Notting Hill Billies, his "Sailing to Philadelphia" Mark has shed his money for nothing vapour lock and emerged, or better reemerged as the eminent storyteller who so finally crafted epics like "Telegraph Road" and "Brothers in Arms" and of course "Sultans."

The genuine article, as one might say, he is Geordie through and through, and his borderlands colours wave bravely over this album of finely written stories. From the opening "Way Aye Man", all full of Tyneside atmosphere and courage to the closing "Old Pigweed" the narrators are real people with very effecting tales to tell. Knopfler and James McMurtry share that unique ability to gain the insight of people who live close to their circumstances, like most of us do, and dissect the issues that are the crest jewel of the decisions we make in life.

The band on this disc is just incredible. Chad Cromwell's drumming is the absolutely perfect foil for Knopfler's guitar lines, and fellow Notting Hillman, Guy Fletcher is on board to keep things organically true to the bone. The bass lines are as dynamic as the guitar runs and when you listen to "Coyote", complete with horns, it strikes you how well intelligence can swing. In some phrases, Knopfler brings to mind fellow Geordie Martin Stephenson, and perhaps it's in the Newcastle blood, the ability to swing. Certainly the pipe tunes from the tradition there roll with a sea spray you don't hear in other traditions, so it must carry over to more contemporary writers as well.

The waltz, "Ragpicker's Dream" is achingly beautiful, full of all the sentinmentality and bittersweetness of the waltzes he wrote for "Local Hero". Each and every song on this collection is a gem. As my headline states, this is a subtle, sophisticated masterpiece: it swings, it waltzes, it rocks and it stands on its own merits as a statement from a consummate musiciian and insightful writer of the daily vicissitudes of life that propel us as we embrace our past, present and future. Well done, Knop. Best of the Year!

Mark Knopfler's third solo album (not counting his numerous film soundtracks) is his bluesiest yet. "The Ragpicker's Dream" features 12 tracks and clocks in at almost 56 minutes. All tracks include vocals and the backing band is top notch and features (of course) Guy Fletcher on keyboards and some nice drumwork by Chad Cromwell. Paul Franklin adds his pedal steel mastery to three of the tracks. The piano (played by Jim Cox who also plays organ on several of the more bluesy tracks) is more prominent than on previous solo efforts as well, and adds a jazz-like quality to several of the tracks.

Musically, "TRD" is steeped in the blues with hints of folk, swing, and jazz. As for comparisons with previous work, this disc is most similar to the "Wag the Dog" soundtrack and (in some instances) Dire Straits' "On Every Street". The focus is the music (and also the lyrics) and not so much the guitar work. There's some crying and singing, but mostly the playing is subdued and workmanlike. There are no hyper-emotional solos (although some of the work on "Devil Baby" comes close) like on "Are We in Trouble Now" or "Nobody's Got the Gun" from "Goldenheart". If that's what you're looking for, you may be a tad disappointed in TRD. If not, you'll be well-satisfied by this release. There are a lot of bluesy numbers ("Why Aye Man", "Marbletown", and the Soggy Bottom Boys' sounding "Fare the Well Northumberland"), some jazz-inflicted tracks ("A Place Where We Used to Live") and several playful tunes ("Coyote", "Quality Shoe" and "Daddy's Gone to Knoxville"). The brilliant "Ragpicker's Dream" would've fit (musically) nicely on "The Princess Bride" soundtrack.

Lyrically, TRD focuses on blue collar workers and workingclass towns. The songs are poetic (especially "Ragpicker's Dream" and "Old Pigweed"), wistful, and often deal with working--both the land, the job, and other people. Overall, this album is a positive continuation of "Sailing to Philadelphia" with a familiar, but more bluesy feel to it and still fewer emotional guitar solos. Definitely Recommended.

It is anyone's guess as to whether the former Dire Straits crooner and guitarist "still gets chicks for free", but Ragpicker's Dream, the third of three brilliant solo albums released in the wake of Mark Knopfler's former band, proves that he doesn't get money for nothin'. Despite the speckles of genius Knopfler bestowed upon the music world with Dire Straits, the gritty, stylish honesty of recent solo albums such as Golden Heart, Sailing to Philadelphia and his latest release suggest that his old band's demise was a fortuitous event for rock `n roll. The break up facilitated Knopfler's much-needed escape from the glaring spotlight under which he was cast after the monumentally successful Brothers in Arms. Never has Knopfler demonstrated such eagerness to explore more varied musical terrain as on the solo albums that ensued, from the fluttering fiddles and bagpipes of Golden Heart to the impassioned acoustic blues of Ragpicker's Dream.

Most fans came to expect a certain sound from Dire Straits; the instantly captivating guitar licks and shuffling rhythm of "Money For Nothing" or "Sultans of Swing," the chiming organ of "Walk of Life," or the jangling hooks of `So Far Away." However, the Dire Straits oeuvre is a rather inconsistent one, including only a couple albums of sustained energy and a host of lesser collections ranging from decent to dismal. The conventional boundaries that confined Dire Straits ultimately became so exhausted that the band had nowhere left to turn. 1991's On Every Street, the band's farewell album, showcased Knopfler's increasing enthusiasm for, among other sounds, the twang and wail of Nashville, playing with country legend Chet Atkins as well as the Notting Hillbillies. The days of MTV videos and duets with Sting were clearly a thing of the distant past. Any further projects with Dire Straits would only have typecast a talent whose borders stretch well beyond rock `n roll's tired roads.

When not recording solo, Knopfler is lending a hand on projects by performers as artistically opposed to his pop-rock past as Waylon Jennings, whose final album, Closing in on the Fire, features a ballad to which Knopfler contributes a guitar solo. On his own work, though, such nods to Nashville are becoming more average than anomalous, particularly on his latest outing, speckled with everything from rock to ragtime. The album's track list, including titles like `Daddy's Gone to Nashville" and "Hillfarmer's Blues," reads more like a list of lost songs by Dock Boggs, the late, Appalachian banjo-master. While some of the songs on Ragpicker's Dream might have gotten Boggs's toe tapping, though, Knopfler's homage to J.J Cale remains evident. Brooding, slick guitar solos emerge throughout the album, from the frenetic licks of the sprawling opener and single, "Way Aye Man" to more languid, bluesy tunes such as the title track.

It is the album's innovative production, however, that proves it a necessary conclusion to Knopfler's solo trilogy. Compared to the somewhat bland, spare arrangements of his previous album, the flavorful production of Ragpicker's Dream serves as a refreshing taste of Knopfler's endless musical dexterity. Sprightly and deeply textured, the soundscapes of songs like "You Don't Know Your Bones" and "Coyote" teem with bass, flickering drum beats, horns, percussion and Knopfler's sly guitar. Hearing the result is like getting lost in the middle of a feral jungle at night. Knopfler's production is crisp, clear and variegated, making for a potpourri of songs that are at once spare and abundantly rich, as the haunting, folkish "Fare Thee Well Northumberland" gives way to "Daddy's Gone to Nashville," a blithe and thoroughly convincing tribute to Hank Williams.

A consistent thrust of melody renders Ragpicker's Dream Knopfler's most gorgeous and tactful project to date. The sudden, snapping drums that guide "Hill Farmer's Blues" to its fading crescendo raise the song's beauty to an ethereal pitch, while "Devil Baby" delivers a steady pathos accompanied by an insouciant musical backdrop and Knopfler's earthy, dust-caked vocals. "It's hard to find love anywhere/hard to find love anywhere," he laments on one of the album's many moving ballads. With the onslaught of gaudy, vapid and overproduced pop singles cluttering today's airwaves, Mark Knopfler's enduring commitment to raw, honest and rootsy music is nothing short of a miracle. While it may very well be hard to find love anywhere, albums like Ragpicker's Dream guarantee the love of those who feel alienated by the fluff that passes for "rock" in an industry becoming more subversive and superficial by the hour.

I've dug Mark Knopfler ever since "Sultans of Swing" and like a fine wine...well, I don't know much about wine...but Mr. Knopfler is definitely growing even better with age. "The Ragpicker's Dream" is proof positive of this. Fantastic album that grows on you with each listen. Don't expect the second coming of Dire Straits here. This is a different Mark Knopfler. A fusion of folk, rock and country with a touch of blues and a dash of humor all with an ole time feel. Mr. Knopfler has become quite the storyteller through his songs. It is a very "visual" album and it does not take much effort to visualize the people and places that his lyrics lead you. His quitar may have mellowed a bit over the years but it has not lost any of its impact and has picked up a sort of understated beauty...the man knows his way around a fret board. Beautiful stuff to listen to. And that voice...grown finer still over the years...soothing and charming as ever...and now you believe even more that voice knows from which it is speaking.

This album will charm you. If at first you don't quite get it give it a few more turns and it will begin to become clear that Mr. Knopfler has got it going on. It will leave you with a good positive feeling despite its low key, understated feel and at the same time perhaps a bit of a tear in your eye that it is over. That is quickly remedied by another spin through this wonderful collection of tunes.

Dig through the rubble and pick up "The Ragpicker's Dream".

The Ragpicker's Dream is the third official solo album by this genious guitarist. No surprises, it is another very good album and he played well, but this is the first time his vocal made more impact than his finger!!!

The album is an mixture of country, honky-tonk, blues and completed with some rock. A very accoustic effort... this one. That's certainly not bad to somebody who does not believe a musician has to play the same type of music. To tell you the truth after couple of listenings, I was a little disappointed because of the lack of power jams in the line of Tunnel of love, Sultans of swing or Telegraph road. It does not even have something like 'Silvertown blues'. So what does it have... I found out soon that it has 'This is place we used to live' - a song sung softly and hits heart at the center. Wow, Mark that's a great vocal effort. It has 'You don't know you were born' with thumping drum beats (anybody expecting a John Bonham beat will be disappointed but it is rockable). It has the title track, which again is soft and superb. It has 9 more tracks that may not be his greatest songs but they fit well in an album that creates a new dimension for the man himself. The album was not 180 degree turnaround of few previous albums. He hinted that this album is coming up in Dire Strait's 1991 album 'On every street' (listen the song 'How long'), His first solo 1996 'Golden heart' and second solo 2000 'Sailing to philadelphia'. So we got an album 11 years in the making!!!

Now it seems that this is not going be as praised as 'Golden heart' or as successful as 'Sailing to Philadelphia'. Reason is simply, the lovers of accoustic/country kind of music may not pick this album in the first place because they are not aware. If you are one of them you can pick this album. You won't be disappointer. Some non flexible Dire Straits fan may find this album a little disappointing as this is quite a change of genre for them.

Had I written this review after 4 listenings, I would have given 4 stars, but now it has grown on me considerably. I will give it 5, a standard for Mark's huge talent.

If I were to try and sum this album up in a single word, it would be eclectic. If I could rate it fractionally, it would earn 4½ Stars.

This is an album for the aficionado, not the mainstream rocker. Each track is like a visual photograph. There are no hard riffs from the Dire Straits "Sultans of Swing" days, but some very excellent guitar work and wonderful lyrics to be found here. The stylings are a blend of styles reminiscent of Bob Wills and the Texas Playboys to older J. J. Cale and pure Mark Knopfler doing folk and classic ballads.

As of this writing, "Marbletown" is my favorite. Listening to the lyrics, you can easily picture a down on their luck vintage hobo camping out for the night in a cemetery. Absolutely wonderful. I qualified the choice, because at other times I found the swing rhythm of "Daddy's Gone to Knoxville" entrancing and "Coyote" simply captivating. "Quality Shoe" is just a wonderful piece of music. At other times, other cuts have grabbed my fancy.

Some people may find this album an acquired taste. Personally, I feel the taste is worth acquiring. Knopfler's understated vocals serve to underscore his guitar virtuosity. While he does not have the blazing speed of John McLaughlin, his phrasing is dead on for every style. Some guitarists may be known for a particular style but here, Mark Knopfler demonstrates a command of a range of styles, all brilliantly executed.

If there is a drawback to this album, it is the spacing between tracks. I have nothing against silence, but the gaps between tracks are too long. Personally, I'd like to see this remastered with half the length between tracks.

I admit I miss the sounds of a hard rockin' Dire Straits, but with this album Mark Knopfler demonstrates he is more than up the challenge of standing on his own. If you love guitar music, get it. If you love lyrical ballads, get it. If you're a fan of blues, swing or folk, get it. You won't be disappointed. If you're a hard rocker, try it... you will still appreciate the guitar work.

This is a wonderful album, in some ways a far cry from the Dire Straits sound. It emphasises the singing and songwriting talents of Mark Knopfler. It is more rootsy, has fewer long guitar solos but excellent guitar and music. The album is also not as rocky as most of his other outings. Like the cover, except for the first track and possibly the third, the rest of the songs are more laidback or quiet. The cover says it all.

My favorite song is "A Place Where We Used to Live". The lyrics are so poignant that they struck a special chord deep inside me. The understated way of expressing all that is lost by saying "its just a place where we used to love" is just breath-taking. The rest of the album has this sense of understated-ness, something subtle. Marbletown is another lovely track with just MK singing and picking guitar, no other instruments.

The weak tracks are possibly the last two songs. I find it hard to like the sound of "Daddy's Gone To..". The other standout tracks are "Devil Baby", "Fare Thee Well...", "Marbletown", "You Don't Know..", "Hill Farmer Blues" and "Coyote".

Those looking for Telegraph Road like solos won't find it here, but those looking for good music will find this an oasis in a sea awash with mediocre stuff.

Mark Knopfler's latest CD is a folksy foray into his seemingly undending love of music with American roots. It opens with the boldly rugged "Why Aye Man", a spirited documentary-in-song on the plight of North-Eastern European refugees traveling to Germany for work. The heady seriousness of this opening piece is enough to propel the record forward through lighter, more poetic songs, like "Devil Baby", "A Place Where We Used To Live", "You Don't Know You're Born", and the title track.

Knopfler keeps his classy acoustic guitar skills alive throughout the CD, though they are aimed at expressing a working class sentiment. This is complimented by lyrics like "You don't want no stand-by pair/'cos these'll take the wear and tear/made to take good care of you/for that trip by road or rail" But while the earthy mood and calloused theme are refreshing, I can't help but yearn for more of what Mr. Knopfler is famous for: classic electric guitar playing. "Coyote" gives a rare sample of this talent, but not enough to feed hungry ears. "The Ragpicker's Dream" is certainly not for enthusiasts of Knopfler's firey finger-picking. But it is for those who enjoy a good story in a song.
- B. Molinelli

This is a lovely album. I have heard it about six or seven times and there isn't a single awkward song here. It is a smooth and pleasant listening experience from beginning to end. This is in contrast to Knopfler's two earlier solo efforts (Golden heart and Sailing to philadelphia) where one is forced to skip a song here or there. There is also a remarkable improvement in his singing. I particularly liked the songs 'Quality Shoe', 'Fare thee well northumberland' and the closing 'Old Pigweed' - great lyrics, fine music and perfect tone.

People who complain about missing lead guitar licks from Knopfler's Dire Straits days should note the crisp acoustic/rhythm/bass guitar work in every song. In fact, in terms of diversity in style and giving each song its own slightly unique flavour, I'd say he has definitely improved over the years. The only problem I have is that he has eased up on structural innovation - both in terms of the musical construction of the song and the rhyming patterns in the lyrics. It would be great to see a few unpredictable songs like 'telegraph road' again.

It has been a long time since an album has effected me the way this one has. The guitar is so fantastic combined with Knopfler's voice and subtle intonations is un-matchable. These elements plus the incredibly thoughtful and skilled songwriting skills are something I'm happily trying to convince everyone to listen to. Honestly, I've been playing it for months and I never tire of it. The images the lyrics conjure up are satisfyingly rich with sentiment and suggestion. I hesitate to buy another album for fear it will pale in comparison. I'm also excited to learn that he doesn't use a pick and is a leftie playing right handed - which may explain why there's something familiar sounding about it to me. Coming from a classical guitar background I find his style amazingly musical and keep asking myself "how does he make that sophisticated twangy sound?"
Bravo!