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If we were to talk about unique stories within the musical world, Mark Knopfler's would certainly stand out as a special and intriguing case. The Dire Straits, the band led by Knopfler from 1977 (with their self-titled debut the following year) to 1993 (with the release of the live album ON THE NIGHT), are rightly considered one of the pride flags of rock music, which he was able to infuse with a particular melodic inclination while fully respecting the song format.
The original members were four: David Knopfler (rhythm guitar), John Illsley (the loyal bassist and the only member present on all DS records), Pick Withers (a clean and technical drummer), in addition to the leadership firmly in the hands of the elder Knopfler brother. The band initially made its mark on the club circuit, gradually winning over an audience that couldn't help but appreciate them, naturally setting themselves apart from the stars of the era. An attitude that might have appeared understated and without any excess, that primarily weighed in on an exemplary combination of sobriety, superb technique, and sonic clarity, all coming together in masterfully effective songs.
Mark Knopfler’s solo career, excluding soundtracks, has seen the release of 10 albums over the past quarter-century, where, without forgetting the historical importance of his past works, the guitarist chose to focus his compositional skills on songs where the narrative aspect prevails over the instrumental exuberance that marked his beginnings. Albums like SAILING TO PHILADELPHIA - 2000, GET LUCKY - 2009, or PRIVATEERING - 2012 (all on the Mercury label in Europe and the United Kingdom) are characterized by a strong blues rock component, but also country, never missing the chance for the guitarist to showcase his affinity for his folk and Celtic roots, while maintaining the quality of sound we have always been accustomed to.
In keeping with the message a cover might convey about the album's contents, the image of the Tyne Bridge (of Newcastle upon Tyne, to be precise) exudes a feeling of intimacy and melancholy, which, combined with a fundamental storytelling ability, materializes in 12 tracks with refined lyrics and sounds that have always characterized the musician's path outside of Dire Straits. A perspective on making music from an artist on the threshold of 75, who unfurls his mastery, showing himself—as he always has—free from the need to prove anything to anyone, disseminating his artistry with a voice always balanced between warmth and grit, and identifiable guitar textures (perhaps more numerous on the acoustic front).
The nostalgic atmosphere of "Ahead of the game," chosen as a prelude to the album, makes it clear beyond any doubt, with the slippery cadence of the refrain and the beautifully plucked soft notes enriching the story of the musician protagonist's unmet success. The tropical atmosphere of “Smart money” merges with pervasive country while piano and pedal steel enhance the piece with style, chiseling the leading musical interlude.
The whispers in “Watch me gone” perfectly continue the mood of its predecessors, musically foregrounding the love for American songwriting, with whose protagonists Knopfler has crossed paths more often, even reminiscing about them in affectionate lyrics ("Well, maybe I’ll hit the road with Bob or maybe hitch a ride with Van”). One cannot help but be positively struck by the composed ruggedness of “Sweeter than the rain,” where guitar and voice enchant and draw us back to the dreamlike sounds that have always distinguished the Scottish guitarist.
A collection of tracks where the artist spares none of his mastery as a singer-guitarist-songwriter (yes, in that order!) without appearing incomplete—instead, leaning towards the most natural expression for him today, presenting himself with autobiographical tracks where successful melodies consistently emphasize originality. Tracks with well-balanced sound where it seems Knopfler, as a painter, never fails to grant his paintings the right colors and vivacity they deserve, through sparkling notes and lyrics capable of exploring souls and horizons. Like in the love story of “Janine,” where the flavor of a timeless love brings out echoes of Springsteen, while in “Tunnel 13,” a narrative takes shape where courage and illegality traverse a country frontier landscape, concluding with a peaceful instrumental coda worthy of note. To confirm the prevalent quality of the tracks is the touching title track, with its magical guitar phrasing, bringing us to the end of a musical journey that began with the creaky opening of “Two pair of hands,” virtually guaranteeing a desire to replay.
Songs that flow like the river on the cover, reaching places where only a seasoned storyteller like Knopfler can lead, fueled by the noble fingerpicking that has always set him apart and is always a pleasure to listen to, not just for incurable nostalgists.
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