Topic: Appreciating CDs for Critical Listening

[cyberdraven]

Guys, this would be 2nd thread so Im still semi-virgin.

I have been a car audio fanatic before and we have a good thread in KAC known as "Reviews of CDs for SQ Appreciation and Tuning".  The goal of the discussion is to share nuisances and "what to look for" details when you audition a particular CD.  We owe this thread to our friend Elco.

Artist: Janis Ian
Album: Breaking Silence
Track: No. 12 - Breaking Silence
The song intro starts with one voice, then two, then four, then eight in a chorus before the drums start pounding. It is the voice of the singer overdubbed but you should get a sense of space (distance) between the voices. This song is very unfriendly to small subwoofers in small sealed boxes that are bass-boosted to compensate for their lack of output. When played loud, you may hear distortions or buzzes or rattles from the extreme cone excursions of small subwoofers. This song can also bring out supposedly "slow-sounding" subwoofers. If you suspect bass "coming from behind" or if you suspect a timing difference wherein the bass lags behind the sound of the front speakers, this song will reveal that very clearly. The drums in this track are madtight and brilliant. There should be a sense of realism in the drum whacks - a very quick "drumstick-hitting-the-skin" sound, followed by the big, loud reverberant sound of the drumshell, best heard around 1min and 2min into the song. There is an acoustic guitar on stage left and a ripping electric guitar on stage right. Janis's voice is crystal clear in dead center, and at one point, creative sound engineering makes her voice fade into the background as a very big room suddenly opened up in front of her. At no time in the song should anything sound harsh, bright or distorted. This is song that likes to be played loud!

Artist: Mary Black
Album: Looking Back
Track: No. 4 - Columbus
This is a very elegant song that starts quietly. A piano, doublebass and an acoustic guitar start the song. Guitar on one side, piano on the other, doublebass in the center. The piano does not sound big and reverberant, like a concert-grand, but at several parts of the song, you should get a sense that the pianist's fingers are lightly twinkling over the keys, creating a sweet melody. Mary Black's voice is dead center and sounds effortlessly comforting as she sings, like she's got a tale to tell and invites you to listen. At 1min11sec into the song, a brush will start to lightly tap a cymbal on the stage right. The echo of that sound will reflect and die down on the stage left, creating a nice wide soundstage. This lasts until the end of the song. The doublebass lends a nice foundation to the song, and if this song is played loud, may bring out rattles in doors that need additional deadening. It is a 5min12sec song, but as Mary Black sings her last line at 3min42sec, the sense that the pianist's fingers are lightly twinkling over the keys will be more evident. If there is such a thing as a "haunting melody," this song is it, but in a good way of course!


Artist: Holly Cole
Album: The Best Of
Track: No.5 - I Can See Clearly Now
This song makes me wish the rains would stop and the sun comes out! Aside from Holly Cole's clear and unforced singing, there are only a few instruments in this song, which makes it easy to train the ears to focus on a particular instrument. The song starts with a doublebass and brushes on a snare drum. The doublebass hits certain frequencies that will reveal any handshaking issues between the midbass and the sub as well undamped rattles in door trims and power-lock mechanisms. Turn up the volume and you'll hear what I'm talking about. Hehe... This should not be a problem on good systems, where the sliding and plucking of the bassist's fingers over the strings as he plays his instrument are clearly audible. Holly Cole sings fairly close to the mic so there will be some sibilance. At the beginning of the song when she sings "I can SSSSSeee clearly now..." and "I can SSSSSee all obSSSSSStacleSSSS in my way..." The SSSS sound should not be excessively bright. In the best systems, you won't even notice this. But on bright-sounding systems, this track may be a bit irritating or harsh to listen to. The song shifts into high gear at around 3min. All the instruments are playing together and Holly begins belting out the lyrics. Wanna hear if you have a peak in the presence region? Turn the volume up and pay close attention to 3min40sec into the song. When the song ends, you should not get the feeling of "I'm glad that was over," because it means you have some tuning to do. Hehe.. On the best SQ systems, you will say "let's listen to that again!"

Artist: Flim and the BB's
Album: Neon
Track: No.2 - Sideman
 very dynamic track. Soft sounds are really soft, loud sounds are really loud. This album was recorded with great care and attention paid to capturing all sounds from all the instruments. The song starts with a piano followed by a flute. The piano sounds silky and sweet while the flute sounds airy and enticing. Turn the volume up, up and UP until you can easily hear all the details, then keep your hand on the volume control because you may need it at around 1min10sec. Hehe.. The drums sound exceptionally loud and clear. There will be several more fascinatingly loud drum beats until around 1min30sec, where the high-hat and snare come in to state the tempo of the song. Around 2min05sec, the artists shift into overdrive and if you kept the volume control up, you may start to hear distortion from your speakers. But if you turn down the volume, you may miss the light piano notes at 2min18sec and doublebass plucks at 2min36sec. This song demonstrates (in an unboring way) some of the dynamic range of the Compact Disc. Some systems may have a hard time playing this song (loud), but it is great fun to listen to!

Lets make this thread fun.  Everyone is encourage to participate and share what they have.  At the end of the day, we could have a database on "what to look for" when we audition.

[CoolTOYZPH]

Book marked. More Please.

[rochie]

Chesky Ultimate Demonstration Disc.
every track has an explanation on different aspect of sound reproduction from high resolution,depth,atmosphere,mid-range purity,visceral impact  and so on and so forth.

[nogo]

Bookmark ko na rin para makibasa na lang ako sa mga masters.
I will train my ears from reading this thread.

[cyberdraven]

Artist: Jennifer Warnes
Album: The Hunter
Track: No. 07 - Lights Of Lousianne

This is a slow, ambient track, almost like a lullabye. Two accordions start this track, first on the right, then on the left. Then a doublebass provides the foundation for the rest of the song and for an acoustic guitar that seems to "float" in the centerstage. This track is an excellent test of phase coherence. The acoustic guitar sounds big and ambient but should roughly be in the center. If you notice that it drifts to the left or the right, try checking phase of the midrange or tweeters, or (if you have a full-active system) check the slopes between the midrange and tweeters. The doublebass should not be boomy. Jennifer Warnes is usually very particular of how she sounds in her songs. She should always be dead center. Always. If her voice drifts to the left or right, try checking levels and time alignment. There are a lot of instruments in this track that can help you train your ears. For example, the shaker on the right should not sound scratchy at all. The accordion goes to the background. At 1min56sec, a violin on the left provides accompaniment. At 2min02sec another violin starts playing on the right, but with deeper tones. At 2min40sec, the acoustic guitar floating in the center becomes the main instrument. It plays a bit louder, and you should not only hear but you should feel the "pluck" on the strings, as if the guitar is right in front of you. At 4min15sec, you should hear crickets making their disctinctive sound in the background, towards the end of the song.

[superJ]

Wow, great thread!!! Bookmarked!!! Thanks Cyberdraven:)

[cyberdraven]

I give the credits pare to my friend, elco.  Im lifting some post on his thread.

Artist: Various Original Artists
Album: Mapleshade's Music Festival
Track: No. 13 - ARC Choir - Shady Green Pastures

Play this track LOUD. It is a live recording of a Harlem Gospel choir in acapella "without any instruments." There are 32 people singing all former drug addicts who have dedicated their lives and their voices to Jesus Christ and to helping other addicts get better. Mapleshade has done an excellent job recording the choir, and its sheer clarity it possible (on a high-resolution system) to pick out all 32 voices. The lead singer is on stage-right. There are male and female voices, some singing a bit louder as to stand out in the mix. At 0min47 seconds, a group on the left starts revving up their vocal chords, and the melodies they produce make you want to sing along. On far left, there will be some "Ssss" sounds from singers who's style emphasizes sibilance. You should easily pick these out. At 1min13sec, the choir starts clapping in time with the song. The claps should be clear, distinct and should sound real. Pay attention to the "air" coming from each clap as their hands meet, and how some claps are higher-pitched than others and some claps are louder than others. If there are more than one of you in the car listening to this song, try clapping along with the music. If their claps sound a bit bright compared to yours, try turn down your treble control or the tweeter level. If their claps sound just like your claps, you've got a pretty good system! You should also hear the effort in the lead vocalist's singing. His voice gets hoarse at times from all that loud singing, but nicely matches the gospel theme of the song. Towards the end of the song (provided your system is tuned nicely), your ears should not hurt at all, but instead you should get a nice "uplifting" feeling from all that praise. Its different when everyone in the choir has had their lives changed by Jesus Christ. They sing from the heart.   

[CoolTOYZPH]

Indeed very nice. Thank you for the share.

Artist: Janis Ian
Album: Breaking Silence
Track: No. 12 - Breaking Silence
The song intro starts with one voice, then two, then four, then eight in a chorus before the drums start pounding. It is the voice of the singer overdubbed but you should get a sense of space (distance) between the voices. This song is very unfriendly to small subwoofers in small sealed boxes that are bass-boosted to compensate for their lack of output. When played loud, you may hear distortions or buzzes or rattles from the extreme cone excursions of small subwoofers. This song can also bring out supposedly "slow-sounding" subwoofers. If you suspect bass "coming from behind" or if you suspect a timing difference wherein the bass lags behind the sound of the front speakers, this song will reveal that very clearly. The drums in this track are madtight and brilliant. There should be a sense of realism in the drum whacks - a very quick "drumstick-hitting-the-skin" sound, followed by the big, loud reverberant sound of the drumshell, best heard around 1min and 2min into the song. There is an acoustic guitar on stage left and a ripping electric guitar on stage right. Janis's voice is crystal clear in dead center, and at one point, creative sound engineering makes her voice fade into the background as a very big room suddenly opened up in front of her. At no time in the song should anything sound harsh, bright or distorted. This is song that likes to be played loud!

[disturbed]

@cyberdraven..elco as in elco of hcp?

[cyberdraven]

Fleetwood Mac – The Chain:

Beginning of the track starts out with a male breathing deeply on the far left. You can hear his mouth open with an inhale and then an exhale and inhale through his nose. Then he starts picking the guitar. There is a certain ‘twang’ to it and it is pretty far left though not terribly hard panned it seems. Continue to listen to the guitarist; you can hear him making noises with his mouth, though the relative level is low compared to the guitar. He continues to do this throughout the song now and again. Just keep it in mind.

At the same time, the right side guitar is playing and is closer to center than the left guitar is; however it is a bit further than right-center.

Note the background noise as well. The static, if you will, of presumably an analog recording.

The kick drum starts right after and is deep in the soundstage as evidenced by a comparison between the sound of the guitar being so close to you in the stage. It is very robust and you can hear the reverberation in the room. Listen for the reverb. This is key to recreating the room.

Throughout the track, the drum kit seems to be in this same general area, however, cymbal crashes on the left of the drum kit bleed over a bit past center, going toward the left.

Listen for the string sound that is faint.

The sudden pause in the music highlights the analog noise and you again hear the guitarist make a little diddy with his mouth.

There are 2 singers roughly in the same position it seems; male and female. Their location is just right of center.

[cyberdraven]

@cyberdraven..elco as in elco of hcp?

Yes sir.  He's one of our guru's in car audio.  I still remember the days when we hang at his resto as we audition our cars.  Well, those were the days.  Hehe.

But now, im enjoying myself visiting shops like that of audio amplified and LIS, listening anx training my ears with their high-end gears.

Thanks

Paeng

[cyberdraven]

Dire Straits - Private investigations

About halfway into the song there is this sequence where a door opens and shuts and a guy walks out. The door images up way left. The guy step out and stubs out a butt under his foot. He cocks his gun (I forget if he actually shoots) and then starts running towards center stage. You hear him breathing and as he's running his breath gets shorter.

He runs to about center stage and continues to run, but his image stays at center. You get the feeling, like in movies of a side on shot with the person running but staying in the same spot on the screen. You know he's moving forward cause the background is moving. Oh and when he walks, his heel always hits the ground first.

[raider125jeigh]

Bookmarked

[panzimus]

nice posts cyberdraven. thanks for this thread.

[eliahp]

Great thread! I hope you can also share where to get the CDs. Madalas kasi sa Fully Booked lang meron mga ganitong CDs and bad trip pa aalisin na yung record section sa Fully Booked sa BGC.

Thank for sharing sir.

[odyopayl]

I watch Holly Cole mini concert at Monterey California, She is sooo Goood!

[mykel18]

Great thread! I hope you can also share where to get the CDs. Madalas kasi sa Fully Booked lang meron mga ganitong CDs and bad trip pa aalisin na yung record section sa Fully Booked sa BGC.

Thank for sharing sir.

Aalisin na sir? Kelan effective? 

[eliahp]

^
No exact date. The guy that's managing the records section told me na uubusin na lang daw yung records nila and they're not accepting any new deliveries anymore. Ang ok lang most CDs are on 20%-30% discount.

[Timithekid]

bookmarked

[mykel18]

^
No exact date. The guy that's managing the records section told me na uubusin na lang daw yung records nila and they're not accepting any new deliveries anymore. Ang ok lang most CDs are on 20%-30% discount.

Too bad. Dito pa naman ako bumibili ng CD's kahit mahal ang presyo. 

[cyberdraven]

Dire Straits – Ride Across the River:

Horn at beginning should be centered.
Flute should be just right of center and way out.
Shaker ambience @ 10khz; equally balanced at left and right, not extreme panned to either side. Between far side and far side-center. IOW, about ¾ from center on either side.
Low electric bass: 2 tones: one centered around 80hz. The other fundamental at 50hz & equal in magnitude harmonic at 100hz. Both should have a resonant sound but not peak. In the background. If it stands out, it’s wrong and you probably have a mode you need to correct somewhere.

The left/center/right drum throughout should be as follows:
Left and right most drum smacks should have solid thump to them but sound somewhat distant to each side. The left is hard panned and should sound further away from center than the right hit; the right hit sounds about right-center. Not far right. The right also has more of a hollow sound to it than the left.
The kick is about center stage. However, it should sound much less prominent in higher frequency. There is punch but it’s more in low frequency and not as pronounced as the left and right smacks.
The 4th of the drums is the slap which is in the center. Should have a very abrupt attack and decay. Almost an in-your-face slap to it but not shrill or bright by any means.

[cyberdraven]

showcasing some post in diyma.

AC/DC's You Shook Me All Night Long
At ~00:14 in the song, in the split second break between the guitar finishing its last few opening notes and the rest of the song coming in, you should hear (who I assume to be) drummer Phil Rudd's voice shout in the distance, "ready, start." It should be extremely quiet, but clear. It should come in on the bottom far left corner of your stage. The rest of the words in the song should of course be centered.

[cyberdraven]

Spanish Harlem by Rebecca Pidgeon from Chesky JD-115

This track must convey a small sized space with more presence and intimacy.  The vocal is clean, focused and should sound very natural and lifelike.  The reverb tails of the vocals and shaker gives a good sense of open space.  The singer is flanked by stringed instruments on either side that define the stage size but not the limits of the room dimensions.  The piano is just slightly left of center with the guitar is center.  The shaker is in the right channel at the rear of the stage and gives a sense of stage depth.

Thanks

Paeng

[CoolTOYZPH]

Any new music for this week-end?

[cyberdraven]

sorry, failed to update this thread.  some more folks:

Vinx – “Rooms In My Fatha’s House”:

I discovered this recording at a demo station in the Tower Records store on the Upper West Side of Manhattan in 1991. This was Vinx’s debut recording, and the buzz around him was due to the fact he was “discovered” by Sting. His talent is extraordinary. He has a voice that is as smooth as butter, with great range. Think Bobby McFerrin and Al Jarreau combined. He is a terrific percussionist, and he wrote or co-wrote all the songs on this recording. It is a great showcase for him. There are some amazing musicians on this record – Sting, Herbie Hancock, Branford Marsalis, Taj Mahal – and as you listen to it you will be transported to a beach in the Caribbean.

This record is so analog sounding and has great dynamic range. Vinx’s voice is open and airy and is not lost in the mix. The bass is very natural sounding, and deep. The soundstage is wide and deep, and the variety of percussion instruments used add a lot of complexity that will challenge your system. Unfortunately, the credits do not list the Mastering Engineer. Whoever it is did a great job. I would estimate the “intrinsic loudness” level I have been referencing throughout this thread to be about -5db. So you can really crank this record and listen comfortably.

Quincy Jones – “Q’s Jook Joint”:

Like all of his recordings, this features an All-Star cast of musicians and singers, all performing at an extremely high level. Q really knows how to extract the best from his performers. This recording was released in 1995 as is a product of the best engineers in the business - Bruce Swedien mixed some of the tracks and Bernie Grundman mastered it. It’s beautifully balanced, with tight, deep, well-defined and an open, airy midrange and top end. Voices are rich with nice texture and body, and the instruments are clear and distinct in the mix. It deserved its Grammy for Best Sound Engineering. I guess that the intrinsic loudness level is in the -7 db range. It’s not too loud, and is dynamic as hell. If it matters to you, the liner notes proudly point out that Monster Cable was used everywhere in the recording/mastering process. A remastered version was released in 2005, but I have not heard it. It will be difficult to improve on this, however.

The New York Rock and Soul Revue – “Live At The Beacon”:

This record also features an All-Star cast of musicians and singers – Donald Fagen, Michael McDonald, Boz Scaggs, Phoebe Snow, among them. It’s a live recording of a concert at the Beacon Theatre on the Upper West Side of Manhattan in the Summer of 1991. And, I was there!! What a night of great music, and this recording captures all the passion of the performers and the excitement of the audience. And it sounds fantastic. It definitely is old school with a recording level reminiscent of what Sheffield was doing. I estimate that the recording level would put this album at about -3db on the “intrinsic loudness” level scale I have been referencing throughout this thread. You will have to turn up the volume to appreciate it, which is a good thing. The recording is very well balanced, with articulate, well-defined bass and an open, natural midrange. The voices and instruments are well placed within the soundstage and are easily discernible. The treble is airy, with good extension. You wouldn’t expect anything less with Donald Fagen involved and Roger Nichols consulting.

Supertramp – The Very Best of Supertramp (Remastered):

Supertramp is one of my favorite bands of all time and this record really represents their music well. Combine that with terrific sound and you have a winner. Their music is complex, and this recording lets you hear everything going on in the mix. This is a very dynamic recording. The midrange is open and airy, and the vocals are clear and distinct with a natural quality to them. Supertramp’s harmonies are one of their hallmarks, and this recording really shines in this area. The treble has nice sparkle and the bass is very natural sounding, with a warm, detailed quality. Overall, the sound is very well balanced. Unlike many greatest hits compilations, the sound quality on this record is consistent from track to track. I estimate that the recording level would put this album at about -7db on the “intrinsic loudness” level meter I have been referencing throughout this thread.

Tina Turner – “Private Dancer” (JVC XRCD):

This is an incredible, dynamic recording. It just breathes, and all the intricacies of the arrangements come through clearly in a wide, deep soundstage. Tina really shines. Her voice is so powerful, yet clear and natural. Listen to the title track at loud volume and your system WILL be challenged in the chorus section of this track. The bass is tight and super clean, and there is a musicality to it that is rare in pop recordings. The treble is outstanding, with great extension and an airy quality. I estimate that “intrinsic loudness” level of this recording is about -5db. Crank it up and you will have a big smile on your face.

[cyberdraven]

Tower of Power – “Back To Oakland”:
Tower of Power is one of my favorite bands of all time. Why? They had the greatest horn section I had ever heard in a band like this. This recording is my favorite of the records they made. Why? The music is terrific, and the recording quality of a high level. This CD is an excellent transfer of the original analog LP recording. It’s old school, with a recording level that I would estimate to be about -3db / -4db on the “intrinsic loudness” level meter I have been referencing throughout this thread. It’s so analog sounding, and has great dynamic range. The horns are to die for on this recording, and when you hear the burnished brass sound of the cymbals, you know you are listening to a recording that sets a high standard for popular music.


The King’s Singers – “The Beatles Collection”:
Want to show off your midrange and imaging? You need this record. It’s A capella music at its best. This is a wonderfully balanced recording. There are six vocalists, and each voice is discernible in the mix. The dynamic range of these solo voices is fabulous. They also cover a much broader portion of the music frequencies than you might realize, so it’s a good test for your midbass and treble too. It’s an EMI release, so the recording quality should be expected. I estimate that the recording level would put this album at about -4db on the “intrinsic loudness” level meter I have been referencing throughout this thread.


Karl Denson’s Tiny Universe – “The Bridge”:
Karl Denson is one of my favorite sax players. He has great tone and plays with precision. He doesn’t shy away from experimenting across genres, and this record, which was released in 2002, is an excellent amalgamation of Jazz, R&B and Hip Hop, with lots of toe tapping grooves. If you are a fan of Maceo Parker, Medeski, Martin & Wood or Galactic, you will like this record. The recording is very well balanced, with excellent bass and an open, natural midrange. The voices and instruments are well placed within the soundstage and are easily discernible. The treble is nicely reproduced, with good extension. I estimate that the recording level would put this album at about -8db on the “intrinsic loudness” level meter I have been referencing throughout this thread. Though it’s on the “louder” side of the scale, it has a warmth to it that makes it quite pleasing.


Luther Vandross – “Songs”:
I LOVE me some Luther! I saw him live several times and his music has served as the backdrop for many nights with the ladies.  This is one recording that surprised me with how good it sounds. Luther’s voice is wonderfully recorded, open and airy, and is not lost in the mix. The bass is very natural sounding, and extended, and overall the sound is very well balanced. My surprise at the sound quality led me to read the liner notes, and low and behold, it was mastered by Bob Ludwig. Now it makes sense. I estimate that the recording level would put this album at about -7db on the “intrinsic loudness” level meter I have been referencing throughout this thread.


Jose Feliciano – “From The Heart”:
I saw Jose live at the Music Instrument Museum in Phoenix earlier this year and picked up this CD after his performance. I was very surprised by what I heard when I popped this disc into the CD player because most of his previous recordings just don’t do his voice justice. This is a game changer. Jose’s voice and guitar are recorded with great clarity, and the tonal balance of this recording is excellent. The bass is well extended and detailed, and the soundstage is wide and with good depth. I estimate that the recording level would put this album at about -6db / -7db on the “intrinsic loudness” level meter I have been referencing throughout this thread. Now, an aside: when you see Jose Feliciano live, you truly realize what a genius this man is. Even at his current age of 67, his guitar playing is extraordinary, and he is blessed with a unique voice and an ability to re-work classics and familiar songs in ways that often make them better than the original in my opinion. This record shows this. And if you have any doubt about what I say, check out this video and you will see what I mean: Billie Jean By Jose Feliciano of Michael Jackson - YouTube


The Bird & The Bee – “A Tribute to Daryl Hall & John Oates”:
As a former musician, I generally deplore keyboard generated instruments. Give me the real thing. But, I got this record because I am a huge Hall & Oates fan, and was curious to see what this duo would do with these great songs. I just love Inara George’s voice. She’s “The Bird.” The keyboard programming is not my cup of tea, but except for track 3 (“Rich Girl”), which contains too many distorted sounds that are not pleasing to hear, this is a really good recording. It’s all about showcasing Inara’s voice, and it does that really well. Her voice sounds like butter and honey, with lots of air around it. The bass is excellent too, with good clarity and extension. I estimate that the recording level would put this album at about -8db on the “intrinsic loudness” level meter I have been referencing throughout this thread.


Ledisi – “Lost & Found”:
If you listened to just track 1 on this record you would ask what the hell is the Buzzman talking about. He must be losing his hearing. Well, have no fear. Track 1 is a wretched live intro that is on there for no musical or sonic purpose. From an SQ standpoint, you can skip the first 3 tracks in fact. Start with track 4 and you will be pleased with what you hear. Ledisi has an excellent voice, and this recording really showcases it. Her voice is rich and airy, and never gets lost in the mix. The bass is excellent too, and the overall tonal balance is very good. The treble is not as detailed as I would have liked, but if Neo Soul is your thing, you should feel very good popping this into your player as one of your reference discs. I estimate that the recording level would put this album at about -8db on the “intrinsic loudness” level meter I have been referencing throughout this thread.

[bote]

Dire Straits - Private investigations

About halfway into the song there is this sequence where a door opens and shuts and a guy walks out. The door images up way left. The guy step out and stubs out a butt under his foot. He cocks his gun (I forget if he actually shoots) and then starts running towards center stage. You hear him breathing and as he's running his breath gets shorter.

He runs to about center stage and continues to run, but his image stays at center. You get the feeling, like in movies of a side on shot with the person running but staying in the same spot on the screen. You know he's moving forward cause the background is moving. Oh and when he walks, his heel always hits the ground first.

Hi sir. I bought the CD but I couldn't find what you said. Perhaps not on that track? I listened over and over really couldn't find it. It is track number 5. Thanks

[TOP 20]

Hi sir. I bought the CD but I couldn't find what you said. Perhaps not on that track? I listened over and over really couldn't find it. It is track number 5. Thanks

Hi bro!

"Private Investigations" is from the album Love Over Gold. It's the 2nd cut if I'm not mistaken. Maybe you have the Dire Straits compilation album. Most of the time, these compilations have the edited versions of long songs.

Hope this helps...

[bote]

thanks. I have the Private investigations album with Knopler featured.