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Mark Knopfler: Tracker

 A l b u m   D e t a i l s


Label: Verve/Virgin Records
Released: 2015.03.16
Time:
 60:34
Category: Rock
Producer(s): Mark Knopfler, Guy Fletcher
Rating:
Media type: CD
Web address: www.markknopfler.com
Appears with: Dire Straits
Purchase date: 2015
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Laughs and Jokes and Drinks and Smokes (M.Knopfler) - 6:40
[2] Basil (M.Knopfler) - 5:45
[3] River Towns (M.Knopfler) - 6:17
[4] Skydiver (M.Knopfler) - 4:38
[5] Mighty Man (M.Knopfler) - 5:55
[6] Broken Bones (M.Knopfler) - 5:30
[7] Long Cool Girl (M.Knopfler) - 5:06
[8] Lights of Taormina (M.Knopfler) - 6:09
[9] Silver Eagle (M.Knopfler) - 5:02
[10] Beryl (M.Knopfler) - 3:11
[11] Wherever I Go [feat. Ruth Moody] (M.Knopfler) - 6:27

 A r t i s t s ,   P e r s o n n e l


Mark Knopfler - Vocals, Guitars, Mandolin on [2], Terz Guitar on [2,3,5,11], Producer

Guy Fletcher - Keyboards, Vocals, Bass on [3,6], Ukulele on [4], Engineer, Producer
Bruce Molsky - Fiddle on [1,5], Acoustic Rhythm Guitar on [8]
John Mccusker - Fiddle, Cittern
Mike Mcgoldrick - Whistle, Wooden Flute, Tenor Guitar  on [1,8]
Phil Cunningham - Accordion on [1,5,8]
Glenn Worf - Upright & Electric Bass
Ian Thomas - Drums, Washboard on [4]
Nigel Hitchcock - Saxophone on [3,11]
Tom Walsh - Trumpet on [11]
Ruth Moody - Vocals on [2,4,7,11]

Joe Kearns - Assistant Engineer
Jason Elliott - Assistant Engineer
Andy Cook - Assistant Engineer
Martin Hollis - Assistant Engineer
Bob Ludwig - Mastering
Kitty Aldridge - Cover Photo
Peter Blake - Photography
George Bray - Photography
Henrik Hansen - Photography
Brendan King - Photography
Steve Pyke - Photography
Art Turner - Photography
Basil Bunting - Poetry
Wendy Whiteley - Sketches
Richard Ford - Sleeve Notes

 C o m m e n t s ,   N o t e s


Recorded at British Grove Studios, London; mastered at Gateway Mastering Studios, Portland, Maine  in 2015.



Scaled smaller than 2012's double-album Privateering, Tracker also feels suitably subtle, easing its way into being instead of announcing itself with a thunder. Such understatement is typical of Mark Knopfler, particularly in the third act of his career. When he left Dire Straits behind, he also left behind any semblance of playing for the cheap seats in an arena, but Tracker feels quieter than his new millennial norm. Some of this is due to the undercurrent of reflection tugging at the record's momentum. Knopfler isn't pining for the past but he is looking back, sometimes wistfully, sometimes with a resigned smile, and he appropriately draws upon sounds that he's long loved. Usually, this means some variation of pub rock - the languid ballad "River Towns," the lazy shuffle "Skydiver," the two-chord groove of "Broken Bones" - but this is merely the foundation from which Knopfler threads in a fair amount of olde British folk and other roots digressions. This delicate melancholy complements echoes of older Knopfler songs - significant stretches of the record are reminiscent of the moodier aspects of Brothers in Arms, while "Beryl" has just a bit of the "Sultans of Swing" bounce - and this skillful interweaving of Knopfler's personal past helps give Tracker a nicely gentle resonance.

Stephen Thomas Erlewine - All Music Guide



For Mark Knopfler, this year's 30th anniversary of Dire Straits' Brothers in Arms — and its Number One hit, "Money for Nothing" — is bittersweet. In retrospect, the record marked the beginning of the end of the band. "It reached a critical mass and an awful lot of people wanted to see us live," Knopfler recalls from his studio in London. "It got much bigger on the live side of things. I wasn't altogether happy with that. Later, towards 1992 or 1993, we had three big stages leapfrogging around and a massive lighting rig and all that nonsense, and extra guys on the crew I didn't know."

During this period, Knopfler began composing material that was less rock, more atmospheric and distinctly non Straits-like. "I'd been writing songs that were turning up in my notebooks that needed different palettes of music, more and different instruments," he says. Disbanding Dire Straits in the mid-Nineties, Knopfler threw himself into those different textures and sounds — recording solo albums, soundtracks and collaborations with Emmylou Harris and Nashville guitar legend Chet Atkins.

Tracker, his eighth solo album, is quintessential Knopfler. Backed by his longtime solo-career band, which still includes former Dire Straits keyboardist Guy Fletcher, Knopfler sings of a lonesome gravedigger ("Mighty Bones"), a derelict ("River Towns") and a newspaper copy boy, inspired by his own youth ("Basil") to craft moody, mournful, Celtic-inflected arrangements sprinkled with his characteristic spiraling guitar lines. Some of the characters in the songs are haunted by memories of the past, hence the title. "It's called Tracker in the sense of tracking time over decades," he says. "Tracking down a song to the end."

Knopfler knows that making cohesive albums built around storytelling isn't exactly in vogue, but he says he doesn't care. "The 'music industry' is not a term I use," he says. "I tend to concentrate on music, and the music business is something different." In an old-school move, Knopfler even gave CDs of Tracker to friends, which, he says, positively affected their reaction to the music. "They said it made a real difference that I'd done that," he says. "It's a different thing from people downloading. If you actually buy the record and give it to somebody, it makes a difference. Maybe the idea of giving somebody a [physical] record as a present will come back."

Notoriously fastidious, Knopfler says he has Bob Dylan to partly thank for Tracker. Knopfler toured as Dylan's opening act in Europe in 2011, followed by a swing through the States the following year. Two songs on Tracker, "Silver Eagle" (named after the iconic line of tour buses) and "Lights of Taormina," were written during those dates. "I wouldn't have written those songs without doing two tours with Bob on buses," he says.

During those tours, Knopfler would often join Dylan and his band for the first four songs of Dylan's set, playing along with "Tangled Up in Blue," "Things Have Changed," and other Dylan songs. "Bob was quite thoughtful about it," Knopfler says. "I'd play and then change my shirt and jump with Bob and his band. I'd play about four songs and then I'd get on my coach and get on down the road and get a running start on Bob. Then they'd get on their buses and come on down the road after us." (In the CD booklet for Tracker, Knopfler included a photo of him and Dylan at the microphone, from earlier tours, as a nod to those collaborations.)

Knopfler, who first worked with Dylan on the sessions for 1979's Slow Train Coming, says he and Dylan both share an interest in "the same roots music" and also a lack of interest in schmoozing. Is Dylan a hang-out-backstage guy? "No," Knopfler says, "but then, neither am I."

When Knopfler hits the road himself this year, expect as always to hear a few — but not that many — Dire Straits hits. "I still enjoy playing some of those early Straits songs and I'm proud of what we did, and certainly we had some great times," he says. "It's what we all wanted when we were kids. But you've got to have the resilience to ride that thing, to pick up that ball and run with it. Because you will keep picking it up and keep running." A few years ago, former member of Dire Straits, calling themselves the Straits, began touring, playing the old repertoire that Knopfler himself often avoids onstage. "Poor souls," Knopfler says of that band, before softening his tone. "I don't know — it's not for me."

David Browne - March 13, 2015
RollingStone.com



Tracker is Mark Knopfler’s eighth studio (non-soundtrack) set since 1996, which is two more than his old band churned out in their 13 year run. The Dire Straits years that put him on the map get smaller in the rear view mirror with every solo release and on this one there are few traces left of the old days. But, that’s as it should be since Knopfler seems content to march to his own, far less expansive sonic drummer.

Touches of Celtic, jazz, country and folk, but seldom rock, inform these lovely tunes that take their time as if on a leisurely stroll. The eleven tracks clock in at over an hour (only two are under five minutes) and that languorous vibe extends to Knopfler’s heavy lidded, conversational voice. He’s in no hurry telling these colorful stories that unspool slowly and deliberately.  Like much of Van Morrison’s best work, the relaxed pace provides the consistent thread that makes this a cohesive album instead of a batch of songs. Tellingly, Knopfler guests on Morrison’s new release of duets.

Knopfler also contributed two tracks to last year’s Eric Clapton helmed J.J. Cale tribute so it’s no surprise that a few of these selections are heavily inspired by the Okie singer/songwriter. The beautiful soft shuffle of “The Lights of Taomina” and the lazy loping “River Towns” reveal resilient strands of Cale’s everyman, less-is-more approach. Only on the relatively driving “Beryl,” a cousin of “Sultans of Swing,” does Knopfler revert to anything that could be considered Straits material.

The closing duet with Ruth Moody from the Wailin’ Jennies recalls his association with Emmylou Harris on a shimmering, sax infused piece that is arguably one of Knopfler’s most glowing ballads. The album’s softly dignified pace, immaculately constructed lyrics and especially the immediately identifiable slithering guitar lines are all in place. They create timeless songs that feel organic, measured and are clearly heartfelt as Knopfler crafts music that will sound as magnificent in 50 years as it does today.

4 out of 5 stars

Hal Horowitz - March 17th, 2015
© 2015 ForASong Media - American Songwriter



Between Dire Straits, solo, soundtracks and collaborations, this is Mark Knopfler’s 27th album, and it is probably fair to say we know what to expect by now. Tracker is another collection of carefully observed songs of ordinary lives, essaying folk, blues, country and early rock’n’roll forms, delivered with a low, mordant, deadpan voice. Dark material such as River Towns, Mighty Man and Wherever I Go leaves a particularly strong emotional aftertaste, even if it doesn’t always quicken the blood.

In his solo career, Knopfler tends to keep those lightning flashes of silvery electric lead guitar to a minimum, letting his band flesh out tracks with understated refinement. I can’t be alone in missing the epic scope of his more dramatically forceful work with Dire Straits.

The standout track for me is a boxing song, Broken Bones, on which Knopfler picks up the tempo to concoct a simple, yet hypnotic, disco groove with a lovely interplay between multiple rhythm and lead guitars. Intriguingly, it is the only song recorded completely solo.

Fans will find much to enjoy here, but it might be time for Knopfler to push himself out of his comfort zone.

Neil McCormick - 14 Mar 2015
© Copyright of Telegraph Media Group Limited 2015



Mark Knopfler has released ‘Beryl,’ the first single from his upcoming album, ‘Tracker,’ which will be released March 17. He also announced the track listing and unveiled the cover art. You can listen to the song above.

According to Knopfler’s website, ‘Beryl’ is about Beryl Bainbridge, a famous British novelist whose most prolific period was from the early ‘70s to the mid-‘80s. She was frequently nominated for the Booker Prize, the most prestigious award given to a British writer of fiction, but did not receive one until after her death in 2010. The former Dire Straits frontman uses her as an example of someone who was not properly recognized in her lifetime, singing, “Every time they’d overlook her / When they gave her a Booker / She was dead in her grave / After all she gave.”

“The album title ‘Tracker’ arrived out of me trying to find my way over the decades,” Knopfler said. “Out of me tracking time – looking at people, places and things from my past, and out of the process of tracking as in recording tracks in the studio.”

In addition to the standard CD and double-vinyl releases, ’Tracker’ will be available as a Deluxe Edition with four bonus tracks. There will also be a box set combining the CD and vinyl versions, a CD with six extra tracks, a DVD with documentary and interview footage, special liner notes and extra artwork.

Dave Lifton - January 17, 2015
ultimateclassicrock.com



Mark Knopfler has settled. He has found his place. You couldn’t find a more consistent singer/songwriter/guitarist out there if you tried. The former Dire Straits frontman has been delivering solo albums on a reliable basis since 2000, and none of them turned out to be lemons.

However, as unkind as you think this next statement will sound, I certainly don’t mean it that way: “consistent” can’t be confused for “best”. As prolific as Knopfler has been in recent years, his music has become easier to swallow with each release. In order to give an album like Tracker a fair shake, we need to take Knopfler’s inoffensive manner as a given and evaluate the album accordingly. Knowing what we know about Mark Knopfler’s music in the 21st century (only one soundtrack, so far), does Tracker have a magnetic pull to it or is it just marking time? I hate to do this to you, but… it’s a little bit of both.

Tracker is just a small hike from 2007’s Kill to Get Crimson. There’s no “Boom, Like That”, no “What It Is”, no “Why Aye Man”. The most uptempo moments, such as “Broken Bones” and “Beryl”, breeze by instead of drive. Knopfler’s knack for English folk remains as subdued as it ever was. He still finds ways to write a good waltz melody and has fortunately come to realize that the blues is not his strong suit.

Tracker starts off with one of these terrific songs in three-quarter time, one that could get stuck in your brain before the week’s end. “Laughs and Jokes and Drinks and Smokes” is the sound of growing up socially happy in London while not counting your money: “We were young, so young and always broke / Not that we ever cared.” Knopfler and his band also treat it as a moment to stretch out the music and let it breathe. At over six minutes, the “song” itself doesn’t really start right away and takes the long road when ending.

In fact, most of Tracker isn’t wound very tight (the 16-track edition lasts 77 minutes). “Skydiver”, a day in the life of a devil-may-care gambler set to something akin to the Lovin’ Spoonful, relies on its simple chorus quite a bit. When English folk meets Americana on “River Towns”, Knopfler is in even less of a hurry to take the song anywhere—not that it has anywhere to go. These are “sorry river towns”, after all.

It seems that Mark Knopfler will never run out of narratives, as long as his literary interests maintain their tight grip on his songs. The poet Basil Bunting gets his own waltz through the humbling eyes of a young copyboy, working for little money and facing clientele who are “grumpy as hell”. Knopfler expresses his mystification as to why Beryl Bainbridge never won the Man Booker Prize for Fiction through song. He likened the song to his Dire Straits output, though it probably would have been too easy-going to stand out on any of those old albums. Even without the aide of heavy reading, Knopfler’s songs never settle for anything trite. He can make getting your ass kicked sound close to poetic, as you will notice that the wah-stomp “Broken Bones” gives more pain bang for your boxing buck than with 2004’s “Song for Sonny Liston”: “You take it like a man on the chin / And you don’t make a fuss when the towel comes in.”

It’s hard to nail down a specific identity for Tracker. The quality of each song is consistently good, but the album doesn’t feel very cohesive when you step back to consider the whole package. You will warm up to some songs considerable quicker than others, almost to the point where slower and quieter numbers are in danger of being overlooked. “Wherever I Go”, the track the closes out most editions of Tracker, will likely be remembered more as a vocal duet with Ruth Moody than a distinctive closer. But depending on what format you spring for, you can clinch Tracker with the dirty Stones-esque ditty “Hot Dog”—“It’s either you or me.”

Rating: 6 of 10

John Garratt - 18 March 2015
PopMatters Associate Music Editor



Tracker is the eighth solo album by British singer-songwriter and guitarist Mark Knopfler, released on March 16, 2015 (17 March 2015 in North America). According to Knopfler's website, Tracker was released on CD, double vinyl, deluxe CD with four bonus tracks, and a box set with the album on both CD and vinyl formats and a bonus CD featuring six extra tracks and a DVD with a short film directed by Henrik Hansen and an interview with Knopfler.

Knopfler will promote the album in his upcoming 2015 Tracker Tour, scheduled to start on 15 May 2015 in Dublin, Ireland. The tour will include 85 concerts in two legs—Europe and North America—and will end on 31 October 2015 in Fort Lauderdale, Florida in the United States.

Wikipedia.org
 

 L y r i c s


LAUGHS AND JOKES AND DRINKS AND SMOKES

Laughs and jokes
And drinks and smokes
And no lights on the stairs
We were young, so young
And always broke
Not that we ever cared
Not that we ever cared

Well, the holes in the walls
Were such a lot
Welcome to London town
But when you’re new to it all
And you think you’re hot
You’re not planning on hanging around
People would go on their different ways
I left to start a band
A note came through the letter box
In your childlike hand

Oh, laughs and jokes
And drinks and smokes
And no lights on the stairs
We were young, so young
And always broke
Not that we ever cared
Not that we ever cared

One day I rode to where you were
The doorbell jangled a note
They buzzed me in
I climbed the stairs
In my boots and leather coat
There’s an old brass
Standing there at the top
Without her witch’s broom
It almost seemed like a knocking shop
When the girls came out of their rooms

And they all stood around
And stared at me
Two brunettes and a blonde
Then the old brass shrugged and said
We don’t know where she’s gone
Later on I picked up the ball
And I took off down the line
I suppose by then I’d realised
You’d run into hard times

Oh, laughs and jokes
And drinks and smokes
And no lights on the stairs
We were young, so young
And always broke
Not that we ever cared
Not that we ever cared


BASIL

My Saturday job pays six and six down
A copy boy at the Chronicle
Five cigarettes and two silver half crowns
Meeting Vince at Mark Toney’s in town
Boy, do we get around

Basil sits there on the table for subs
But not a part of the Bri-nylon club
Ancient blue sweater, too old for the job
Bored out of his mind
With the Colins and Bobs

I’m a jack and a lad
And I’m up for the world
And I’ve kissed a Gateshead girl

He calls for a copy boy, grumpy as hell
Poets have to eat as well
What he wouldn’t give just to walk out today
To have time to think about time
And young love thrown away

I’m a jack and a lad
And I’m up for the world
And I’ve kissed a Gateshead girl

Starlings swarming
A cloud over Grainger Street
Over the black church
Over the Black Gate
And the shadowy Keep

He peers through his wire rims
At the fish and chip words
He’s supposed to dish up and forget
His drudgery now has become slightly blurred
By one of his Players untipped cigarettes

Bury all joy
Put the poems in sacks
And bury me here with the hacks

In the summer the fair
Will stretch over the Moor
Lovers will lie and make out in the park
Basil puts on his old duffel and scarf
And goes out into the dark


RIVER TOWNS

I came in three days early
To meet my boat
It ain’t the life of Riley
But it’s keeping me afloat
It’s quiet over Christmas
If you got no place to go
I got my home from river rats
The only home I know

I found myself a flophouse
And I hit the streets at nine
Get some grub and drink a beer
Maybe go down the line
These chips will take your money
Shake a young man down
It’s the same in every one of these
Sorry river towns

River towns, sorry river towns
River towns
River towns, sorry river towns
River towns

Well I picked me up a bottle
To take back to the room
Then I saw a young girl standing
In a doorway in the gloom
We’d hardly started talking
The old scenario
And I just let her work me over
Down by the Ohio

River towns, sorry river towns
River towns
River towns, sorry river towns
River towns

When I asked her if she’d like to stay
She was down my stairs so quick
I never asked what got her started
With the sorry river tricks
So I get the bottle open
But something’s hit a nerve
And I’m looking in the mirror
At the face that I deserve

River towns, sorry river towns
River towns
River towns, sorry river towns
River towns


SKYDIVER

I’ve been banned from every racecourse in the country
There’s something about the unsure thing
Like scoring with a beauty of the county
It always makes the old bell ring

I like to go for broke and I’ll be randy
It’s got to be the unsure thing
In the Bentley Continental with the brandy
It always makes the old bell ring

And when it’s gone, all gone
I’ll stand on a hilltop and sing
I go where I want, I do what I want
And I don’t give a damn about a thing

Skydiver

Today I lost a packet at Wincanton
Dive Bomber in the 2.15
All on the nose and no-one counting
Nothing wishy-washy in between

Back when I made the pivotal decision
To take a winding road that I could see
It was just like being given an incredible permission
The rules don’t apply to me

And when it’s gone, all gone
I’ll stand on a hilltop and sing
I go where I want, I do what I want
And I don’t give a damn about a thing

Skydiver

I’m not being brave, it’s my money, not my life
When I need to take a break from the brushes and the knife
And I always took a fancy to the ones
Heading straight into the teeth of the guns

Skydiver


MIGHTY MAN

A room on the top floor
And the chest all but knackered
Two fingers not working
And the back’s shot to hell
It’s a lifetime of digging trenches
In the cold and wet weather
And for laying half the roadway
In England as well

You’d finish in the one place
It was straight to the next one
And you never could settle
And you were always alone
Just a drifter in limbo
I was best off away, son
Just one of the thousands
Who could never go home

That’s your mighty man, son
Your mighty man

Well, the boat and the train ride
In a misty November
We had the worst of the lodgings
And we hated the subs
Ma’s face on the leaving
I will always remember
And we wouldn’t get paid
Until they had closed up their pubs

And I could stand up on horseback
Was the man for the singing
Put my hand up for boxing
At the fairground on the heath
I could play my accordion
And charm all of the women
And dance round the taproom
With a chair in my teeth

That’s your mighty man, son
Your mighty man
That’s your mighty man, son
Your mighty man


BROKEN BONES

She likes a man with a broken nose
Lucky for me, I suppose
Shots coming in like the monthly bills
Soon they’ll be saying I’m over the hill

Well the bell goes clang and you’re on your own
You take your medicine and go home
You take it like a man, on the chin
And you don’t make a fuss when the towel comes in

Now let me go home, got to lay in ice
And I don’t want to hear no more advice
Just give me my clothes
Get me out of this place
How many more stitches in my face?

Those broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home
Broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home

He had the punch lines, I was the joke
Every shot felt like something broke
It was all much more than a man should stand
And I finally went down to a big right hand

Now let me go home, got to lay in ice
And I don’t want to hear no more advice
Just give me my clothes
Get me out of this place
How many more stitches in my face?

Those broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home
Broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home

Broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home
Broken bones, you pick ‘em up and carry ‘em
Broken bones, you carry ‘em home


LONG COOL GIRL

All I do is think of you
As I go around the world
All I do is think of you
Long, cool girl

Long, cool girl
I like to say her name
Long, cool girl
With a showgirl frame

You took a look at me
I took a look at you
Now I just can’t see
What a man’s supposed to do

Long, cool girl
I like to say her name
Long, cool girl
With a showgirl frame

Me and you we’re 3 and 2
Something’s gonna happen now, it has to
Me and you we’re 3 and 2
Something’s gonna happen now, it has to

Pressure drop and weather change
All around the world
You got me at point blank range
Long, cool girl

Long, cool girl
I like to say her name
Long, cool girl
With a showgirl frame

All I do is think of you
As I go around the world
All I do is think of you
Long, cool girl


LIGHTS OF TAORMINA

There’s laughter in the darkness
Music floating in across the bay
He’s half listening and wondering
How he could have let her slip away
So long ago but still he wants to know
If anyone has seen her
And he’s sitting out in the night
Looking down upon the lights of Taormina

They were young and love was shining
Like the colours of the rainbow
Desire felt like choking
Love was smoking under the volcano
He can still taste her kisses
Sweet as the red wine from Messina
Now he’s sitting out in the night
Looking down upon the lights of Taormina

Seems like another lifetime
When they rambled along the shore
Seems like another lifetime
She used to call him her sweet senor
Maybe in another lifetime
On a pathway to the sea
Maybe there they’ll be

The crowd calls for the emperor
Raise their hands to hail another king
But he’s been so long a wanderer
Another crowd can never mean a thing
He came, he saw, he conquered
Ten thousand voices roared in the arena
Now he’s sitting out in the night
Looking down upon the lights of Taormina

He hears the chimes of history
Myths of gods and men forever ringing
Ancient dreams in all their mystery
Wars for Sicily and Spartan women
In the mists of antiquity
Ships of war set sail from Carthagina
Now he’s sitting out in the night
Looking down upon the lights of Taormina
Sitting out in the night
Looking down upon the lights of Taormina


SILVER EAGLE

It was so late and she’d be sleeping
He came through her home town
With the moonlight on the crossroads
And the green light shining down
And the bell at the railroad crossing
And the horn from far away
And his Silver Eagle passing
Half a mile from where she lay

At his feet a sea of faces
Make devotions with their love
Clap their hands and plead their cases
Call for blessings from above
Like the rolling waves forever massing
To crash and foam and creep away
And the Silver Eagle passing
Half a mile from where she lay

Road signs flow into the headlights
Whisper names and fall behind
He finds some honor in the darkness
Hopes for grace and peace of mind
And he thinks of how they’d lay together
He’d run his fingers through her hair
And he wonders if she’ll ever
Come to know that he was there


BERYL

Beryl was on another level
When she got a Booker medal
She was dead in her grave
After all she gave
After all she gave

Beryl, every time they’d overlook her
When they gave her a Booker
She was dead in her grave
After all she gave
After all she gave

It’s all too late now
It’s all too late now
It’s too late, you dabblers
It’s all too late
It’s too late, you dabblers
It’s all too late

Beryl, the tobacco overtook her
When they gave her a Booker
She was dead in her grave
After all she gave
After all she gave

It’s all too late now
It’s all too late now
It’s too late, you dabblers
It’s all too late
It’s too late, you dabblers
It’s all too late

Beryl was on another level
When she got a Booker medal
She was dead in her grave
After all she gave
After all she gave
After all she gave
After all she gave


WHEREVER I GO (feat. Ruth Moody)

Maybe I’m bound to wander
From one place to the next
Heaven knows why
But in the wild blue yonder
Your star is fixed in my sky

Just another bar at a crossroads
So far from home
But that’s alright
Whenever I’m going down a dark road
I don’t feel alone in the night

There’s a place in my heart
Though we’re far apart
May you always know
No matter how long since I saw you
I’ll keep a flame there for you
Wherever I go

They’re looking to close up in here
They’re pulling down the blinds
But they’ll let you stay awhile
They’re not going to mind

Now I’ve got to leave you, brother
So this round’s mine
Here’s looking at you, anyhow
You can go on and have another
They won’t call time
I’m going to say my goodbyes now

There’s a place in my heart
Though we’re far apart
May you always know
No matter how long since I saw you
I’ll keep a flame there for you
Wherever I go

 M P 3   S a m p l e s


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