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# Revision: 46
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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 Desole
TTITLE10=Rudiger
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 Knopfler's debut non-soundtrack solo album, Golden Heart, was, in effect, the follow-up to the last Dire Straits studio album, On Every Street (1991). But it was also a compendium of the 
EXTD=various musical endeavors in which Knopfler had engaged since emerging as a major figure in 1978. "Imelda" was cast in the mold of "Money for Nothing," with its trademark electric guitar riff and sardonic lyrics about Imelda Marcos, and other songs 
EXTD=resembled Dire Straits songs, notably "Cannibals," which recalled "Walk of Life." But "A Night in Summer Long Ago" was presented in a Scots/Irish traditional folk style, complete with a lyric about a knight and a queen and would have fit nicely on K
EXTD=nopfler's soundtrack for The Princess Bride, and "Are We in Trouble Now" was a country ballad featuring pedal steel guitar and the piano playing of Nashville session ace Hargus "Pig" Robbins that would have been appropriate for Knopfler's duo album 
EXTD=with Chet Atkins. For all that, there was little on the album that was new or striking, and Knopfler seemed to fall back on familiar guitar techniques while intoning often obscure lyrics. You get the feeling that there was a story behind each song, 
EXTD=but except in the cases of "Rudiger," a character study of an autograph hunter, and "Done with Bonaparte," the lament of a 19th century French soldier on the retreat from Moscow, you might have to read Knopfler's interviews to find out what the song
EXTD=s were actually about. Knopfler hadn't used the opportunity of a solo album to challenge himself, and at the same time he had lost the group identity (however illusory) provided by the Dire Straits name. The result was listenable but secondhand.  --
EXTD= William Ruhlmann\n\n\nAMAZON.COM CUSTOMER REVIEW\nSolid, November 21, 2004 \nBy  Scott Rogers\n\nMKs first solo effort is uncompromising, but as comfortable as a good pair of slippers. Not drawing as much of his Nashville influence as on his latter
EXTD= solo projects, Golden Heart sound more Dire Straitish than one might think, after all he WAS Dire Straits. "Darling Pretty" and "Golden Heart" are as gorgous as anything MK has ever written and "Don't You Get It" is as laid-back-in -the-pocket-groo
EXTD=ve as only MK can write. Overall a slower paced album than most Dire Straits records, with the exception of the cute "Cannibals" with a two-step beat and honkin accordian zydeco sound, Golden Heart will give Dire Strait lovers their fix, moreso than
EXTD= the next two MK releases, but that's another review. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nCajun Salad a la Knopfler, part 1.., March 21, 2002 \nBy  spiral_mind (Pennsylvania)\nIf you've been following Mark Knopfler's habit of making albums from Dire
EXTD= Straits, chances are you can see a pattern. There's some swampy blues, some gritty rock, and at least one uptempo happy tune. You can count on a few scattered love songs that are either touchingly powerful or nauseatingly sappy (depending on your o
EXTD=pinion). If you don't like that particular side of Mark, chances are you'll skip at least half of Golden Heart.\nThe gravelly voice and unmistakable Fender licks are still here. An unknowing fan could hear "No Can Do" or "Don't You Get It" and still
EXTD= tell (as I did the first time) that it was Knopfler playing. And though some of the others may take a little more getting used to (there's also a generous helping of Cajun spice and a touch of Irish soul added to this album), in their own way they'
EXTD=re just as much a seamless part of the whole. Mark has a way of making stories come alive through the lyrics: and in addition to the candlelit dinners and dusty country roads, this one takes you as far away as rustic Ireland in summer or the middle 
EXTD=of the French Revolution.\n\nWhich side of Dire Straits do you like more? Some tracks here will please you if "Walk of Life" and "Calling Elvis" are among your favorites, but you may prefer the followup Sailing to Philadelphia first. If you've found
EXTD= yourself spinning "Why Worry" and "Romeo and Juliet" more than anything else on your DS albums, this one will be well worth the cost. \n\n\n\nAMAZON.COM CUSTOMER REVIEW\nA step forward for an already mature and accomplished artist, July 25, 2001 \n
EXTD=By  Themis-Athena (from somewhere between California and Germany)\n\nMark Knopfler laid Dire Straits to rest some time after their last, 1992-93 tour which had produced the "On the Night" live album. By that time, he had written several film scores;
EXTD= including one, 1984's "Cal," which was set in Northern Ireland and prominently featured a large dose of Celtic music, after his first film score (1983's "Local Hero") had already been for a movie set in Scotland. He had temporarily gone Missing (Pr
EXTD=esumed Having a Good Time) with the Notting Hillbillies. He had taken a plunge into the Nashville scene and recorded "Neck & Neck" with country star Chet Atkins (and thus effortlessly added two more Grammies to the one for their 1985 collaboration o
EXTD=n "Cosmic Square Dance," and to Dire Straits' 1985-86 awards for "Money for Nothing" and for the "Brothers in Arms" video). His voice had darkened by yet another couple of notches. Last but not least, he had remarried.\nThe artist who emerged from a
EXTD=ll this for the production of 1996's "Golden Heart" was, of course, still the guitar whiz who had founded Dire Straits 19 years earlier; as amply demonstrated throughout the album, from the first track ("Darling Pretty"), dedicated to wife Kitty Ald
EXTD=ridge, to the closing "Are We in Trouble Now." But in the attempt to, as he said, "just move forward" and "be better," Knopfler also went ways that he would probably not have been able to go with Dire Straits. "Darling Pretty" and even more so, "A N
EXTD=ight in Summer Long Ago," explore the musical influences Mark Knopfler first experienced as a kid in Glasgow, featuring a number of renowned Celtic musicians; most notably perhaps Chieftains Derek Bell (harp in "Darling Pretty") and Sean Keane (viol
EXTD=in in "A Night in Summer Long Ago"). "Je Suis Dsol" and "Done With Bonaparte" add French inflections; dealing, respectively, with an emigrant's hopes upon setting sail for the new world, and the disillusionment and anger of a soldier trapped in th
EXTD=e "little corporal's" Russian campaign. "Cannibals" sounds like upbeat rockabilly ... until you listen to the lyrics. By now, Paul Franklin's pedal steel guitar playing was a fixture on Knopfler's records, too - although he was not one of the five g
EXTD=uys initially coming together for the production of this album and the following tour (besides Mark Knopfler, "the inevitable" Guy Fletcher, Richard Bennett, Chad Cromwell and Glenn Worf), for lack of a better title dubbed "the 96ers," Franklin's si
EXTD=gnificant contributions quickly earned him the title of an "honorary 96er." Sonny Landreth, Vince Gill, Mirtin O'Connor, Steve Nathan, Brendan Croker and a number of other noted artists round up the group of, as always, outstanding musicians Knopfl
EXTD=er invited to work with him on "Golden Heart."\n\nAs does his music, his lyrics on the album cover the entire breadth of subjects from social and political commentary ("Imelda," "No Can Do," "Vic and Ray," "Don't You Get It," "Cannibals," "Rdiger")
EXTD= to stories about love, hope and war, from ancient times until today ("Darling Pretty," "Golden Heart," "A Night in Summer Long Ago," "I'm the Fool," "Je Suis Dsol," "Nobody's Got the Gun," "Done With Bonaparte," "Are We in Trouble Now"). Not all 
EXTD=songs are new material: "Rdiger," which reflects on the type of people who try to blunt the loneliness and meaninglessness of their own lives by hunting celebrities for their celebrity status, without truly caring for their work product, was writte
EXTD=n at the time of John Lennon's assassination, approximately 15 years earlier. Like many other songs on this album, it displays a level of introspection not present in Knopfler's work with Dire Straits. And finally, the man who had once written "Rome
EXTD=o and Juliet" added several more gems to the collection of his love songs; one of which, "A Night in Summer Long Ago," so impressed another musician who had found true love at just about the same time as Knopfler that he dedicated a cover of the son
EXTD=g to his own bride on their wedding day and has since repeatedly performed it live (Don Henley).\n\nIn all of their configurations over the course of their more-than-decade-long existence, Dire Straits were often labeled as just another name for Mar
EXTD=k Knopfler because of that one man's overwhelming influence on the entire band. There never was a question that without Knopfler, the band would not be able to exist; and from their smoky, raw, blues-driven first album to their billion-selling "Brot
EXTD=hers in Arms" and 1991's "On Every Street," there was a distinct sound to a Dire Straits record that depended as much on Knopfler's unique and often spectacular style as a guitarist as on his dark, laid-back vocals. Not everybody was therefore happy
EXTD= with his decision to go new ways on his first solo album. But should a prolific writer like him really be blamed for wanting to explore new dimensions? I don't think so. "Golden Heart" is a step forward, not sideways - towards greater maturity and 
EXTD=less showmanship, more meditative, musically as excellent as anything ever created by Knopfler, and produced with as much attention to detail. The album would have deserved much more success than it initially had - and if its successor's acclaim wou
EXTD=ld generate more belated attention for this first solo release, too (as I hope it eventually will), that would be more than justified. \n\n\nHalf.com Details \nContributing artists: Guy Fletcher, Paul Brady, Sonny Landreth, The Chieftains, Vince Gil
EXTD=l \nProducer: Chuck Ainlay, Mark Knopfler \n\nAlbum Notes\nPersonnel: Mark Knopfler (vocals, guitar); Richard Bennett (acoustic guitar); Paul Franklin (pedal steel); Donal Lunny (bouzouki); Sean Keane (violin); Derek Bell (Irish harp); Paul Brady (w
EXTD=histle); Liam O'Flynn (Uilleen pipes); Mairtin O'Connor (accordion); Matt Rollings, Barry Beckett, Hargus "Pig" Robbins (piano); Steve Nathan (keyboards, Hammond organ); Bill Cuomo (Hammond organ); Guy Fletcher (keyboards, background vocals); Glenn 
EXTD=Worf, Michael Rhodes (bass); Eddie Bayers, Chad Cromwell (drums); Terry McMillan (djembe); Danny Cummings (percussion, background vocals); Vince Gill, Brendan Croker (background vocals).\n\nRecorded in Nashville, Tennessee; London, England; Dublin, 
EXTD=Ireland.\n\nAll tracks have been digitally mastered using HDCD technology.\n\nThe Dire Straits' mastermind's first non-soundtrack solo album is a refreshingly diverse outing. Mellower overall than his previous fare, there's still plenty of stunning 
EXTD=guitar work and solid songcrafting to be had here. The songs cover a lot of stylistic bases, from rock to folk, Celtic, blues and somber balladeering. The disc is full, yet its diversity never becomes superfluous. A well-planned and pleasing slice o
EXTD=f craftsmanship from one of rock's reigning originals. YEAR: 1996
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