Dire Straits
Love Over Gold

THE REVIEW

The album that marks the maturity of Dire Straits is, in my opinion, precisely this one, because they had to inherit the legacy of Sultans of Swing. Which, although beautiful, was starting to take a backseat. So, for Knopfler, Illsey, and Withers, a Fender and a little else are enough to deliver an album of five tracks, introducing in grand style a virtuosic rock interpretation of lyrics that mainly address social themes bound by the single thread of the fight against capitalism. Themes you may agree or not with, there’s surely little to debate about Mark Knopfler's professionalism who, alongside Hal Lindes on guitar and Alan Clark on keyboards, plays remarkable solos that lend a certain elegance to even lengthy pieces like Telegraph Road (where the singer-narrator describes his struggle against unemployment and talks about a society built on selfishness). Rich in high-level keyboard phrases and well-crafted guitars, in addition to certainly fascinating lyrical content, this track suffers from its lengthy duration and at times seems a bit redundant, especially in the final part where a five-minute solo seems to drag on. The greater instrumental dialogue makes Private Investigations appear more listenable, more catchy, if you will. Another track of social criticism is Industrial Disease: focused more on the issues related to consumerism, it nevertheless doesn’t lose any catchiness thanks to lively melodies and carefree keyboards. Perhaps the "less Dire Straits" part of the album is the title track: with very refined arrangements and a vaguely jazz inspiration, it makes for a notably remarkable piece but is less lively, reflecting less of the group's soul, concluding with the last track of the album: It Never Rains, a sort of continuation of the title track, with Knopfler’s voice gaining more body, more rock, partially shedding the pop-jazz influences of Love over Gold. The album as a whole demonstrates truly exceptional technical skill, with Knopfler, despite the criticism he receives for his technicalities and his structured way of playing, being one of the best English rock instrumentalists: easily surpassing the likes of Harrison, May, Richards, etc., and with certainly "mature," bold, and impactful lyrics. Where the album doesn't excel, though still remaining more than respectable, is the vocal part: in this sense, Mark does not have the same abilities as he does on the guitar. But one gets over it. After all, I still wonder why Dire Straits always take a backseat to Queen or the Rolling Stones.