First off, Mark Knopfler is my favorite guitar player. I don't think he's the best, but his playing style appeals more to me than anyone else. He has a crisp, fluid fingerpicking style played on a very clean stratocaster (up until 1985, when he starts to add some distortion, starts playing on a Gibson sometimes and loses some uniqueness). He can also play wonderful acoustically, and on a track or two per record will pull out the resonator guitar (pictured on the album cover of Brothers in Arms). I also love his songwriting with Dire Straits, and even his gruff, pedestrian vocals have a certain charm. Pretty much everything about Dire Straits appeals to me, and they have long been a favorite. I have discussed before how my first concert experience was seeing the Brothers in Arms tour, and it remains one of the best shows I've ever seen. And I don't just say that out of fuzzy happy memories, I have a bootleg copy of that show. It actually does kick serious ass. Mark Knopfler was Dire Straits, so I had every reason to hope that his solo work would be as great. I was wrong.
Dire Straits (1978) *****
One of the more remarkable things about Dire Straits's debut is that it is so out of place for its time. The storytelling with pub rock backing and featuring Mark Knopfler's already distinct fingerpicked guitar playing is completely and blissfully out of step with the disco, punk rock or New Wave of the time.
Live at the BBC (live) (1978/1981/1995) ****
An early club show in support of the debut, it is primarily for the DS enthusiast, but it features some more muscular versions of the debut's songs, especially a superior "Six Blade Knife."
Communique (1979) ***
Definitely treading water, even Knopfler is quick to dismiss the rushed sophomore effort. It should not be completely dismissed, "Once Upon A Time in the West," "Lady Writer," "Portobello Belle" and "Where Do You Think You're Going?" all stand up to the debut's standards, but the rest ranks as the most forgettable DS material. Knopfler knew it too, he made some major line-up changes in preparation for the third record.
Making Movies (1980) *****
Knopfler's personnel moves proved to be perfectly timed, as the more flexible and muscular line-up was able to match his growing ambitions. MM is one of the most beloved records in British rock history (it would take until 1985 for the Americans to figure this band out). Side One is one of the strongest sides on any record: the epic "Tunnel of Love" remains Knopfler's greatest achievement as a songwriter and as a musician, "Romeo and Juliet" is a love song with few equals, and the catchy single "Skateaway" closes the side. The second half only flags slightly. This remains DS's greatest record.
Love Over Gold (1982) ***1/2
Knopfler's ambitions continue to grow, and here they exceed his reach. This is their almost prog effort, with the laborious 14 minute opener "Telegraph Road," which stops and starts so many times that the song can never build the momentum that it should have to actually be compelling. "Private Investigations" is one of Knopfler's most interesting character studies, following a noir bottom feeder P.I. through his shady work.
Twisting By the Pool (aka ExtendedDancEPlay) (EP) (1983) ***
Knopfler seemed to immediately realize that LOG was a bit too labored and unecessarily dense, and the group tossed off this purposely loose and nostalgic four song EP, almost as a way to shake off the weight of the previous record. It is minor, but also pretty fun (which LOG definitely was not), and two of the four songs made it into their regular setlists in the years to come ("Twisting By the Pool" and "Two Young Lovers.") It is a bit hard to find these days, making it somewhat of a collector's item.
Alchemy (live) (1984) *****
Depending on how you like your Straits, you either adore this live effort or it leaves you cold. DS often drastically reworked and expanded their songs in concert. For instance, the five minute studio track "Once Upon a Time in the West" becomes a dynamic 14 minute opener here. ("Tunnel of Love" and "Sultans of Swing" recieve similar expansions, funny that "Telegraph Road," though, is actually shortened). I love it when Knopfler stretches out and builds the tension in his songs through use of dynamics largely missing from the studio versions, and Alchemy remains one of my all time favorite records. It is Dire Straits 101 for me, but it is not for everyone.
Brothers in Arms (1985) ****
Here is where the rest of the world figured out what England already knew. The unlikely blockbuster that was BIA surprised everyone, probably especially Knopfler. The indellible guitar riff of "Money For Nothin'" and the ridiculously catchy "Walk of Life" certainly helped (as did the popular music videos that accompanied them). But it is the album tracks that keep me coming back, like the spooky mercenary tale of "Ride Across the River," the war criminal confessional "The Man's Too Strong," or the gorgeous slowburning title track evoking haunting images of the holocaust. Unusual topics for rock and roll, but Knopfler through superior songwriting and always great musical composition makes them work.
Money For Nothin’ (compilation) (1988) ****
Flawed but still workable compilation, and to be honest, what came after this is not very necessary, so it can be seen as covering the essentials. Some songs had to be severely edited for space conerns, though, lessening their impact.
On Every Street (1991) **
On the Night (live) (1993) **
Encores (live EP) (1993) NR
Knopfler took six years to follow up the blockbuster BIA, and he simply choked. I think he was already looking beyond Dire Straits at this point. Some good songs here (title track, the too long "Calling Elvis," "My Parties"), but most of this is forgettable and bland, and the unforgiveble "Heavy Fuel" is nothing less than embarassing, a blatant attempt at another "Money For Nothin'" but failing in every way that the latter was successful. The live record from the tour brings some more life to some of these songs (especially the great "On Every Street"), but not enough.
Sultans of Swing: The Best of Dire Straits (compilation) (1998) ****
The Best of Dire Straits & Mark Knopfler: Private Investigations (compilation) (2005) ***
SOS is probably the most comprehensive DS compilation, but is weighed down by an emphasis on later material. The single disc version of PI is too short to do either DS or Knopfler justice, while the two disc version is passable, but the haphazard track order makes for a messy listen. Honestly, no compilation has really gotten Dire Straits completely right.
MARK KNOPFLER SOLO WORK
Covering Knopfler's solo career is more challenging, due to the volume of his work. He performed as a guest musician on well over 100 recordings (for Bob Dylan, Van Morrison, Randy Newman and many other impressive names). He has produced records, and has recorded eight soundtracks for films. I won't list all of this, but his most notable soundtrack was his first, for 1983's 'Local Hero' (****). The music is just gorgeous, and a couple of tracks became part of Dire Straits's setlists. Screenplaying (compilation) (1993) **** is a nice collection of some of his soundtrack work, covering selections from 'Cal,' 'Last Exit to Brooklyn,' 'The Princess Bride' and 'Local Hero.' As for his "regular" solo work...
Missing...Presumed Having a Good Time (as a member of the Notting Hillbillies) (1990) ***
Neck and Neck (with Chet Atkins) (1990) NR
Golden Heart (1996) **
Sailing to Philadelphia (2000) ***
The Ragpicker's Dream (2002) **
Shangri-La (2004) **
The Trawlerman's Song (EP) (2005) NR
One Take Radio Sessions (live EP) (2005) **
All the Roadrunning (with Emmylou Harris) (2006) **
Real Live Roadrunning (live) (with Emmylou Harris) (2006) ***
Kill To Get Crimson (2007) **
Get Lucky (2009) **
Privateering (2012) NR
As you can see, my view of Knopfler's solo work is low (akin to how I feel about Sting's post-1991 work when compared to The Police). I have to admit that it is critically well regarded (more respected critically than Dire Straits, actually). I don't understand why. By and large, it is subdued to the point of dull, he has reigned in his signature guitar playing in exchange for focusing on being a bluesy singer-songwriter. Some of his lyrics are interesting, but not enough to make up for the overall blandness of the sound. Believe me, the fan I am of Dire Straits, I was very ready to love his solo work as well. Didn't happen. Sailing To Philadelphia is the best of the lot, with a couple of tunes that sound like they could have been excellent latterday Dire Straits (opener "What It Is," "Speedway at Nazareth," the great title track that is a dialogue between explorers Lewis & Clark in the form of a duet with James Taylor). But I just cannot get into the rest of his solo work.
Bottom Line: As far as Dire Straits goes, I would send anyone to Making Movies first, then to Dire Straits and Brothers in Arms. I am a staunch supporter of Alchemy as their peak, but it is not for everyone. I cannot recommend anything from Knopfler's solo work other than the soundtracks to 'Local Hero' and 'Princess Bride.' Screenplaying is a nice collection of Knopfler's early soundtrack work. Knopfler's best solo album is Sailing to Philadelphia, but even than one is just OK. I will admit, however, that critics tend to like his solo work.
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