Guitar Heroes Diary

September 2021 – The beginnings

During the challenging days of the 2020 pandemic, Teen Cancer America reached out to Peter Bradley Jr., a board member of both TCA and The Buddy Holly Educational Foundation (TBHEF), to propose a collaboration involving the prominent radio disc jockey and writer, Mike Read, and guitarist Steve Cropper. It was Mike who came up with the idea of using Mark’s iconic tune “Going Home, Theme From Local Hero.” This song’s association with Newcastle United and musician Sam Fender made it a fitting choice for TCA and its counterpart, Teenage Cancer Trust (TCT), which has strong ties to the northeast through hospitals and events like the Great North Run, with Mark Knopfler serving as a patron. A recording session was arranged in Nashville, bringing together a wonderful team of session musicians, recorded by Eddie Gore at RCA Studios. This collaborative effort laid the foundation for the track we now know. Mark and I were contacted regarding this newly recorded version and the track was then sent to us. Mark agreed to add his guitar to the track, reached for his ’58 Les Paul, and I recorded him playing the main melody in the first ‘A’ section.

October 2021 – Global Heroes

The team then asked if Mark and I would record Albert Lee, the first of many invited legends to arrive at British Grove. Armed with his Music Man ‘Albert Lee’ signature guitar, Albert’s gentle demeanour belied his artistic ingenuity as he graced the track with numerous wonderful answering phrases that intricately wove around the melody. I spent the ensuing few hours compiling and choosing the best bits to elevate the track.

At this point it became clear to me that the intro section of the track, as recorded, wasn’t going to inspire further players. I thought a slight modification might be necessary. A few years earlier, in 2016, Mark and I had recorded, together with many of his band, a series of ‘demos’ of songs written by Mark specifically for the ‘Local Hero – The Musical’ project. Among them was a full-length recording of the main Going Home theme that, to this day, remains unused. Fortunately, the Nashville boys had recorded in the same key (D) as the original. So, armed with virtual razor blades, I set about some major editing work. Twenty-four hours later, we had a new full-length intro that was much more faithful to the original composition. I then added some additional keyboards, including a Hammond B3, the Yamaha GS-1 (as on the Local Hero soundtrack), and the mighty Yamaha DX-1 synth on the intro. (Sir Peter Blake actually added the DX-1 to the album cover artwork. Has anyone spotted it?)

When the team heard the new version, I was summoned to take the helm as the track’s producer—a mantle I embraced with appreciation and a profound sense of responsibility.

November 2021 – The Stems

Renowned English pop artist Sir Peter Blake graciously accepted the task of crafting the album cover for the project, drawing inspiration from the iconic Sgt. Pepper’s Lonely Hearts Club Band cover. His vision entailed adorning the cover with a montage of images featuring all the distinguished players involved.

With the updated intro in place, I embarked on creating a set of ‘stems’ for other players to use in adding their contributions. These included Drums, Bass, what I labeled House Band, keyboards, and Gtrs Selection 1 and 2. The concept was that whenever someone contributed to the track, I would update the stems, essentially remixing the track and stems as it evolved. Remarkably, the track would end up having 54 different mix versions!

The next batch of remote players was truly exciting. In the case of Peter Frampton, I pretty much moulded the track around him. Quoting from Paul sexton’s excellent liner notes – Peter reflected, “I played the melody all the way through and took my time to develop my own little slant on it… I love Mark’s playing anyway. Obviously, I’ve known the song for many years, but I’ve never sat down to actually play it. It was a thrill to learn and put my spin on it.”

As many players find out with Mark’s songs, there’s more to them than one first realises. It’s the two/four bars that catch everybody out, and they are everywhere in Mark’s music. John Jorgensen provided some lovely 12-string electric guitar, and the great Hank Marvin, remotely sending from his home in Western Australia, delivered a rendition of the melody that bore the unmistakable imprint of his inimitable touch.

April 2022 – Pete power

With Mark’s full endorsement and word spreading, a wave of requests flooded in to play on the track. Pete Townshend arrived with his grey EC signature Strat, and as soon as we heard his signature power chords on the track, Mark and I knew we were in business. Eric Clapton dropped by not long after Pete and played top-to-bottom passes on both electric and acoustic. Everything Eric played was a joy to the ear, and I ended up using much of both his acoustic and electric contributions. However, as more material arrived, difficult decisions had to be made.

The brief I gave to all the players was simple: “Play as much or as little as you like, and don’t worry about playing over other players—I will sort it out.”

The team reached out to an impressive lineup, including Vince Gill, Steve Cropper, Joe Brown, Brian May, Joe Bonamassa, Slash, the legendary Wrecking Crew guitarist James Burton, and the unmistakable twang of Duane Eddy. Vince Gill contributed some of the warmest acoustic chords for the intro, even inspiring a chord change away from the original arrangement (at 2’18” on the digital version). Slash delivered some of the coolest material on the track; he sent me about a minute’s worth of playing, from which I selected the section used. Steve Cropper’s licks were so distinctive that they made you smile and wonder who else could possibly produce them.

Brian May graciously provided a sumptuous multitrack version of the melody, showcasing his trademark layered guitar productions. Clearly, he had studied it well before playing. “The track rang a bell but I wasn’t entirely familiar with it,” said Brian. “The original saxophone is obviously amazing and such an iconic part of the record, so I kind of wanted to be like that. That was my initial brief to myself, be a saxophone.”

Joe Bonamassa, Joe Louis Walker, Tony Iommi, and Joan Armatrading inundated me with so many captivating licks that the solo section was complete before I knew it. Bonamassa’s soulful blues heavily influenced the intro and solos, intertwining with Joe Louis Walker and Joan Armatrading. Tony Iommi’s nuanced solo emerged as a standout moment, cherished by many. Joe Brown contributed heavyweight mandolin lead playing that held its own amidst the sparring heavyweight electrics. Ry Cooder remotely sent some playing that could only have come from him. His distinctive phrases and timeless tonality infused the track with a resonance evocative of distant continents.

The project was rapidly evolving into a producer’s dream.

December 2022 – Rhythm section

Brian May had commented that due to the evolving nature of the track, the original rhythm section was no longer suitable. He was absolutely right, the track had matured, and the original drums didn’t offer the required punch. At this point, we attempted to contact Dave Grohl to add drums and guitar. Unfortunately, it was around the time of Taylor Hawkins’ untimely passing, so sadly, this collaboration never materialized. It was then that my esteemed record-producing friend and golf buddy, Glyn Johns, suggested we approach Ringo Starr. I pondered whether Ringo had ever shared a recording with his son Zak Starkey. Well, they have now, as both drummers provided me with comprehensive recordings, allowing me to craft a compilation featuring the best of both. I imagined a world where I could switch between Ringo and Zak for each section of the track, and that is exactly what happened.

Soon after that, Sting and Sam Fender paid us a visit. 

Sam wanted to construct an arpeggio section incorporating layered harmonies using his White Gretsch Falcon. With Mark and Sting stationed in the control room, Sam whimsically remarked that he felt like Luke Skywalker in the presence of Yoda and Obi-Wan Kenobi. We watched as Sam built this arpeggio part, which brimmed with so much energy that it was challenging to fit it all into the final mix. It was quite fitting that the section Sam is in was the section that Bruce Springsteen plays over. We received the message that Bruce had wanted to be a part of this, and he duly obliged.

Sting added his distinctive, war-torn ’54 Fender Precision, completing the rhythm section. Among the featured bassists on the track are Glenn Worf (in the extended version section with Sonny Landreth and Steve Lukather), Sheryl Crow, who contributed some tasteful bass playing on the intro, and myself. I had played bass on the intro when I was rebuilding it, and some of it stuck.

Below are shots from the David Gilmour session and the Ronnie Wood day. That is me and my assistant Luie Stylianou proudly showing off the 1″ and 1/4″ master tapes as used for the vinyl master.

Nile Rodgers came on board around this time and actually called me, asking what I wanted from him. I said, “Well, YOU, of course. Just do your thing, Nile”… and so he did, providing two distinctive rhythm parts. When you next listen to the track with the video, and you see Nile’s name, just zone in on it. I was beginning to wonder how this thing could get any better.

There were, of course, contributions from instruments other than guitar. With Danny Cummings on percussion alongside Ringo on an array of percussive instruments through one section. Paul Carrack and Jonathan Cain provided me with some wonderful keyboard work.

Keith Urban had been on the phone to Peter Bradley, asking if he could be on the track. As a lifelong fan of Mark’s, he didn’t want to miss out, and I’m glad, as he sent me some beautiful melodic variations, both with and around the main melody. Buddy Guy also sent in a bucketful of licks.

January 2023 – Jeff Beck

The untimely passing of Jeff Beck in January 2023 reverberated as a profound loss throughout the music community, deeply felt by all involved in this project. Beck’s legacy as the quintessential guitarist’s guitarist was indelible, his influence transcending generations. His final recording bestowed magic upon the track, a testament to his unparalleled talent. Jeff picked up on a couple of original melody lines that I had included in the stems and made them his own. The resulting recording stands as a spine-tingling moment in musical history, a poignant tribute to an extraordinary individual.

March 2023 – Visuals

One of my early realisations was the need for visual help for the listener regarding the players. The track was becoming a guitar-fest like no other and it required intense concentration to hear all the parts. The guitars are so multi-layered and numerous, it’s difficult for the listener to discern who is playing what. So I put together a video in Final Cut Pro which later became a template for the official video. It became evident that the listening experience was enhanced by seeing the names as they appeared.

September 2023 – Atmos

At this point, the track felt essentially complete. Mix no. 32 became the first Dolby Atmos mix, something I always knew would greatly enhance the many guitar elements in the piece. We also needed a record label and everything that comes with it regarding promotion, marketing, and physical manufacture. An Atmos playback of the track was arranged at British Grove Studios, and I played the piece along with my templated video. BMG were blown away by the whole thing and wanted to be a part of it almost before the track finished. There followed much excited discussion regarding the possible formats for the release and its potential marketing. It was decided that it would be a vinyl disc, streaming, Blu-Ray and CD. Owing to the extensive lead times required for vinyl manufacturing, the deadline for delivery of the vinyl master was soon upon us and, I grabbed Mark and we mixed what is the stereo version for the half-speed, 45RPM disk which ultimately, Miles Showell at Abbey Road so masterfully cut. Of course, there were still a whole host of players who wanted to contribute, and the only way that could happen was if the track was extended. Again. This is the reason the two versions exist.

November 2023 – Wait, there’s more

Mark’s band was in town recording more songs for his album, “One Deep River.” I seized this opportunity to involve everyone, aiming to gather extra material to extend the track. Ian Thomas and Robbie McIntosh were already involved, having participated in the Local Hero sessions. The addition of Glenn Worf, Richard Bennett, Jim Cox, Danny Cummings, and Greg Leisz added substance, further elevating the project.

At this point, Ringo, Zak, and Sting comprised the rhythm section. However, I included Glenn Worf with the intention of extending the track, which ultimately led to sections featuring Sonny Landreth, Steve Lukather, and Andy Taylor. Extending the already lengthy intro created space for more players. Soon, recordings from Dave Mason, Phil Manzanera, Rick Nielsen, and Brad Paisley arrived. Brad’s musicality and dexterity were notable, and I sorely wished to include more of him, but time constraints and guitar traffic presented limitations. The subsequent section, dubbed the ‘shredding’ section, featured monumental performances from Tom Morello, Orianthi, Tony Iommi, and Joe Satriani. Due to the abundance of material, I had to extend this section, which segues into…

The solos – Joe Louis Walker, Joe Bonamassa, and Joan Armatrading had been recorded a year prior, and I was keen to retain their three-way conversation. Alex Lifeson also contributed beautiful acoustic work. As a Rush fan during my teenage years, it was a pleasure to be able to use his playing. The Tedeschi Trucks Band, comprising Derek and Susan, provided characteristically soulful, bluesy licks that seemed meant to be, while Zucchero’s acoustic and electric parts became increasingly prominent throughout the track.

It was time to mix the extended version in both Stereo and Atmos, all 9 minutes and 40 seconds of it. Below is a screenshot of the entire ProTools session edit window. Most of the 278 audio tracks are within folders, hidden to make viewing and navigation easier. Note – the grey areas represent audio that was unused.

March 2024 – Lift Off

On March 14th, the day before the track’s release, I was asked to host a playback at British Grove for invited artists and the huge team of people who helped bring this project to the world. We were blessed with the presence of Sir Peter Blake, Ronnie Wood, Joan Armatrading, Pete Townshend, Joe Brown, and of course Mark. I had created a bespoke Atmos mix to match the new video which had only been completed that morning. The new video has an extra 20 seconds added to the intro to accommodate the new visuals (teenagers holding the artwork). Time constraints meant I needed to create the Atmos mix at home – using the new Airsound Spatial system, still in its early development. Airsound Spatial being a revolutionary and completely NEW way to hear GENUINE Atmos from four or even TWO speakers.

As I played the track for the assembled audience, I couldn’t help but feel a wave of anxiety. It was a surreal moment, as no one beyond the close production team had yet heard the entirety of the track. However, as the ten-minute preview drew to a close, a palpable sense of relief washed over me, mirrored by the warm applause that filled the room. They loved the track and the Airsound Spatial system had passed its first true test as it sounded good in Studio 2’s bespoke ATC Atmos system.

Following the playback, there was an unveiling of the ‘blue plaque’ presented to the studio by Mike Read, chairman of the British Plaque Trust. Then there were sandwiches and a photoshoot in Studio One, marking a modest culmination of this remarkable journey.

I would like to extend a heartfelt thank you to all the players and management team who generously dedicated their time and extraordinary talent in support of the charities..

Guy