Mark Knopfler
Local Hero

The early 1980s (and not to mention the end as well as the tail end of the previous decade) was indeed a period full of commitments for the Dire Straits, even if the sequence album recording/disc promotion/tour was part of a tried and tested routine that subjected almost every band of the time to incredible psychophysical stress with a firm intention of establishing themselves. In their artistic journey, the group also showed the consequences of such an intense activity (departure also for other reasons of David Knopfler, but also the subsequent one of the first and unforgettable drummer David – called Pick – Withers). Meanwhile, Mark Knopfler had become a sort of King Midas for anyone who had the opportunity to benefit from his magical touch, capable of making the pieces he worked on shine almost always, thus multiplying impromptu collaborations (Phil Lynott and Steely Dan among many) but also contributions that would never have suggested a follow-up even in the long term (Bob Dylan and Van Morrison above all).

The stylish rock through which the impeccable leader of the Dire Straits spoke was not, however, the only interest in his desire to express himself musically. His passion for mixing genres has always characterized an unusual standard of writing capable of blending blues, folk roots and country, alluding to a clearly western style cinematography that allows the Scottish musician to be identified even after a short hearing of the pieces he composed.

And if what has just been said is evidenced by the galloping "Once Upon a Time in the West" and the endless "Telegraph Road", the listening of LOCAL HERO will only further endorse this thought. The film is a beautiful ecological story set on a strip of the Scottish coast that an American businessman decides to buy from the local landowners, to build oil refineries there. A fascinating narrative enhanced by shots of enchanting places (the direction of Bill Forsyth – also from Glasgow – is a guarantee) where the protagonists are the local people, combined with a simple sense of humour that permeates the dialogues and reveals a sensitive and unknown Knopfler composer, capable of revealing himself as an already accomplished translator in music of settings and images that color the story. What prevails is delicate music that holds together soft and rhythmic atmospheres, always able to transport and emphasize the visual meaning of the scenes, without losing that common denominator made of notes that leap from traditional folk to old time music of string bands. Music that appears uniform while taking into account the variety distinguishing one track from another (sometimes real musical interludes), proving pleasant to listen to due to the successful insertions of accordion and violins, certainly unfamiliar to the band of the contemporary LOVE OVER GOLD! Musical intersections capable of thrilling and generating tremors, capable of taking the mind back in time, among the enchanted landscapes proper to Scottish tradition and sounds that despite their simplicity, appear intense, making them appreciated even without the support of images. The only sung piece is "The Way It Always Starts" for which Gerry Rafferty (another genuine Scotsman) is chosen for the vocal interpretation, while the main theme "Going Home" (Theme of the Local Hero) which, although proposed in several forms, in this version starts in a very subdued and characterized manner by a layered and atmospheric alternation between guitar and keyboards (obviously of the faithful Alan Clark even though here as part of the sober The Acetones), then it is carried by hand (and I dare say by mouth...) by the exceptional sax of Michael Brecker and develops into a boundless instrumental apotheosis justifying by itself the purchase of the record.

A record that in the credits list sees, in addition to all the Dire Straits of the time, musicians of the caliber of Eddie Gomez (Miles Davis, Dizzy Gillespie and Chick Corea among others), Steve Jordan (Blues Brothers and Clapton), and Tony Levin (King Crimson and Art Garfunkel) and that, despite constituting for the Scottish musician the first impact with the drafting of film music, manages to hit the target on the first try, impressing (even with the necessary differences), due to the spontaneous and personal compositional approach that led him to earn the title of Sultan of Swing with all honors!