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DISCID=cf107e0e,d3107f0e
DTITLE=Mark Knopfler / Golden Heart
DYEAR=1996
DGENRE=Rock
TTITLE0=Darling Pretty
TTITLE1=Imelda
TTITLE2=Golden Heart
TTITLE3=No Can Do
TTITLE4=Vic And Ray
TTITLE5=Don't You Get It
TTITLE6=A Night In Summer Long Ago
TTITLE7=Cannibals
TTITLE8=I'm The Fool
TTITLE9=Je Suis Dsol
TTITLE10=Rdiger
TTITLE11=Nobody's Got The Gun
TTITLE12=Done With Bonaparte
TTITLE13=Are We In Trouble Now
EXTD=Originally Released March 26, 1996\n\nAMG EXPERT REVIEW: Mark Kno
EXTD=pfler's debut non-soundtrack solo album, Golden Heart, was, in ef
EXTD=fect, the follow-up to the last Dire Straits studio album, On Eve
EXTD=ry Street (1991). But it was also a compendium of the various mus
EXTD=ical endeavors in which Knopfler had engaged since emerging as a 
EXTD=major figure in 1978. "Imelda" was cast in the mold of "Money for
EXTD= Nothing," with its trademark electric guitar riff and sardonic l
EXTD=yrics about Imelda Marcos, and other songs resembled Dire Straits
EXTD= songs, notably "Cannibals," which recalled "Walk of Life." But "
EXTD=A Night in Summer Long Ago" was presented in a Scots/Irish tradit
EXTD=ional folk style, complete with a lyric about a knight and a quee
EXTD=n and would have fit nicely on Knopfler's soundtrack for The Prin
EXTD=cess Bride, and "Are We in Trouble Now" was a country ballad feat
EXTD=uring pedal steel guitar and the piano playing of Nashville sessi
EXTD=on ace Hargus "Pig" Robbins that would have been appropriate for 
EXTD=Knopfler's duo album with Chet Atkins. For all that, there was li
EXTD=ttle on the album that was new or striking, and Knopfler seemed t
EXTD=o fall back on familiar guitar techniques while intoning often ob
EXTD=scure lyrics. You get the feeling that there was a story behind e
EXTD=ach song, but except in the cases of "Rudiger," a character study
EXTD= of an autograph hunter, and "Done with Bonaparte," the lament of
EXTD= a 19th century French soldier on the retreat from Moscow, you mi
EXTD=ght have to read Knopfler's interviews to find out what the songs
EXTD= were actually about. Knopfler hadn't used the opportunity of a s
EXTD=olo album to challenge himself, and at the same time he had lost 
EXTD=the group identity (however illusory) provided by the Dire Strait
EXTD=s name. The result was listenable but secondhand.  -- William Ruh
EXTD=lmann\n\n\nAMAZON.COM CUSTOMER REVIEW\nSolid, November 21, 2004 \n
EXTD=By  Scott Rogers\n\nMKs first solo effort is uncompromising, but 
EXTD=as comfortable as a good pair of slippers. Not drawing as much of
EXTD= his Nashville influence as on his latter solo projects, Golden H
EXTD=eart sound more Dire Straitish than one might think, after all he
EXTD= WAS Dire Straits. "Darling Pretty" and "Golden Heart" are as gor
EXTD=gous as anything MK has ever written and "Don't You Get It" is as
EXTD= laid-back-in -the-pocket-groove as only MK can write. Overall a 
EXTD=slower paced album than most Dire Straits records, with the excep
EXTD=tion of the cute "Cannibals" with a two-step beat and honkin acco
EXTD=rdian zydeco sound, Golden Heart will give Dire Strait lovers the
EXTD=ir fix, moreso than the next two MK releases, but that's another 
EXTD=review. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nCajun Salad a la Knop
EXTD=fler, part 1.., March 21, 2002 \nBy  spiral_mind (Pennsylvania)\n
EXTD=If you've been following Mark Knopfler's habit of making albums f
EXTD=rom Dire Straits, chances are you can see a pattern. There's some
EXTD= swampy blues, some gritty rock, and at least one uptempo happy t
EXTD=une. You can count on a few scattered love songs that are either 
EXTD=touchingly powerful or nauseatingly sappy (depending on your opin
EXTD=ion). If you don't like that particular side of Mark, chances are
EXTD= you'll skip at least half of Golden Heart.\nThe gravelly voice a
EXTD=nd unmistakable Fender licks are still here. An unknowing fan cou
EXTD=ld hear "No Can Do" or "Don't You Get It" and still tell (as I di
EXTD=d the first time) that it was Knopfler playing. And though some o
EXTD=f the others may take a little more getting used to (there's also
EXTD= a generous helping of Cajun spice and a touch of Irish soul adde
EXTD=d to this album), in their own way they're just as much a seamles
EXTD=s part of the whole. Mark has a way of making stories come alive 
EXTD=through the lyrics: and in addition to the candlelit dinners and 
EXTD=dusty country roads, this one takes you as far away as rustic Ire
EXTD=land in summer or the middle of the French Revolution.\n\nWhich s
EXTD=ide of Dire Straits do you like more? Some tracks here will pleas
EXTD=e you if "Walk of Life" and "Calling Elvis" are among your favori
EXTD=tes, but you may prefer the followup Sailing to Philadelphia firs
EXTD=t. If you've found yourself spinning "Why Worry" and "Romeo and J
EXTD=uliet" more than anything else on your DS albums, this one will b
EXTD=e well worth the cost. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nA step
EXTD= forward for an already mature and accomplished artist, July 25, 
EXTD=2001 \nBy  Themis-Athena (from somewhere between California and G
EXTD=ermany)\n\nMark Knopfler laid Dire Straits to rest some time afte
EXTD=r their last, 1992-93 tour which had produced the "On the Night" 
EXTD=live album. By that time, he had written several film scores; inc
EXTD=luding one, 1984's "Cal," which was set in Northern Ireland and p
EXTD=rominently featured a large dose of Celtic music, after his first
EXTD= film score (1983's "Local Hero") had already been for a movie se
EXTD=t in Scotland. He had temporarily gone Missing (Presumed Having a
EXTD= Good Time) with the Notting Hillbillies. He had taken a plunge i
EXTD=nto the Nashville scene and recorded "Neck & Neck" with country s
EXTD=tar Chet Atkins (and thus effortlessly added two more Grammies to
EXTD= the one for their 1985 collaboration on "Cosmic Square Dance," a
EXTD=nd to Dire Straits' 1985-86 awards for "Money for Nothing" and fo
EXTD=r the "Brothers in Arms" video). His voice had darkened by yet an
EXTD=other couple of notches. Last but not least, he had remarried.\nT
EXTD=he artist who emerged from all this for the production of 1996's 
EXTD="Golden Heart" was, of course, still the guitar whiz who had foun
EXTD=ded Dire Straits 19 years earlier; as amply demonstrated througho
EXTD=ut the album, from the first track ("Darling Pretty"), dedicated 
EXTD=to wife Kitty Aldridge, to the closing "Are We in Trouble Now." B
EXTD=ut in the attempt to, as he said, "just move forward" and "be bet
EXTD=ter," Knopfler also went ways that he would probably not have bee
EXTD=n able to go with Dire Straits. "Darling Pretty" and even more so
EXTD=, "A Night in Summer Long Ago," explore the musical influences Ma
EXTD=rk Knopfler first experienced as a kid in Glasgow, featuring a nu
EXTD=mber of renowned Celtic musicians; most notably perhaps Chieftain
EXTD=s Derek Bell (harp in "Darling Pretty") and Sean Keane (violin in
EXTD= "A Night in Summer Long Ago"). "Je Suis Dsol" and "Done With B
EXTD=onaparte" add French inflections; dealing, respectively, with an 
EXTD=emigrant's hopes upon setting sail for the new world, and the dis
EXTD=illusionment and anger of a soldier trapped in the "little corpor
EXTD=al's" Russian campaign. "Cannibals" sounds like upbeat rockabilly
EXTD= ... until you listen to the lyrics. By now, Paul Franklin's peda
EXTD=l steel guitar playing was a fixture on Knopfler's records, too -
EXTD= although he was not one of the five guys initially coming togeth
EXTD=er for the production of this album and the following tour (besid
EXTD=es Mark Knopfler, "the inevitable" Guy Fletcher, Richard Bennett,
EXTD= Chad Cromwell and Glenn Worf), for lack of a better title dubbed
EXTD= "the 96ers," Franklin's significant contributions quickly earned
EXTD= him the title of an "honorary 96er." Sonny Landreth, Vince Gill,
EXTD= Mirtin O'Connor, Steve Nathan, Brendan Croker and a number of o
EXTD=ther noted artists round up the group of, as always, outstanding 
EXTD=musicians Knopfler invited to work with him on "Golden Heart."\n\n
EXTD=As does his music, his lyrics on the album cover the entire bread
EXTD=th of subjects from social and political commentary ("Imelda," "N
EXTD=o Can Do," "Vic and Ray," "Don't You Get It," "Cannibals," "Rdig
EXTD=er") to stories about love, hope and war, from ancient times unti
EXTD=l today ("Darling Pretty," "Golden Heart," "A Night in Summer Lon
EXTD=g Ago," "I'm the Fool," "Je Suis Dsol," "Nobody's Got the Gun,"
EXTD= "Done With Bonaparte," "Are We in Trouble Now"). Not all songs a
EXTD=re new material: "Rdiger," which reflects on the type of people 
EXTD=who try to blunt the loneliness and meaninglessness of their own 
EXTD=lives by hunting celebrities for their celebrity status, without 
EXTD=truly caring for their work product, was written at the time of J
EXTD=ohn Lennon's assassination, approximately 15 years earlier. Like 
EXTD=many other songs on this album, it displays a level of introspect
EXTD=ion not present in Knopfler's work with Dire Straits. And finally
EXTD=, the man who had once written "Romeo and Juliet" added several m
EXTD=ore gems to the collection of his love songs; one of which, "A Ni
EXTD=ght in Summer Long Ago," so impressed another musician who had fo
EXTD=und true love at just about the same time as Knopfler that he ded
EXTD=icated a cover of the song to his own bride on their wedding day 
EXTD=and has since repeatedly performed it live (Don Henley).\n\nIn al
EXTD=l of their configurations over the course of their more-than-deca
EXTD=de-long existence, Dire Straits were often labeled as just anothe
EXTD=r name for Mark Knopfler because of that one man's overwhelming i
EXTD=nfluence on the entire band. There never was a question that with
EXTD=out Knopfler, the band would not be able to exist; and from their
EXTD= smoky, raw, blues-driven first album to their billion-selling "B
EXTD=rothers in Arms" and 1991's "On Every Street," there was a distin
EXTD=ct sound to a Dire Straits record that depended as much on Knopfl
EXTD=er's unique and often spectacular style as a guitarist as on his 
EXTD=dark, laid-back vocals. Not everybody was therefore happy with hi
EXTD=s decision to go new ways on his first solo album. But should a p
EXTD=rolific writer like him really be blamed for wanting to explore n
EXTD=ew dimensions? I don't think so. "Golden Heart" is a step forward
EXTD=, not sideways - towards greater maturity and less showmanship, m
EXTD=ore meditative, musically as excellent as anything ever created b
EXTD=y Knopfler, and produced with as much attention to detail. The al
EXTD=bum would have deserved much more success than it initially had -
EXTD= and if its successor's acclaim would generate more belated atten
EXTD=tion for this first solo release, too (as I hope it eventually wi
EXTD=ll), that would be more than justified. \n\n\nHalf.com Details \n
EXTD=Contributing artists: Guy Fletcher, Paul Brady, Sonny Landreth, T
EXTD=he Chieftains, Vince Gill \nProducer: Chuck Ainlay, Mark Knopfler
EXTD= \n\nAlbum Notes\nPersonnel: Mark Knopfler (vocals, guitar); Rich
EXTD=ard Bennett (acoustic guitar); Paul Franklin (pedal steel); Donal
EXTD= Lunny (bouzouki); Sean Keane (violin); Derek Bell (Irish harp); 
EXTD=Paul Brady (whistle); Liam O'Flynn (Uilleen pipes); Mairtin O'Con
EXTD=nor (accordion); Matt Rollings, Barry Beckett, Hargus "Pig" Robbi
EXTD=ns (piano); Steve Nathan (keyboards, Hammond organ); Bill Cuomo (
EXTD=Hammond organ); Guy Fletcher (keyboards, background vocals); Glen
EXTD=n Worf, Michael Rhodes (bass); Eddie Bayers, Chad Cromwell (drums
EXTD=); Terry McMillan (djembe); Danny Cummings (percussion, backgroun
EXTD=d vocals); Vince Gill, Brendan Croker (background vocals).\n\nRec
EXTD=orded in Nashville, Tennessee; London, England; Dublin, Ireland.\n
EXTD=\nAll tracks have been digitally mastered using HDCD technology.\n
EXTD=\nThe Dire Straits' mastermind's first non-soundtrack solo album 
EXTD=is a refreshingly diverse outing. Mellower overall than his previ
EXTD=ous fare, there's still plenty of stunning guitar work and solid 
EXTD=songcrafting to be had here. The songs cover a lot of stylistic b
EXTD=ases, from rock to folk, Celtic, blues and somber balladeering. T
EXTD=he disc is full, yet its diversity never becomes superfluous. A w
EXTD=ell-planned and pleasing slice of craftsmanship from one of rock'
EXTD=s reigning originals.
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