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I have always maintained on every possible occasion that this artist's releases should be approached with due caution. The reason is simple: when talking about Mark Knopfler, you cannot separate this name from the historic band he founded, being solely responsible for its artistic growth as well as the global success it achieved and the exclusive decision-maker in its (temporary?) disbandment. In light of what has just been said, near each record release it almost seems permissible to expect (or perhaps it's more honest to say it's an irresistible desire of ours) an album in full Dire Straits style. The Knopfler we have come to know is the artist super busy with numerous collaborative projects, from Emmylou Harris to Diane Schuur, not to mention his ongoing interest in contributing his compositional skills to the world of cinema.
With "Get Lucky" comes an album with just eleven songs where our artist moves between musical coordinates ranging from indestructible blues roots (..and how couldn't it be so) to typically country sounds with a tinge of western, reclaiming that atmosphere of clear Celtic descent that characterized some aspects of his so-called debut with "Golden Heart."
The introductory "Border Reiver," tasked with the not-so-easy job of inaugurating the album, confirms what's just been said. It’s a track where instruments like the pennywhistle and a traditional piano clearly highlight a rekindled creative vein, excellently offering us the first likely single, where popular tradition and compositional simplicity are well-concentrated. "Hard Shoulder" is characterized by infusing tranquility and relaxation, offering the listener an enjoyable atmosphere of calm where Knopfler the poet emerges in his matchless style (If something needs doing, I always say, You want it done the proper way, I need you to stay = If something needs doing, I always say it has to be done the right way, I need you to stay). The spicy blues of "You Can't Beat The House" encourages tapping your foot, showcasing the Scottish artist’s fondness for those sounds that have always represented the foundation of a musical background from which to draw, adapting to his creative taste. The touching "Before Gas And TV" develops on a decadent melody that aptly advances the folk-popular component, cleverly retrieved for this work. "Monteleone" (dedicated to the most popular guitar luthier still alive) is one of those tracks that relies on an elegant cinematic orchestration, guided by a waltz where a melancholy melody becomes pleasantly complicit for one of the best tracks of the batch.
It's evident, but we must recognize in Knopfler the one who over the years has made even his own music enamored with the ability to convey those emotions transformed into notes, in intense feelings endowed with rare perceptibility and make the listener feel as if they belong to them. An attitude that for a seasoned musician is absolutely not obvious, even more so when the different - and in many ways bold - musical path undertaken becomes an expression of daring considered by many as unsuitable and counterproductive.
"Cleaning My Gun," reminiscent of "Boom Like That," allows a visionary Knopfler to translate into notes commendably on this album as well, a gloomy western setting worthy of the grand screen productions of the past. With the sweet harmonies of "The Car Was The One," we are pleasantly led into that world made of racing car heroes and the inevitable enchanting dolls on the sidelines, which so infuse that adventurous spirit of a distinctly Springsteenian nature (I’m up in the corner, nursing a beer - Who should come laughing and joking in here - But Bobby Brown the winner of the sports car race - With some friends and a girl, man, she lit up the place = I'm in the corner sipping a beer, This is no place for playing or laughing - Bobby Brown, the racing champion - With some friends and a girl, wow, one who lit up the track). Another chance to show his best as a storyteller is the enchanting "Remembrance Day," where from a lyrical standpoint it is that nebulous world made of everyday stories (even from the past) that often returns in his tales to be the protagonist, just as on the musical side it is a magical arpeggio that leads everything, embellished by the refinements of his magical Les Paul and the ethereal voices of his daughters Isabelle and Katya.
The excellent title-track where we find a delicate fingerpicking accompanying the whole piece is the proof that as we go on listening, the album does not show any sign of wavering, highlighting an astonishing singability where it is precisely the straightforward execution that brings out the piece in all its extraordinary beauty. Undoubtedly among the songs that will make a mark in terms of compositional excellence is the erratic sea-shanty song of "So Far From The Clyde," where the soft and winning progression, both melodically and rhythmically - which might bring to mind that gem called "Brothers In Arms -", reveals itself as alluring, even for the poignant lyrics that highlight the "felt goodbye" of a glorious ship reaching the end of its course and nearing its definitive decommissioning. ("They had a last supper the day of the beaching - she’s a dead ship sailing skeleton crew - the gallery is empty the stove pots are cooling - what’s left of a stew - Her time is approaching the captain moves over - the hangman steps in to do what he’s paid for - wind the
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