Mark Knopfler & Emmylou Harris
All The Roadrunning

THE REVIEW

Since no one else has done it, I am taking the responsibility of reviewing MK's latest work, in partnership with Harris. One warning upfront: if you find the new direction of the Dire Straits' guitarist unpalatable, then steer clear of this album. But if back in the days of "Money for Nothing" you appreciated Knopfler’s country forays like the side project 'The Notting Hillbillies' or perhaps the collaboration with Chet Atkins (Neck & neck), then you'll certainly find this album interesting.

The sounds are those already heard in Mark Knopfler’s solo albums. The guitar embroiders rather than slices through the air as it did with the Dire Straits; no lengthy solos, therefore. And for those who still picture Knopfler sweating as he travels back and forth on the Fender Stratocaster, I know this is a tough blow. But our guitar hero has tried in every way to shed this label, probably searching for a more Dylan-esque style rather than continuing down the path of someone like Clapton, for example. All the more so, I have found greater care in the vocals on all his solo albums, almost as if Mark, as he ages, wants to become ever more a singer-songwriter rather than a guitar-slinger. Now, let’s get to the album specifically.

I admit I wasn’t familiar with Harris before now, even though I’ve read that she is a country icon and multiple Grammy winner. So on one hand, Knopfler duets with a songwriter of undeniable value enriching his gallery of excellent collaborations, and on the other, Emmylou takes the opportunity to pair up with a musician who remains a pop-rock icon and thereby gains visibility and gets introduced to those who don’t understand a lick of country (after all, when else would she have been able to go to the Festivalbar?). As for the songs, you just have to listen to them. But I’d like to highlight "I dug up a diamond", the extraordinary "Rollin’ on", the magical "Beyond my wildest dreams", the already published "All the Roadrunning", and finally the delicate "If this is goodbye". The best way to describe these songs is to compare them to "Shangri-La": if you liked that album as much as I did, you'll find these songs magnificent. The parts of the album that I liked the least are those more overtly country such as "Red staggerwing"; a matter of taste. So the album is recommended for those who follow Mark Knopfler’s solo turn with affection and interest.

Those who are stuck on the rocking guitar hero or perhaps the epic nature of a Telegraph Road, it's better they stay away or approach the album without making comparisons. Otherwise, disappointment is just around the corner.