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DISCID=ae0e300d
DTITLE=Mark Knopfler / Sailing To Philadelphia
DYEAR=2000
DGENRE=Rock
TTITLE0=What It Is
TTITLE1=Sailing To Philadelphia
TTITLE2=Who's Your Baby Now
TTITLE3=Baloney Again
TTITLE4=The Last Laugh
TTITLE5=Do America
TTITLE6=El Macho
TTITLE7=Prairie Wedding
TTITLE8=Wanderlust
TTITLE9=Speedway At Nazareth
TTITLE10=Junkie Doll
TTITLE11=Silvertown Blues
TTITLE12=Sands Of Nevada
EXTD=Originally Released September 26, 2000\nCD+DVDA Edition Released 
EXTD=\n\nAMG EXPERT REVIEW:  Mark Knopfler's second solo album might a
EXTD=s well be called Dire Straits' eighth studio album, though Knopfl
EXTD=er abandoned the group name with 1996's Golden Heart, dispensing 
EXTD=with hefty sales in the process. (All six of Dire Straits' studio
EXTD= albums at least went gold and reached the Top 20 in the U.S., wh
EXTD=ile Golden Heart didn't even make the top 100.) He may be happier
EXTD= now; from the lead-off track of Dire Straits' first album, "Sult
EXTD=ans of Swing," he was celebrating small-time lives, and his bigge
EXTD=st hit, "Money for Nothing," was a workingman's dismissal of a ro
EXTD=ck star. There was never much doubt that the fame and lifestyle c
EXTD=oincident with platinum sales made him uncomfortable, and discont
EXTD=inuing the "Dire Straits" billing was a means of walking away fro
EXTD=m all that. It also allowed him to indulge his love for various m
EXTD=usical genres more, and that process continues on Sailing to Phil
EXTD=adelphia. True, Knopfler's basic approach remains the same; as a 
EXTD=guitarist, he is still enamored of the minor-key fingerpicking st
EXTD=yle of J.J. Cale, and as a singer/songwriter, he remains enthrall
EXTD=ed with Bob Dylan. But in one song after another on this album, y
EXTD=ou get the feeling that he started out playing some familiar song
EXTD= in a specific genre and eventually extrapolated upon it enough t
EXTD=o call it an original. "Who's Your Baby Now" seems drawn from the
EXTD= repertoire of the Everly Brothers as filtered through the Beatle
EXTD=s of the Rubber Soul period; "Do America" could have begun life a
EXTD=s a simple Bo Diddley riff; "Speedway at Nazareth" recalls the Ap
EXTD=palachian style of the Carter Family; and "Junkie Doll" calls to 
EXTD=mind Howlin' Wolf, especially "Sitting on Top of the World." (Lea
EXTD=d-off track "What It Is," meanwhile, sounds like nothing so much 
EXTD=as a classic Dire Straits song on the order of "Sultans of Swing.
EXTD=") Knopfler has grafted his own lyrical concerns to these songs, 
EXTD=employing recurring references to life on the road (or on the sea
EXTD= or in the air, as the case may be) -- "Sailing to Philadelphia,"
EXTD= "Baloney Again," "Do America," "Wanderlust" -- playing up the li
EXTD=ves of humbled people, especially musicians ("Baloney Again" is a
EXTD=bout a traveling gospel group, circa 1953) and putting down power
EXTD=ful people, especially rock stars ("Do America" is about a Britis
EXTD=h rocker on his way across the Atlantic, while "El Macho" mocks a
EXTD= star alone in a bar). There are also story songs on such wide-ra
EXTD=nging subjects as the mapmakers Mason and Dixon ("Sailing to Phil
EXTD=adelphia"), racecar driving ("Speedway at Nazareth"), an arranged
EXTD= marriage in the Old West ("Prairie Wedding"), and opposition to 
EXTD=the building of London's Millennium Dome ("Silvertown Blues"), bu
EXTD=t the themes of travel and the dichotomy between the rich and fam
EXTD=ous (what Knopfler is) and the poor and powerless (those he ident
EXTD=ifies with) predominate. Working with a two-guitars, two-keyboard
EXTD=s, bass, and drums band (the old Dire Straits lineup), Knopfler b
EXTD=rings in a variety of sympathetic guests, notably James Taylor, w
EXTD=ho plays Mason to Knopfler's Dixon in "Sailing to Philadelphia," 
EXTD=Van Morrison, and Squeeze leaders Glenn Tilbrook and Chris Diffor
EXTD=d. These guest stars provide pleasant contrast to Knopfler's mode
EXTD=st vocal talents, but they never steal the spotlight from the lea
EXTD=der. (Well, okay, Morrison does.) His ability to hold his own is 
EXTD=some indication that, however self-effacing he may be, he remains
EXTD= a star.   [In 2005 Sailing to Philadelphia was reissued with a b
EXTD=onus DVD that featured "behind the scenes" footage" as well as in
EXTD=terviews with Knopfler and his band.]  -- William Ruhlmann\n\n\nA
EXTD=MAZON.COM CUSTOMER REVIEW\npolished, thought-out song-stories, Ju
EXTD=ly 6, 2006 \nBy  Flight Risk (The Gypsy Moth) "Exiled Yankee" (us
EXTD=a)\n\nI've come to the conclusion that the reviewers who pick at 
EXTD=Mark Knopfler's songs don't take the time to investigate why he w
EXTD=rote them to begin with. "Do America" is not my favourite song, b
EXTD=ut on reading his basis for its conception, I had a greater respe
EXTD=ct for it. (No help here folks - do your own homework.) I gave th
EXTD=e album 5 stars out of respect for an artist who puts his all int
EXTD=o his work and fiddles with everything until he gets it exactly t
EXTD=he way he wants. That said,some of my favourite music of all time
EXTD= is on "Sailing to Philadelphia". I have played the title track t
EXTD=o death - my opinion, Mark Knopfler's most beautiful composition 
EXTD=to date, and it made me go out and find Pynchon's book on Mason a
EXTD=nd Dixon which inspired the song. The cadences and lyricism of th
EXTD=e piece are unsurpassed in anything he's done before or since. I 
EXTD=am continually charmed by his decisions to include other artists,
EXTD= also - and he is always spot-on with the performers he gets to h
EXTD=elp him. I was so pleased to get not one, but three of my favouri
EXTD=te legends on one disc. Van Morrison was a nice surprise. My ulti
EXTD=mate favourites, besides the one already mentioned, also stand up
EXTD= with everything else he's ever done - "Silvertown Blues" - a son
EXTD=g I have a feeling holds a very personal place with him - speaks 
EXTD=to everyone who has ever lived in a once-thriving, now-struggling
EXTD=-to-survive industrial jungle. I understood it - and empathized w
EXTD=ith it - completely. The first track, "What It Is", always makes 
EXTD=me want to march somewhere - I try to play it in the car on my wa
EXTD=y to work to get me in the mood. "Speedway At Nazareth" - a close
EXTD= tie for absolute favourite - is rockin on the disc and completel
EXTD=y mezmerizing in concert (if you're lucky enough to witness it). 
EXTD=Another good cut, "El Macho" , is a wry slam on pretty boys and t
EXTD=he television culture, although I haven't really determined to my
EXTD=self if it's about Jerry Seinfeld or somebody else. It sure feels
EXTD= like a tune written maybe after a long exhausting day on the roa
EXTD=d and a couple of scotches. Overall, where "Golden Heart" skipped
EXTD= all over the map in style and genre, this album feels more like 
EXTD=a cohesive whole, very stylish and clean. I find I listen more to
EXTD= this disc at work than any of the other Knopfler solos. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nPop for grown-ups, September 4, 2005 \n
EXTD=By  Ian J. Blynn (Camp Hill, PA USA)\n\nMark Knopfler as a solo a
EXTD=rtist is, for me, a recently discovered pleasure. I happened upon
EXTD= Shangri-la entirely by accident after someone (my sister? thanks
EXTD= Karen) left it at my parents' house after a visit and my father 
EXTD=happened to leave it on his disc player. My curiousity piqued, no
EXTD=t having really listened to Knopfler since 'Sultans of Swing,' ev
EXTD=en though I play blues guitar, I took it home with me and on a tw
EXTD=o hour car trip played it continually. It really was a revelation
EXTD=. Intricate guitar work, strong melodies and (avoiding the usual 
EXTD=downfall), lyrics as good as Dylan (the gold standard). A hauntin
EXTD=g, sinister song about Ray Kroc and the founding of McDonald's? Y
EXTD=ou betcha. So. Looking for more, I got Sailing to Philadelphia, a
EXTD=nd discovered, among other things, that there was something heart
EXTD=-breaking and brave about the two surveyors from England who drew
EXTD= the boundary between Pennsylvania and Maryland known as the Maso
EXTD=n-Dixon Line. Who knew? First class, memorable music. It's like r
EXTD=eading William Faulkner for the first time. One can only marvel. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nThis is a great album, but don'
EXTD=t buy the US version, January 14, 2005 \nBy  Jeremy Grigg (New Yo
EXTD=rk, NY, USA)\nI grew to really love this album during a period li
EXTD=ving in the UK, and just looked at the Amazon reviews for it out 
EXTD=of a sense of nostalgia. I was alarmed to find that the US versio
EXTD=n has a song, "Do America", that every reviewer seems to despise 
EXTD=and doesn't have the thoughtful and charming "One More Matinee". 
EXTD=Having listened to the Amazon excerpt, "Do America" is every bit 
EXTD=as vile as other reviewers have indicated, so I would strongly su
EXTD=ggest that if you don't have this album and wish to buy it, get t
EXTD=he Import version instead. Some kind soul has put a link to it in
EXTD= a suggestion on the main page and he's right. The track substitu
EXTD=tion makes this excellent work much, much tighter and more adult,
EXTD= which is what makes Mark Knopfler's best solo album so very prec
EXTD=ious. Don't miss out on the full experience, if you can. \n\n\nAM
EXTD=AZON.COM CUSTOMER REVIEW\nOn Every Street II?, October 1, 2003 \n
EXTD=By  O. Buxton "Olly Buxton" (Highgate, UK)\n\nIf On Every Street 
EXTD=were a double album, this could be the second disc. Same formula 
EXTD=- countrified, downbeat take on Dire Straits - and in the importa
EXTD=nt spots, pretty much the same line up of musicians - Pedal Steel
EXTD= whizz Paul Franklin and keyboard man Guy Fletcher in particular 
EXTD=loom large.\nThere are some things Mark Knopfler does increasingl
EXTD=y well as he gets older, and other things he just gets worse and 
EXTD=worse at.\n\nOn the credit side, his guitar technique - and the t
EXTD=astefulness with which he employs it - postively blossoms on ever
EXTD=y outing. \nFrom fairly one dimensional Richard Thompson imperson
EXTD=ator back in 1976, Knopfler has prescribed an arc through Rock Go
EXTD=d via blues purity and Nashville flash he now heads ever more dow
EXTD=n the country/folk lane, and when in this mode, as he is on half 
EXTD=the record, this is a fine outing. Over his 25 years in the busin
EXTD=ess he's cultivated a superbly gravelly voice, too, and on the ba
EXTD=ck half of this disc - most notably Prairie Wedding and Wanderlus
EXTD=t - it all comes together in quite the Epihany.\n\nOn the negativ
EXTD=e side, he doesn't seem to be able to shake his propensity for du
EXTD=ff lyrics with arcane subject matter and silly up tempo pop-rock 
EXTD=songs. Even in the first Dire Straits LP Knopfler felt compelled 
EXTD=to sing (amongst other things, admittedly) about predatory art de
EXTD=alers, and here he corals James Taylor to help him sing about the
EXTD= Mason Dixon Line. It's just not very rock 'n' roll.\n\nKnopfler 
EXTD=really can't rock out - and as a 50 something, nor should he; he 
EXTD=should leave the growing old disgracefully to those who have earn
EXTD=ed the privilege, like Mr. Richards - and in Do America he proves
EXTD= that he's only getting worse at it. On Brothers in Arms it was t
EXTD=he passable Money For Nothing; On Every Street had the somewhat w
EXTD=ry Heavy Fuel; Golden Heart the fairly silly Imelda; Do America i
EXTD=s thoroughly forgettable. Worse than forgettable, actually, becau
EXTD=se it interrupts the mood of studied cool that the album otherwis
EXTD=e sets up.\n\nFinal analysis: The hard core fans will love it, th
EXTD=e mainstream record buying public will, as usual, ignore it, and 
EXTD=enough cafes and brasserie restaurants will pick it up to guarant
EXTD=ee Mark can afford a new scooter to replace the one he was recent
EXTD=ly knocked off. Everyone wins. \n\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=A new gem in the esoteric portfolio of racer music, November 27, 
EXTD=2002 \nReviewer: A music fan\n\nWithout reiterating the accolades
EXTD= of other reviewers, let me add that the cut "Speedway in Nazeret
EXTD=h" is a rare treat for us hardcore auto racing fans. The narrater
EXTD= is not a NASCAR driver, as others have surmised. He is describin
EXTD=g a year on the Champ Car circuit, the so-called "CART" series. T
EXTD=hese are open wheel Indy-type cars, running mostly on road course
EXTD=s, not ovals. It is the connoisseur's form of racing, and an unus
EXTD=ual choice for Mark given that as a Brit you'd expect him to chro
EXTD=nicle Formulae One. It is a treat because the writer really knows
EXTD= the sport, it is full of oblique insider references (Portland Sp
EXTD=eedway's race sponser is a local army surplus giant: GI Joe) that
EXTD= speak to the race fan. But we've come to expect this from Knopfl
EXTD=er: he has an integrity other artists don't. \n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nFuture Classic, July 17, 2001 \nBy  Benjamin Pendle
EXTD=ton (APO, AE United States)\n\nI still remember the first time I 
EXTD=heard 'Sultans of Swing' on the radio back in 1978. Wow! Mark Kno
EXTD=pfler's unique guitar style - folksy blues with a British twist -
EXTD= struck a powerful chord, so to speak, not only with me, but with
EXTD= the entire post-disco music scene which was desperate for someth
EXTD=ing fresh and intelligent. Knopfler delivered then, and unlike ma
EXTD=ny of his contemporaries, has continued to deliver for the past 2
EXTD=+ decades. And unlike many other rock greats whose music tends to
EXTD= wane as they grow older, Knopfler's music only seems to get bett
EXTD=er. 'Sailing to Philadelphia' is perhaps his best work ever.\nCon
EXTD=tinuing his apparent love affair (or is it veiled derision) for e
EXTD=verything American, Knopfler has written 13 powerful songs that c
EXTD=over the musical gamut both in style and lyric. From the melodiou
EXTD=s and lyrical title song about American frontiersmen James Mason 
EXTD=and Jeremiah Dixon, to the haunting and poignant closing songs 'S
EXTD=ilvertown Blues' and 'Sands of Nevada', Knopfler has outdone hims
EXTD=elf in range, mood and feeling covered by this landmark release. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nHow horibble! This CD makes you
EXTD= listen more than once., May 24, 2001 \nBy  "donskotus" (Frederic
EXTD=ton, New Brunswick Canada)\nKnopfler has committed the ultimate s
EXTD=in against his dogged and single-minded Dire Straits fans, he did
EXTD=n't fall to self parody. For the first time since Love Over Gold,
EXTD= Knopfler is freed from the constraints of his last album. On Eve
EXTD=ry Street was an unispired outing trying to distance itself from 
EXTD=Brothers in Arms, while the outstanding Goldenheart still seemed 
EXTD=to be fighting against the ghost of music past. Sailing to Philad
EXTD=elphia is an inspired effort with textured lyrics (not merely cle
EXTD=ver or 'tongue in cheek') and some brilliant if somewhat understa
EXTD=ted guitar work. Speedway at Nazareth alone is worth the purchase
EXTD= price of the album, and shows off some of Knopfler's best musica
EXTD=l layering since his brilliant soundtrack to the motion picture C
EXTD=al. There are a few wasted tracks on this disc (most notably Do A
EXTD=merica - nice riff, no point) and thus the 4 star rating. But whe
EXTD=n this album hits, it hits big. Relax, listen to it a couple of t
EXTD=imes and quit whining that it's not Brothers in Arms. \n\n\nAMAZO
EXTD=N.COM CUSTOMER REVIEW\nGreat on its own terms, October 3, 2000 \n
EXTD=By  Sam Greenblatt (Johannesburg, South Africa)\n\nFor those who 
EXTD=venerated Mark Knopfler in the 80s and later, anything less than 
EXTD=absolute perfection will be bound to disappoint. Its tempting to 
EXTD=scour each track on "Sailing to Philadelphia" for a musical or ly
EXTD=rical throwback to the mystery muse of "Romeo and Juliet", "Love 
EXTD=over Gold" or "Your Latest Trick", or to wait breathlessly for a 
EXTD=life-changing 24 bars, like the first solo on "Telegraph Road", t
EXTD=hat reduced us to tears back in 1982. But this is a more measured
EXTD= Knopfler, who has charted a course from pioneering epic songs ("
EXTD=Tunnel of Love", "On Every Street") to country vignettes via broa
EXTD=d cinematic brushstrokes. Yet this trend has been obvious since D
EXTD=ire Straits began to flounder, and was in alarming evidence on "G
EXTD=olden Heart", despite the riveting beauty of a handful of tracks 
EXTD=on that album. After a musical journey like he has forged, who co
EXTD=uld have thought that MK's greatest influence would turn out to b
EXTD=e Chet Atkins? Still, there is a lot to be thankful for here, wit
EXTD=h brilliantly articulated guitar-work (of course), trademark grav
EXTD=el-voice (oh so close to the microphone) and the elevated company
EXTD= of James Taylor. The guitar mastery is more on display than on t
EXTD=he last album, but perhaps in an age where this is less likely to
EXTD= affect our heartstrings. The best bet is to avoid nostalgia at a
EXTD=ll costs and to accept Knopfler for the incisive, literate songwr
EXTD=iter he is today. Those hoping to discover a new soundtrack to th
EXTD=e next few years of their lives may wind up feeling like an extra
EXTD= in one of those recent movies to which Knopfler contributed. \n\n
EXTD=\nHalf.com Details \nContributing artists: Gillian Welch, James T
EXTD=aylor, Van Morrison \nProducer: Chuck Ainlay, Mark Knopfler \n\nA
EXTD=lbum Notes\nPersonnel includes: Mark Knopfler (vocals, guitar); J
EXTD=ames Taylor, Van Morrison, Gillian Welch, Glenn Tilbrook, Chris D
EXTD=ifford, Chris Rodriguez, Tim Davis (vocals); Richard Bennett (gui
EXTD=tar); Paul Franklin (lap steel, pedal steel); Mike Henderson (man
EXTD=dolin); Aubrey Haynie (violin); Jim HOrn (tenor & baritone saxoph
EXTD=one); Wayne Jackson (trumpet); Mike Haynes (flugelhorn); Jim Cox 
EXTD=(piano, keyboards); Guy Fletcher (keyboards, background vocals); 
EXTD=Frank Ricotti (marimba); Glenn Worf (bass); Chad Cromwell (drums)
EXTD=; Danny Cummings (percussion).\nHaving crafted such a singular so
EXTD=und for himself both in Dire Straits and as a respected film comp
EXTD=oser, it's gratifying to hear that Mark Knopfler's consummate mus
EXTD=icianship has only gotten better on what is only his second solo 
EXTD=album in a career that began in the mid- '70s. For SAILING TO PHI
EXTD=LADELPHIA, Knopfler once again looks to America for inspiration, 
EXTD=starting with the stirring title track that draws from Thomas Pyn
EXTD=chon's fictionalized account of English adventurers/surveyors Cha
EXTD=rles Mason and Jeremiah Dixon and which finds James Taylor playin
EXTD=g Mason to Knopfler's Dixon. Other numbers benefiting from this A
EXTD=merican muse are the ethereal "Sands of Nevada," the Farfisa-driv
EXTD=en "Do America" and the low-key "Prairie Wedding" (featuring alt 
EXTD=country stalwarts Gillian Welch and David Rawlings, who also appe
EXTD=ar on the chugging "Speedway At Nazareth").\nElsewhere, Knopfler 
EXTD=entertains a host of famous friends throughout a slew of tasty tr
EXTD=acks. Van Morrison duets on the laid-back "The Last Laugh" while 
EXTD=Squeeze's Chris Difford and Glen Tilbrook add harmonies to the no
EXTD=stalgic twang of "Silvertown." The most impressive cameo comes fr
EXTD=om famed bluegrass fiddler Aubrey Haynie whose playing fuses with
EXTD= Knopfler's fat guitar tone to transform the crackling "What It I
EXTD=s" into the quintessential Dire Straits song.\n\n\nROLLING STONE 
EXTD=REVIEW\nBob Dylan once said he liked Dire Straits because they so
EXTD=unded like one person. There was a certain single-mindedness to t
EXTD=he Seventies band's sophisticated take on pub rock. In the Eighti
EXTD=es, Dire Straits became even more of a one-man show -- singer-son
EXTD=gwriter-producer and guitar god Mark Knopfler. So what's the diff
EXTD=erence between a Mark Knopfler album and a Dire Straits album? Ar
EXTD=guably, not much besides bassist John Illsley and a few million s
EXTD=ales. Like so much of Steely Dan's recent comeback, Knopfler's ne
EXTD=w album, Sailing to Philadelphia, is a welcome flashback. The fir
EXTD=st single, "What It Is," has the epic sound of "Sultans of Swing"
EXTD= and "Tunnel of Love," while the sly "Do America" -- one of many 
EXTD=tracks that reflect the Brit Knopfler's interest in Americana -- 
EXTD=is lively fun in the "Twisting by the Pool" tradition. Knopfler d
EXTD=uets with James Taylor on the title track, which deftly explores 
EXTD=the relationship between Mason and Dixon; Van Morrison trades lin
EXTD=es on the soulful "The Last Laugh." With Sailing to Philadelphia,
EXTD= Knopfler has taken a break from the rootsy side projects and sou
EXTD=ndtrack work that have occupied him for the last seventeen years,
EXTD= and has evoked some of the grandeur of prime Dire Straits. (RS 8
EXTD=52 -- Oct 3, 2000)   -- DAVID WILD
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