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DISCID=b10d0b0c
DTITLE=Mark Knopfler / The Ragpieker's Dream (CD 1/2)
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 secondpost-millennium album
EXTD= in just two years, Mark Knopfler has already equaled his meager (non-soundtrack) output for 
EXTD=the '90s. And while he isn't reinventing himself, The Ragpicker's Dream is a pleasant, classy
EXTD=, often inspired effort whose unassuming charms are best appreciated after repeated listening
EXTD=s. The memorable riffage that fueled Dire Straits' most radio-friendly material has been disc
EXTD=arded for a more pastoral approach, making this a perfect album for a rainy Sunday morning. L
EXTD=ike his Notting Hillbillies side project, it isn't entirely unplugged, yet there is an emphas
EXTD=is on acoustic accompaniment to its predominantly ballad slant. Instead of leaving space for 
EXTD=traditional soloing, Knopfler weaves his snake-like guitar between the words. This infuses a 
EXTD=tense, edgy quality in even the most bucolic tracks, resulting in the crackling but still low
EXTD=-boil atmospherics of "Hill Farmer's Blues" and "Fare Thee Well Northumberland." "Marbletown"
EXTD= is an unaccompanied folk/blues that sounds as if Knopfler was born and raised in the Mississ
EXTD=ippi backwoods. He taps into the patented insistent lazy, shuffling groove on the spooky "You
EXTD= Don't Know You're Born." It'sthe most Straits-like track here featuring an extended, winding
EXTD=, yet subtle solo. "Coyote," a mid-tempo sizzler -- lyrically based on the Road Runner cartoo
EXTD=ns -- is propelled by a walking bass figure and Knopfler's homey, lived-in, talk-sung vocals.
EXTD= Again, the guitar pyrotechnics are interspersed throughout the verses with overdubbed sounds
EXTD= employed to provide ambiance and mood. The authentic honky tonk swing of "Daddy's Gone to Kn
EXTD=oxville" could have come off a Wayne Hancock album, and the "King of the Road" melody from "Q
EXTD=uality Shoe" is a tribute to Roger Miller. As an homageto the American roots music he's alway
EXTD=s admired and a desire to retreat further from the stadium rock of his Straits days, The Ragp
EXTD=icker's Dream is a restrained success, at least on its own terms. It may not please some of K
EXTD=nopfler's old "Money for Nothing" fans, but at this stage, he's obviously not trying to.  -- 
EXTD=Hal Horowitz\n\nAmazon.com Editorial Review\nEven at the peak of Dire Straits' fame, Mark Kno
EXTD=pfler's music often seemed informed by a restless worldview as abstruse as his guitar playing
EXTD= was fluid and expressive. This follow-up to his impressive 2000 collection, Sailing to Phila
EXTD=delphia, finds Knopfler chasing a similar musical and lyrical muse, with results that are eve
EXTD=n more surprising and loose-limbed. "WhyAye Man," the bracing opening chantey that sets much 
EXTD=of the album's tone, draws parallels between Geordie pub-speak and Native American chants whi
EXTD=lst lamenting economic refugees of Thatcherism forced to ply their blue-collar trades--and ke
EXTD=ep their Brit pub culture alive--deep in the Fatherland. From there, Knopfler takes us by "A 
EXTD=Place Where We Used to Live" fora lounge-y, Jobim-inflected reminder that one can never reall
EXTD=y go home, drops in on "Quality Shoe" for a tribute to Roger Miller, and gives us a typically
EXTD= dry, so-deadpan-it's-funny rundown of his Circus Sideshow pals on "Devil Baby." "Marbletown,
EXTD=" a graveyard folk-blues, showcases the musician at home on solo acoustic guitar, while the l
EXTD=oping, laconic "Coyote" draws its good-natured inspiration from a beast named Wile E. But it'
EXTD=s the way that Knopfler connects disparate cultures and histories with subliminal, deceptivel
EXTD=y effortless grace on "Fare Thee Well Northumberland," "You Don't Know You're Born" (both of 
EXTD=which feature Knopfler's signature languorous, blues-inflected soloing), the folksy "Hill Far
EXTD=mer's Blues," andthe country-fried "Daddy's Gone to Knoxville" that make the album a triumph 
EXTD=of understatement. --Jerry McCulley \n\nAMAZON.COM CUSTOMER REVIEW\nAStar in an Otherwise Dar
EXTD=k Night, November 8, 2004\nReviewer: N. Keshava (Needham, MA USA) \nI bought this album to "c
EXTD=atch up" with my Mark Knopfler albums after purchasing Shangri-La. I spend most of my radio t
EXTD=ime flitting from one station to another. Most songs I hear are written by musicians that are
EXTD= obscenely overpromoted, and who overzealously write arcane lyrics to hide their own lack of 
EXTD=musical exceptionalism. They miss the idea that their instrument can be be far more moving th
EXTD=an any words they pen, for the simple reason that they aren't exceptional musicians, let alon
EXTD=eartists. Knopfler doesn't just deliver on this album. He teaches. His compositions on this a
EXTD=lbum delve so deep into the musical world, that they almost shame the latest songwriters who 
EXTD=are promised as the next so-and-so. Instead of settling for brief, three-and-a-half minute vi
EXTD=gnettes of modern life, Knopfler evokes a catalog of lives in as many different states. The w
EXTD=orld is varied, but the underlying forces remain constant: love, loss, struggle, humor. Most 
EXTD=artists are complacent, if not lucky enough, to evoke their own lives. Knopfler's sighing gui
EXTD=tar, notes plucked one by one, align all the wandering paths in this world with a common micr
EXTD=otonalvocabulary. When I listen to this album, I hear the artist more than themusician -- as 
EXTD=it should be -- perhaps more than anything Knopfler has done since "On Every Street" with Dir
EXTD=e Straits. For all the hoopla showered on Dylan, Bowie, and Springsteen for occassionally mea
EXTD=suring up to the laurels they earned 30 years ago, Knopfler doesn't need to worry about meeti
EXTD=ng those benchmarks. This album is better than anything he's ever done. In short, Knopfler is
EXTD=n't meeting the standards he set with with Dire Straits. He's redefining them.\n\nAMAZON.COM 
EXTD=CUSTOMER REVIEW\nMK Finally Stepping Out of the Shadows, November 20, 2002\nReviewer: Joe Chu
EXTD=mbler (Little Rock, AR USA)\nAn excellent follow up to STP and perhaps a bit easierto listen 
EXTD=to. As a Strait's fan since 1983, I'm obliged to compare MK's work to Communique, still my fa
EXTD=vorite work to date from the Knopflers. Ragpicker's Dream does not disappoint. Mark continues
EXTD= to pay homage to his roots with the opening Why Aye Man, but does not deny his familiarity o
EXTD=f being the outsider observing the passing world (One Upon a Time in the West and Devil Baby)
EXTD=. But the sultan of swing is maturing and, while his guitar work is as smooth as ever, I sens
EXTD=e he is displaying more of a propensity to write in the first person.\nA perfect example is O
EXTD=ld Pigweed, thefinal track and a vintage, yet uncommon style for MK. Vintage in that, in the 
EXTD=spirit of Wild West End or News?, Mark writes about a girl and all the emotions of meeting an
EXTD=d keeping one. But whereas MK's early work frequently made him the outsider, MK in the shadow
EXTD=s observing what so many ofus have experienced, Pigweed puts him square in the heat in the ki
EXTD=tchen - it's not "he" or "them", it's "I" and "me." And the tone seems different - what once 
EXTD=was frustration and unhappy endings, now is resolved with aspoonful of forgiveness. Unchanged
EXTD=, is MK's addictive ability to expresswith his guitar the emotion that words and voice can no
EXTD=t. \n\nThus, thisStrait's fan is very happy - more frequent albums from MK, a US tour last ye
EXTD=ar, happy endings, and soulful guitar. But for Christmas, how about news of a spoonful of for
EXTD=giveness and a Mark/David reunion/collaboration? That's a happy ending I'm sure many, many pe
EXTD=ople are waiting to see written.\n\nAnd is Old Pigweed really just about making stew? Alas, t
EXTD=he unending allure of this great musician.\n\nAMAZON.COM CUSTOMER REVIEW\nAbsolutely fabulous
EXTD=!, October 10, 2002\nReviewer: Grey Eagle (Chilliwack, B.C. Canada)\nI must admit, although I
EXTD= enjoyed Goldenheart and Sailing to Philadelphia, I was uncertain how far Mr Knopfler would t
EXTD=ake what seemed to be evolving into, dare I say, a more laid back approach to his music.\nI n
EXTD=eed not have worried! This is a phenomenal album; certainly the best of histhree solo albums 
EXTD=to date. The music styles are wide ranging from folk, Celtic, bluegrass, Appalachian, jazz an
EXTD=d rock - (I could even imagine Michael Franks doing a cover version of the samba-tinged A Pla
EXTD=ce where We used to Live)and allows Mr Knopfler ample opportunity to display his skillson bot
EXTD=h acoustic and electric guitars.\nWonderful music from a man I consider to be one of the fine
EXTD=st guitarists in the world today- a man who knows when to play and equally as important, when
EXTD= not to. Have a listen andlet the man play and the music speak!\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nJust like the cover, October 3, 2002\nReviewer: "hobbesdutt" (Sunnyvale, CA)\nThis is a won
EXTD=derful album, in some ways a far cry from the Dire Straits sound. It emphasises the singing a
EXTD=nd songwriting talents of Mark Knopfler. It is more rootsy, has fewer long guitar solos but e
EXTD=xcellent guitar andmusic. The album is also not as rocky as most of his other outings. Liketh
EXTD=e cover, except for the first track and possibly the third, the rest of the songs are more la
EXTD=idback or quiet. The cover says it all. \nMy favorite song is "A Place Where We Used to Live"
EXTD=. The lyrics are so poignant that they struck a special chord deep inside me. The understated
EXTD= way of expressing all that is lost by saying "its just a place where we used to love" is jus
EXTD=t breath-taking. The rest of the album has this sense of understated-ness, something subtle. 
EXTD=Marbletown is another lovely track with just MK singing and picking guitar, no other instrume
EXTD=nts.\n\nThe weak tracksare possibly the last two songs. I find it hard to like the sound of "
EXTD=Daddy's Gone To..". The other standout tracks are "Devil Baby", "Fare Thee Well...", "Marblet
EXTD=own", "You Don't Know..", "Hill Farmer Blues" and "Coyote". \n\nThose looking for Telegraph R
EXTD=oad like solos won't find it here, but those looking for good music will find this an oasis i
EXTD=n a sea awash with mediocre stuff.\n\nAMAZON.COM CUSTOMER REVIEW\nBluesy, Wistful, and Occasi
EXTD=onally Playful, October 2, 2002\nReviewer: JD Cetola (Albuquerque, NM USA)\n     \nMark Knopf
EXTD=ler's third solo album (not counting his numerous film soundtracks) is his bluesiest yet. "Th
EXTD=e Ragpicker's Dream" features 12 tracks and clocks in at almost 56 minutes. All tracks includ
EXTD=e vocalsand the backing band is top notch and features (of course) Guy Fletcher on keyboards 
EXTD=and some nice drumwork by Chad Cromwell. Paul Franklin adds his pedal steel mastery to three 
EXTD=of the tracks. The piano (played by Jim Cox who also plays organ on several of the more blues
EXTD=y tracks) is more prominent than on previous solo efforts as well, and adds a jazz-like quali
EXTD=ty to several of the tracks.\nMusically, "TRD" is steeped in the blues with hints of folk, sw
EXTD=ing, and jazz. As for comparisons with previous work,this disc is most similar to the "Wag th
EXTD=e Dog" soundtrack and (in some instances) Dire Straits' "On Every Street". The focus is the m
EXTD=usic (and also the lyrics) and not so much the guitar work. There's some crying and singing, 
EXTD=but mostly the playing is subdued and workmanlike. There are no hyper-emotional solos (althou
EXTD=gh some of the work on "Devil Baby" comes close) like on "Are We in Trouble Now" or "Nobody's
EXTD= Got the Gun" from "Goldenheart". If that's what you're looking for, you may be a tad disappo
EXTD=intedin TRD. If not, you'll be well-satisfied by this release. There are a lot of bluesy numb
EXTD=ers ("Why Aye Man", "Marbletown", and the Soggy Bottom Boys' sounding "Fare the Well Northumb
EXTD=erland"), some jazz-inflicted tracks ("A Place Where We Used to Live") and several playful tu
EXTD=nes ("Coyote", "Quality Shoe" and "Daddy's Gone to Knoxville"). The brilliant "Ragpicker'sDre
EXTD=am" would've fit (musically) nicely on "The Princess Bride" soundtrack. \n\nLyrically, TRD fo
EXTD=cuses on blue collar workers and workingclass towns. The songs are poetic (especially "Ragpic
EXTD=ker's Dream" and "Old Pigweed"), wistful, and often deal with working--both the land, the job
EXTD=, and other people. Overall, this album is a positive continuation of "Sailing to Philadelphi
EXTD=a" with a familiar, but more bluesy feel to it and still feweremotional guitar solos. Definit
EXTD=ely Recommended.\n\nROLLING STONE REVIEW\nEx-dire straits frontman Mark Knopfler has been ret
EXTD=reating from the limelight since his taste of superstardom in the Eighties, finding refuge in
EXTD= soundtrack work, charity gigs and the occasional solo effort. A Dire Straits record in every
EXTD=thing but name, The Ragpicker's Dream is a picturesquecollection of folksy, mostly acoustic v
EXTD=ignettes that works its old-fashioned magic in mysterious ways. "A Place Where We Used to Liv
EXTD=e," with its sweet piano and autumn-gray lyrics, and "You Don't Know You're Born" -- amurmur 
EXTD=of an idea that unexpectedly evolves into a delectable pop chorus-- are the highlights of an 
EXTD=album that can express itself only through understatement. It is clear that Knopfler cares ab
EXTD=out pleasing no one but himself at this point in life. His Zen attitude, ironically, is what 
EXTD=makes this unassuming batch of gentle tunes so oddly compelling. (RS 909 -- November 14, 2002
EXTD=) -- ERNESTO LECHNER
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