Dire Straits
On Every Street

When this album appeared in the windows of record shops, it was already a victory for me and the first thing I thought - like it or not - was that Mark Knopfler's band had made it to the '90s, having (so to speak, of course) crossed three decades. Mark Knopfler arrives at this album having made the most of the success after "Brothers In Arms": more than 230 concerts in a year, through two excellent soundtracks like "Princess Bride" and "Last Exit To Brooklyn," arriving at the impromptu adventure under the name Notting Hillbillies.

"Calling Elvis" takes on the role of opener and does it brilliantly, revealing a rock 'n' roll appeal first in a very subdued manner, then assertively where a scorching guitar break (try turning up the volume for those five seconds!) acts as a connecting bridge. The moving quotation "There's gotta be a record of you somewhere, you gotta be on somebody's book" - which demonstrates an extremely high level of poetic flair - guides us to the title track, which unfolds with a calm and touching vocal interpretation, culminating in a clear sequence of chords that proves even more captivating in the end.
One of the most challenging tasks of an album - in my very humble opinion - is to succeed in making the listener's mind wander through their own thoughts, memories (and why not?!) even dreams, affirming the role of personal soundtrack, a task in which the twelve compositions of this CD fully succeed. This is also due to the diversity of atmospheres that unfold during the listening, indeed it is not difficult to imagine enjoying a pleasant double whiskey at the counter of a saloon to the notes of "When It Comes To You", or sitting in an elegant jazz club listening to the graceful "Fade To Black" or fantasizing about crossing the glorious streets of Broadway at the end of the '50s magically transported by the loving "Ticket To Heaven". It must be acknowledged that Dire Straits are no longer the band where Mark Knopfler creates songs that are played only by his trusted companions, solely tasked with preparing the field for his interminable and (allow me!!) immortal solos, but with "On Every Street" the "big boss" surrounds himself with exceptional session men like Phil Palmer on guitar, Paul Franklin who contrasts with the pedal steel guitar, Chris White (an old acquaintance) on sax, Manu Katche and Jeff Porcaro (R.i.p.) on drums, besides having commissioned a complete range of brass for "My Parties", which starts (I know it is very cacophonic!!) in an unpretentious manner and where the extra-Straits experiences of the leader are channeled into a song with innovative tones.

M.K.'s determination not to make "On Every Street" a carbon copy of "Brothers In Arms" certainly finds confirmation in listening to the album, where the rhythmic "The Bug" can speak a language close to that of "Walk Of Life", while the strong "Heavy Fuel" can find the plausible connection to "Money For Nothing" without being accused of plagiarism. Certainly, sophisticated masterpieces like "Planet Of New Orleans" - which I could have seen well interpreted by Sade - or "You And Your Friend" (although composed about ten years earlier) could never have found a place on any of the previous releases, just as without the "training" of the mentioned Notting Hillbillies and the apprenticeship published under the name "Chet&Mark," perhaps we wouldn't have been able to delight our ears with rare gems like "Iron Hand" and "How Long" (perfect conclusion), maybe discovering them a few years later in an anthology box set made of b-sides and outtakes of not excellent quality. Purchase and listening recommended to those who love Dire Straits and polished atmospheres.

The true rating this album deserves is 4.5, not because 5 is too much, but 4 made me consider it a distinguished album.