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DISCID=b10d0b0c
DTITLE=Mark Knopfler / The Ragpicker's Dream
DYEAR=2002
DGENRE=Rock
TTITLE0=Why Aye Man
TTITLE1=Devil Baby
TTITLE2=Hill Farmer's Blues
TTITLE3=A Place Where We Used To Live
TTITLE4=Quality Shoe
TTITLE5=Fare Thee Well Northumberland
TTITLE6=Marbletown
TTITLE7=You Don't Know You're Born
TTITLE8=Coyote
TTITLE9=The Ragpicker's Dream
TTITLE10=Daddy's Gone To Knoxville
TTITLE11=Old Pigweed
EXTD=Originaly Released October 1, 2002\n\nAMG EXPERT REVIEW: With his second 
EXTD=post-millennium album in just two years, Mark Knopfler has already equale
EXTD=d his meager (non-soundtrack) output for the '90s. And while he isn't rei
EXTD=nventing himself, The Ragpicker's Dream is a pleasant, classy, often insp
EXTD=ired effort whose unassuming charms are best appreciated after repeated l
EXTD=istenings. The memorable riffage that fueled Dire Straits' most radio-fri
EXTD=endly material has been discarded for a more pastoral approach, making th
EXTD=is a perfect album for a rainy Sunday morning. Like his Notting Hillbilli
EXTD=es side project, it isn't entirely unplugged, yet there is an emphasis on
EXTD= acoustic accompaniment to its predominantly ballad slant. Instead of lea
EXTD=ving space for traditional soloing, Knopfler weaves his snake-like guitar
EXTD= between the words. This infuses a tense, edgy quality in even the most b
EXTD=ucolic tracks, resulting in the crackling but still low-boil atmospherics
EXTD= of "Hill Farmer's Blues" and "Fare Thee Well Northumberland." "Marbletow
EXTD=n" is an unaccompanied folk/blues that sounds as if Knopfler was born and
EXTD= raised in the Mississippi backwoods. He taps into the patented insistent
EXTD= lazy, shuffling groove on the spooky "You Don't Know You're Born." It's 
EXTD=the most Straits-like track here featuring an extended, winding, yet subt
EXTD=le solo. "Coyote," a mid-tempo sizzler -- lyrically based on the Road Run
EXTD=ner cartoons -- is propelled by a walking bass figure and Knopfler's home
EXTD=y, lived-in, talk-sung vocals. Again, the guitar pyrotechnics are intersp
EXTD=ersed throughout the verses with overdubbed sounds employed to provide am
EXTD=biance and mood. The authentic honky tonk swing of "Daddy's Gone to Knoxv
EXTD=ille" could have come off a Wayne Hancock album, and the "King of the Roa
EXTD=d" melody from "Quality Shoe" is a tribute to Roger Miller. As an homage 
EXTD=to the American roots music he's always admired and a desire to retreat f
EXTD=urther from the stadium rock of his Straits days, The Ragpicker's Dream i
EXTD=s a restrained success, at least on its own terms. It may not please some
EXTD= of Knopfler's old "Money for Nothing" fans, but at this stage, he's obvi
EXTD=ously not trying to.  -- Hal Horowitz\n\nAmazon.com Editorial Review\nEve
EXTD=n at the peak of Dire Straits' fame, Mark Knopfler's music often seemed i
EXTD=nformed by a restless worldview as abstruse as his guitar playing was flu
EXTD=id and expressive. This follow-up to his impressive 2000 collection, Sail
EXTD=ing to Philadelphia, finds Knopfler chasing a similar musical and lyrical
EXTD= muse, with results that are even more surprising and loose-limbed. "Why 
EXTD=Aye Man," the bracing opening chantey that sets much of the album's tone,
EXTD= draws parallels between Geordie pub-speak and Native American chants whi
EXTD=lst lamenting economic refugees of Thatcherism forced to ply their blue-c
EXTD=ollar trades--and keep their Brit pub culture alive--deep in the Fatherla
EXTD=nd. From there, Knopfler takes us by "A Place Where We Used to Live" for 
EXTD=a lounge-y, Jobim-inflected reminder that one can never really go home, d
EXTD=rops in on "Quality Shoe" for a tribute to Roger Miller, and gives us a t
EXTD=ypically dry, so-deadpan-it's-funny rundown of his Circus Sideshow pals o
EXTD=n "Devil Baby." "Marbletown," a graveyard folk-blues, showcases the music
EXTD=ian at home on solo acoustic guitar, while the loping, laconic "Coyote" d
EXTD=raws its good-natured inspiration from a beast named Wile E. But it's the
EXTD= way that Knopfler connects disparate cultures and histories with sublimi
EXTD=nal, deceptively effortless grace on "Fare Thee Well Northumberland," "Yo
EXTD=u Don't Know You're Born" (both of which feature Knopfler's signature lan
EXTD=guorous, blues-inflected soloing), the folksy "Hill Farmer's Blues," and 
EXTD=the country-fried "Daddy's Gone to Knoxville" that make the album a trium
EXTD=ph of understatement. --Jerry McCulley \n\nAMAZON.COM CUSTOMER REVIEW\nA 
EXTD=Star in an Otherwise Dark Night, November 8, 2004\nReviewer: N. Keshava (
EXTD=Needham, MA USA) \nI bought this album to "catch up" with my Mark Knopfle
EXTD=r albums after purchasing Shangri-La. I spend most of my radio time flitt
EXTD=ing from one station to another. Most songs I hear are written by musicia
EXTD=ns that are obscenely overpromoted, and who overzealously write arcane ly
EXTD=rics to hide their own lack of musical exceptionalism. They miss the idea
EXTD= that their instrument can be be far more moving than any words they pen,
EXTD= for the simple reason that they aren't exceptional musicians, let alone 
EXTD=artists. Knopfler doesn't just deliver on this album. He teaches. His com
EXTD=positions on this album delve so deep into the musical world, that they a
EXTD=lmost shame the latest songwriters who are promised as the next so-and-so
EXTD=. Instead of settling for brief, three-and-a-half minute vignettes of mod
EXTD=ern life, Knopfler evokes a catalog of lives in as many different states.
EXTD= The world is varied, but the underlying forces remain constant: love, lo
EXTD=ss, struggle, humor. Most artists are complacent, if not lucky enough, to
EXTD= evoke their own lives. Knopfler's sighing guitar, notes plucked one by o
EXTD=ne, align all the wandering paths in this world with a common microtonal 
EXTD=vocabulary. When I listen to this album, I hear the artist more than the 
EXTD=musician -- as it should be -- perhaps more than anything Knopfler has do
EXTD=ne since "On Every Street" with Dire Straits. For all the hoopla showered
EXTD= on Dylan, Bowie, and Springsteen for occassionally measuring up to the l
EXTD=aurels they earned 30 years ago, Knopfler doesn't need to worry about mee
EXTD=ting those benchmarks. This album is better than anything he's ever done.
EXTD= In short, Knopfler isn't meeting the standards he set with with Dire Str
EXTD=aits. He's redefining them.\n\nAMAZON.COM CUSTOMER REVIEW\nMK Finally Ste
EXTD=pping Out of the Shadows, November 20, 2002\nReviewer: Joe Chumbler (Litt
EXTD=le Rock, AR USA)\nAn excellent follow up to STP and perhaps a bit easier 
EXTD=to listen to. As a Strait's fan since 1983, I'm obliged to compare MK's w
EXTD=ork to Communique, still my favorite work to date from the Knopflers. Rag
EXTD=picker's Dream does not disappoint. Mark continues to pay homage to his r
EXTD=oots with the opening Why Aye Man, but does not deny his familiarity of b
EXTD=eing the outsider observing the passing world (One Upon a Time in the Wes
EXTD=t and Devil Baby). But the sultan of swing is maturing and, while his gui
EXTD=tar work is as smooth as ever, I sense he is displaying more of a propens
EXTD=ity to write in the first person.\nA perfect example is Old Pigweed, the 
EXTD=final track and a vintage, yet uncommon style for MK. Vintage in that, in
EXTD= the spirit of Wild West End or News?, Mark writes about a girl and all t
EXTD=he emotions of meeting and keeping one. But whereas MK's early work frequ
EXTD=ently made him the outsider, MK in the shadows observing what so many of 
EXTD=us have experienced, Pigweed puts him square in the heat in the kitchen -
EXTD= it's not "he" or "them", it's "I" and "me." And the tone seems different
EXTD= - what once was frustration and unhappy endings, now is resolved with a 
EXTD=spoonful of forgiveness. Unchanged, is MK's addictive ability to express 
EXTD=with his guitar the emotion that words and voice can not. \n\nThus, this 
EXTD=Strait's fan is very happy - more frequent albums from MK, a US tour last
EXTD= year, happy endings, and soulful guitar. But for Christmas, how about ne
EXTD=ws of a spoonful of forgiveness and a Mark/David reunion/collaboration? T
EXTD=hat's a happy ending I'm sure many, many people are waiting to see writte
EXTD=n.\n\nAnd is Old Pigweed really just about making stew? Alas, the unendin
EXTD=g allure of this great musician.\n\nAMAZON.COM CUSTOMER REVIEW\nAbsolutel
EXTD=y fabulous!, October 10, 2002\nReviewer: Grey Eagle (Chilliwack, B.C. Can
EXTD=ada)\nI must admit, although I enjoyed Goldenheart and Sailing to Philade
EXTD=lphia, I was uncertain how far Mr Knopfler would take what seemed to be e
EXTD=volving into, dare I say, a more laid back approach to his music.\nI need
EXTD= not have worried! This is a phenomenal album; certainly the best of his 
EXTD=three solo albums to date. The music styles are wide ranging from folk, C
EXTD=eltic, bluegrass, Appalachian, jazz and rock - (I could even imagine Mich
EXTD=ael Franks doing a cover version of the samba-tinged A Place where We use
EXTD=d to Live)and allows Mr Knopfler ample opportunity to display his skills 
EXTD=on both acoustic and electric guitars.\nWonderful music from a man I cons
EXTD=ider to be one of the finest guitarists in the world today- a man who kno
EXTD=ws when to play and equally as important, when not to. Have a listen and 
EXTD=let the man play and the music speak!\n\nAMAZON.COM CUSTOMER REVIEW\nJust
EXTD= like the cover, October 3, 2002\nReviewer: "hobbesdutt" (Sunnyvale, CA)\n
EXTD=This is a wonderful album, in some ways a far cry from the Dire Straits s
EXTD=ound. It emphasises the singing and songwriting talents of Mark Knopfler.
EXTD= It is more rootsy, has fewer long guitar solos but excellent guitar and 
EXTD=music. The album is also not as rocky as most of his other outings. Like 
EXTD=the cover, except for the first track and possibly the third, the rest of
EXTD= the songs are more laidback or quiet. The cover says it all. \nMy favori
EXTD=te song is "A Place Where We Used to Live". The lyrics are so poignant th
EXTD=at they struck a special chord deep inside me. The understated way of exp
EXTD=ressing all that is lost by saying "its just a place where we used to lov
EXTD=e" is just breath-taking. The rest of the album has this sense of underst
EXTD=ated-ness, something subtle. Marbletown is another lovely track with just
EXTD= MK singing and picking guitar, no other instruments.\n\nThe weak tracks 
EXTD=are possibly the last two songs. I find it hard to like the sound of "Dad
EXTD=dy's Gone To..". The other standout tracks are "Devil Baby", "Fare Thee W
EXTD=ell...", "Marbletown", "You Don't Know..", "Hill Farmer Blues" and "Coyot
EXTD=e". \n\nThose looking for Telegraph Road like solos won't find it here, b
EXTD=ut those looking for good music will find this an oasis in a sea awash wi
EXTD=th mediocre stuff.\n\nAMAZON.COM CUSTOMER REVIEW\nBluesy, Wistful, and Oc
EXTD=casionally Playful, October 2, 2002\nReviewer: JD Cetola (Albuquerque, NM
EXTD= USA)\n     \nMark Knopfler's third solo album (not counting his numerous
EXTD= film soundtracks) is his bluesiest yet. "The Ragpicker's Dream" features
EXTD= 12 tracks and clocks in at almost 56 minutes. All tracks include vocals 
EXTD=and the backing band is top notch and features (of course) Guy Fletcher o
EXTD=n keyboards and some nice drumwork by Chad Cromwell. Paul Franklin adds h
EXTD=is pedal steel mastery to three of the tracks. The piano (played by Jim C
EXTD=ox who also plays organ on several of the more bluesy tracks) is more pro
EXTD=minent than on previous solo efforts as well, and adds a jazz-like qualit
EXTD=y to several of the tracks.\nMusically, "TRD" is steeped in the blues wit
EXTD=h hints of folk, swing, and jazz. As for comparisons with previous work, 
EXTD=this disc is most similar to the "Wag the Dog" soundtrack and (in some in
EXTD=stances) Dire Straits' "On Every Street". The focus is the music (and als
EXTD=o the lyrics) and not so much the guitar work. There's some crying and si
EXTD=nging, but mostly the playing is subdued and workmanlike. There are no hy
EXTD=per-emotional solos (although some of the work on "Devil Baby" comes clos
EXTD=e) like on "Are We in Trouble Now" or "Nobody's Got the Gun" from "Golden
EXTD=heart". If that's what you're looking for, you may be a tad disappointed 
EXTD=in TRD. If not, you'll be well-satisfied by this release. There are a lot
EXTD= of bluesy numbers ("Why Aye Man", "Marbletown", and the Soggy Bottom Boy
EXTD=s' sounding "Fare the Well Northumberland"), some jazz-inflicted tracks (
EXTD="A Place Where We Used to Live") and several playful tunes ("Coyote", "Qu
EXTD=ality Shoe" and "Daddy's Gone to Knoxville"). The brilliant "Ragpicker's 
EXTD=Dream" would've fit (musically) nicely on "The Princess Bride" soundtrack
EXTD=. \n\nLyrically, TRD focuses on blue collar workers and workingclass town
EXTD=s. The songs are poetic (especially "Ragpicker's Dream" and "Old Pigweed"
EXTD=), wistful, and often deal with working--both the land, the job, and othe
EXTD=r people. Overall, this album is a positive continuation of "Sailing to P
EXTD=hiladelphia" with a familiar, but more bluesy feel to it and still fewer 
EXTD=emotional guitar solos. Definitely Recommended.\n\nROLLING STONE REVIEW\n
EXTD=Ex-dire straits frontman Mark Knopfler has been retreating from the limel
EXTD=ight since his taste of superstardom in the Eighties, finding refuge in s
EXTD=oundtrack work, charity gigs and the occasional solo effort. A Dire Strai
EXTD=ts record in everything but name, The Ragpicker's Dream is a picturesque 
EXTD=collection of folksy, mostly acoustic vignettes that works its old-fashio
EXTD=ned magic in mysterious ways. "A Place Where We Used to Live," with its s
EXTD=weet piano and autumn-gray lyrics, and "You Don't Know You're Born" -- a 
EXTD=murmur of an idea that unexpectedly evolves into a delectable pop chorus 
EXTD=-- are the highlights of an album that can express itself only through un
EXTD=derstatement. It is clear that Knopfler cares about pleasing no one but h
EXTD=imself at this point in life. His Zen attitude, ironically, is what makes
EXTD= this unassuming batch of gentle tunes so oddly compelling. (RS 909 -- No
EXTD=vember 14, 2002) -- ERNESTO LECHNER
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