Monday, 18 May 2020

Mark Knopfler

If you're looking for Dire Straits-style fare, you won't get it here....

Golden Heart (1996)

This was Mark Knopfler's first solo album after disbanding Dire Straits, and while here are some Straits-isms present here, there are also several nods towards the Celtic folk influences and historical storytelling that would be present on many of Knopfler's subsequent solo offerings. In that respect it is very much a "bridging" album between the two periods of his career.
It is a warm and personable album, kicking off with the Northumbrian pipes intro and then the grandoise majesty of the wonderful Darling Pretty (a song I have always related to my wife, so personally it means a lot to me). It has a huge riffy opening and a dramatic, anthemic quality with Knopfler sounding as emotionally committed as he has done in all his career thus far. Some great guitar on it too. Imelda sort of recycles the Money For Nothing riff in a muscular, blues rock tale of the Filipina Imelda Marcos. This would have sat easily on the last Dire Straits album, to be honest. Some more guitar of the sort that many keep bemoaning he doesn't come up with anymore is on this one. Golden Heart is sumptuously beautiful. The folky, Celtic airs are arriving now. I love Knopfler's solo work for things like this, more than I do Dire Straits, if I'm honest. It is such an evocative, atmospheric number. Love it. There is something vaguely Springsteen-esque (post 1990) about it too, for me.

No Can Do is a Heavy Fuel-style bluesy rocker with a solid riff and drums over Knopfler's now trademark laconic vocal. It has an almost funky beat at times. 
Vic And Ray is one of those folky, West End type tales of characters possibly from Knopfler's past. Although, as they are rent boys, let's hope he just observed them from afar! It is similar to some of the material on Dire Straits' debut album. More solid guitar parts near the end. Don't You Get It is an upbeat, lively Dire Straits-ish rocker. A Night In Summer Long Ago has the Northumbrian (or maybe Uillean?) pipes back for a song of true, romantic beauty. Forget Money For Nothing. This is the soul of Mark Knopfler for me.

Cannibals is a Cajun-style rocker in a vaguely Walk Of Life style. It is ok, but not my favourite on the album. I'm The Fool is a laid-back, country-ish acoustic ballad with some lovely steel guitar in the background. Again, it sounds like Springsteen's slower 1992 era material in places. 
Je Suis Desolé is a folky, lively number, another of my favourites. Rudiger is an interesting song about an obsessed autograph hunter. Once again, is is low-key, quiet and folk-influenced. It has a sort of Parisian feel to it.

 Done With Bonaparte is a fascinating "history" song about the Napoleonic Wars. "I lost an eye at Austerlitz..." the character in the song tells us. Nobody's Got The Gun is very reminiscent of Bruce Springsteen's Man At The Top in parts. Are We In Trouble Now is a somnolent, country ballad to end this most pleasurable album on. It is always enjoyable to dig this album out.

Sailing To Philadelphia (2000)

Nine years or so after Dire Straits' last album, many people saw this, Mark Knopfler's second album, as something of a Straits-like creation. I am not so sure I agree with that. The guitar solos have gone and the lyrics are very much Knopfler solo ones, as opposed to the style he used to write for Dire Straits. We have historically-influenced songs and ones telling of the lives of the ordinary working characters Knopfler so admires. These type of songs did not really feature in the Dire Straits canon, so, for me, it is very much a Knopfler solo offering. The influences are very much AmericanaVan Morrison (who appears on one track) and Bob Dylan and the album, while having its laid-back rock feel, is also quite a folky one.
What It Is is sort of reminiscent of Dire Straits' later material, particularly in its guitar breaks, but it also has that folky feel that would characterise so much of Knopfler's solo work from this point on. Knopfler's semi-spoken, whispery vocal is to the fore. The final guitar solo is very Dire Straits. Sailing To Philadelphia is one of his "history" songs, telling of the creation of the "Mason-Dixon line" across the USA. It is a very folky, sleepy song and very evocative. It also features James Taylor singing the role of Charles Mason to Knopfler's Jeremiah DixonWho's Your Baby Now is an acoustic-driven, upbeat rocky number with echoes of Tom Petty in there somewhere as well as some Elvis Costello & The Attractions-style organ powering it along. Baloney Again is a shuffling bluesy rock number with a staccato beat and a laconic Knopfler vocal. Some more excellent guitar features on this one. I am sure it was slightly influenced by Bill WithersCold Baloney.

The appealing The Last Laugh features Van Morrison duetting with Knopfler. Morrison's vocal brings the song to life, it has to be said, with a real soulful vibrancy. The two voices complement each other well. 
Do America is a lively, rocky Americana-style number with organ breaks that bring to mind Elvis Costello & The Attractions once again. The melodic Silvertown Blues is another infectious Straits-ish yet folky number, with hints of Bruce Springsteen's Lucky Town in its "down in Silvertown" bit. For the first time, on this one, you get a bit of Dire Straits-ish guitar. El Macho has a suitable latin flavoured syncopation, a big bassy beat, with some fetching trumpet making a change from guitar backing. Prairie Wedding is a walking pace slow folk blues, full of desert and dustbowl imagery and Mark doing one of those semi-whispering vocals. Wanderlust is a punchy, bassy, slow tempo mournful number with Knopfler giving us his best growly, whispered vocal, a bit gruffer this time. Speedway At Nazareth is a very Americana-ish slice of folk blues with more echoes of some of Bruce Springsteen's post 1995 work. Junkie Doll begins with some classic Rolling Stones-style blues guitar and has Knopfler reminiscing about earlier days in London's Turnpike Lane and Turnham Green. It has a bit of a feel of The Faces about it too. 

By the sleepy Sand Of Nevada and the admittedly quiet and moving One More Matinee the album has probably lasted two tracks too many, to be honest. Overall, though, it is an impressive and highly enjoyable album.

The Ragpicker's Dream (2002) 
This album was where Mark Knopfler really built on the foundations of folk, blues, gentle rock and British-Americana folk traditions that he had begun on his first two solo albums. People hoping for Dire Straits-style extended guitar solos would not find them here. There is an acoustic emphasis on many of the tracks, with folky soloing and sensitive, thoughtful, socially aware lyrics, often built around working class characters from Northumberland. 

It is a very North-Eastern album. Yes, the songs may have a pastoral-bucolic fee, but there is also an edge of social injustice and the harsh reality of life. This is never expressed better than in the opener Why Aye Man, about British builders having to travel to Germany in search of work. Despite its acoustic intro, there is also some killer bluesy guitar on this most evocative track. Its uplifting, singalong beat disguises its world-weary sadness, however. Devil Baby is another beautifully melodic and sad song. Echoes of Americana and country rock blend perfectly with Knopfler's quiet British folk voice. This sort of material is similar to that Knopfler played in his Notting Hillbillies sideline. 

Hill Farmer's Blues again merges Americana stylings with Northern British pastoral issues. Knopfler sings of Northumbrian farmers "going into Tow Law...", (a County Durham town). Its percussion backing is almost Irish in its bodhran-like sound. A Place Where We Used To Live is very Elvis Costello-like in its slow, piano-backed ballad  delivery, and Knopfler's voice is very Chris Rea in places.

Quality Shoe borrows heavily from Roger Miller's King Of The Road and is an upbeat country song in praise of a good pair of shoes. Fare Thee Well Northumberland is a slow, bluesy piece of British folk that shows you don't have to come from the Mississippi Delta to write and sing stuff like this. I love it. Marbletown is a very finger-picking acoustic folk number with Dylanesque airs. You Don't Know You're Born has a shuffling, bluesy beat and is probably the most Dire Straits-like number on the album. The guitar at the end is almost Shadows-like in places. 

Coyote has hints of Bruce Springsteen's post 2000 work about it and also features some excellent rumbling blues guitar too. The title track is beautifully gentle and atmospheric. Daddy's Gone To Knoxville is a lively slice of country honky tonk swing, as far from Dire Straits as you could get, in many ways. Old Pigweed has Knopfler sleepily signing off in what has become his now trademark semi-spoken laconic vocal style. This material would certainly not please the stadium rock fans that Dire Straits attracted, but Knopfler doesn't give a damn about that. Neither do I. Although I own all the Dire Straits albums, it is these solo ones I return to far more regularly.

Shangri-La (2004)

Mark Knopfler has a skill of producing Americana-influenced folky laid-back rock that often deals with uniquely British characters - North Eastern colliers, Northumbrian farmers, North Sea fishermen, dodgy cockneys and the like, as well as a few American characters in there too. This is very much the blueprint for Knopfler solo albums - socially aware, sensitive lyrics largely about British working characters and backed by American folk-influenced music. This is more of an American-styled album, though, with slightly less of the British folk and Celtic influences as one previous (and subsequent) albums.            

5.15 a.m. is one of Knopfler's socially aware songs, full of imagery of the industrial North-East UK, quite what the song is about though, I'm not quite sure. It seems to be about a cockney coming up to the North East, "Get Carter"-style and getting killed, and some stuff about one-armed bandits too. a bit confusing, but very atmospheric all the same. Musically, it is folky but rockily upbeat, as, too, is the next track, the bluesy rock of Boom, Like That, which deals with a Ray Kroc, who apparently launched the MacDonalds franchise. Knopfler appears inspired by Kroc's entrepreneurial spirit. Some excellent guitar features throughout. There are still hints of Dire Straits here and there, but this is very much a Knopfler solo album. This is exemplified by the laid-back folky blues of Sucker Row - Knopfler's semi-whispered, quite vocals and that trademark understated bluesy guitar. 

The Trawlerman's Song also fits the bill, exhibiting the same characteristics. Most of the material on this album are country-folk ballads and bluesy, slow tempo quiet, reflective, lyrically thoughtful numbers. The album is quite melancholic and doesn't have the "history" narrative songs that featured on his first two solo albums. The songs here are more character-driven ones. Back To Tupelo features some Brothers In Arms-style guitar over its nostalgic, sensitive lyrics about Elvis and his films. Our Shangri-La is similarly quiet and low-key, but all the same is quite beautiful, melodic and moving. Everybody Pays has a sumptuous organ intro and bass line, some impressive guitar too. Song For Sonny Liston, about the legendary boxer, is bluesily evocative, with an Eric Clapton feel about it. It is one of my favourites on the album. Whoop De Doo is pretty mournful, however. Postcards From Paraguay's shuffling, infectious beat lifts the mood back up slightly. All That Matters and the incredibly Springsteenesque Stand Up Guy are both very low-key, unthreatening and quiet. It is now that the album becomes a bit same-y. The tempo changes a bit with the skiffle beat of the otherwise pretty inessential Donegan's Gone. The final track is a good one, though, the tango-ish slow rhythms and accordion of Don't Crash The AmbulanceThe album, like Sailing To Philadelphia, is way too long, though, running out of steam before it's over an hour of running time is up. You can just put it on and let it wash over you, however.

All The Roadrunning (with Emmylou Harris) (2006)

Although released in 2006 and sounding like a one-off fun collaboration between Mark Knopfler and Emmylou Harris, it actually was formed by work they had recorded together over the previous seven years. While they might seem a bit of an odd combination, their mix of the dry and the comparatively effervescent is both fetching and effective.

Beachcombing is a laid-back but rhythmic opener, featuring typical Knopfler vocals, subtle guitar and that unique country feel that he did so well. Emmylou's vocals underpin Knopfler's a bit like they did Dylan's on the Desire album, just slightly later than the lead vocal. There is an innate sadness to much of Knopfler's material that I find so appealing and it is all over this song. I Dug Up A Diamond is an archetypal Knopfler slow crawler with a walking pace beat and semi-spoken, growly vocals. There is a lot of Bruce Springsteen in its structure and delivery.

This Is Us is a delightfully catchy, toe-tapping number about showing off photos that superbly merges the laconic but often dryly witty Knopfler with the more playful, country-ish enthusiasm of Harris. Great track. I can't get enough of it. Red Staggerwing is an upbeat, fiddle-driven country number in praise of various cars. 

Rollin' On is a gentle, evocative slow number with nice separate vocals from the pair. Lovely warm bass line on it too. Love And Happiness is a slow, acoustic country ballad with Harris taking the initial vocal before Knopfler sleepily joins in. All very atmospheric. Right Now is a bluesy, grinding later-era Dire Straits-style number. Harris takes the lead vocal duties all herself. The quiet Donkey Town sees Knopfler dominating on a track representative of a lot of of his solo material. Harris' Belle Star is a pleasant Western-style country song about Jesse James. It is probably the most country song on the album. Beyond My Wildest Dreams is an enjoyable, appealing, typically Knopfler mid-pace song. All The Roadrunning is a tender ballad with a vague hint of Irishness about it and the album ends with the moving If This Is Goodbye. It has been a satisfying ride from beginning to end. Nice one.

Kill To Get Crimson (2007)

This is another gentle, tastefully low-key "adult" album from Mark Knopfler. It is another fusion of folk, Americana, country, blues and rock which combine to create Knopfler's unique, instantly recognisable sound. Knopfler's sound is a by now trademark, distinctive easy groove that features several styles, none of which dominate. It is all about the mood, the sound, merged with the lyrics, often sensitive, observant and haunting. It is musically unthreatening, but always understated in its comfortable beauty. It all sounds so wonderfully effortless.
True Love Will Never Fade is so Springsteenesque is could almost be him. It sounds very like If I Should Fall Behind and others from that period. The Scaffolder's Wife is a tender ballad telling of one of Knopfler's "ordinary people" characters featuring some laid-back Dire Straits-ish slow guitar. It is beautiful and moving. The Fizzy And The Still is another quietly attractive number. Heart Full Of Holes is the sort of song that sounds as if it should be sung at a local pub's folk night - all acoustic plucking and earnest, softly delivered lyrics. A few minutes in, the band kick in with a vaguely country waltz beat which adds an appeal to the song. This is a quality song.

We Can Get Wild is a later era Dire Straits-ish slow tempo bluesy rock song, with a subtle, shuffling rhythm and the usual quiet vocal. 
Secondary Waltz is an appealing, nostalgic song about schoolboys being taught to waltz, complete with a waltz beat and violin and accordion backing. It is a most atmospheric song. Quite lovely too, with a fetching Celtic feel. a change of mood and rhythm comes with the almost world music percussion intro of Punish The Monkey, which sounds as if it should be on a Paul Simon album. There is an addictive bluesy sound to it too. Let It All Go is one of those typical, haunting, Knopfler slow blues rock with Mark getting mournfully nostalgic in his lyrics and whispered but wise-sounding vocal delivery. Behind With The Rent has echoes of the first Dire Straits album, with some nice brass backing near the end. The Fish And The Bird is very Celtic folk in its haunting, plaintive feel. Madame Geneva's is a torch-type morose tale of a drinker's life, packed full of atmospheric lyrics. The Van Morrison-esque In The Sky ends this understated album in suitably low-key fashion. It is another slightly Celtic-influenced folk song, featuring some subtle saxophone, unusually. Listening to this album is a relaxing, thoughtful experience. It doesn't pull up any trees, it sits quietly there, watching their branches gently sway.

Get Lucky (2009)

By now, it was high time people stopped comparing Mark Knopfler's solo work with his Dire Straits output. They are completely different entities. Knopfler has now created almost his own genre of traditional-sounding folk-rock songs. They sound as if they are from a bygone age, but they are written by him, most atmospherically. Amidst the Celtic and folk airs, there is still a large debt owed to the blues and swamp rock styles, however. There are just no Dire Straits-style guitar solos, so let it go, eh, people? Every time he releases an album we get the same old gripes from people claiming to be "huge fans" bemoaning the fact that they now find his music "boring". The boring thing is not Knopfler in this instance. If Dire Straits were your thing, listen to them, do not expect the same from Knopfler. It's the Eric Clapton-Rod Stewart syndrome.
The opener, Border Reiver, begins with a Celtic style flute and explores the tradition of the cross-border England-Scotland raiders (pictured here), brought up to date, about truck drivers. Hard Shoulder is a gentle, acoustic, bass and percussion ballad, with Knopfler never getting out of second gear, but appealingly so. Some nice orchestration features at the end. You Can't Beat The House is a 4/4 time bluesy number with hints of Elvis Costello's Americana-style offerings. Before Gas And TV is a folky, Celtic-style lament with some fetching Northumbrian pipes and bags of atmosphere. Monteleone is a laid-back, sensitive ballad about making guitars.

Cleaning My Gun sees some swampy blues brought to the table. Knopfler does this sort of thing so well. It has vague hints of Bob Dylan's Mississippi, in places, for me. 
The Car Was The One is a nostalgic ode for a Britain from a time gone by (1963). There is a lot of looking back to people and situations from times past - in both images and characters. Mostly honest blue-collar workers, soldiers or sailors, sportsmen and gamblers. Very Springsteen-esque in parts, but with far more historical context. Knopfler knows his social and cultural history. Remembrance Day is a heartbreaking tale of a village cricket team who went away to fight in WW1. Even the children's choir at the end cannot detract from its moving ambience. Get Lucky is about travelling farm workers and gambling. The final two tracks are two of the most emotional. So Far From The Clyde is about Glasgow shipworkers, while Piper To The End tells the story of Knopfler's uncle, an army piper who died in his early twenties, in WWII. It is such a beautiful, tender song and a fitting way to end this thoughtful, sensitive, gentle album.

Privateering (2012)

This was Mark Knopfler's first double album and it is a good one, too. It covers all his bases - folk, Celtic folk, Americana blues, rock and even a few nods to the old Dire Straits days, only a few mind. It is full of Bruce Springsteen, Chris Rea and Van Morrison influences in places as well as going full on with Knopfler's trademark laconic voice and often wry, witty, observational lyrics. It maybe a sprawling album, but it is a good sprawling. There isn't a duff track on the album. In many respects it is his finest creation.
Redbud Tree is a delightful, acoustic, folky and gentle opener. Haul Away is sad, mournfully Celtic, very much like Piper To The End from Get LuckyDon't Forget Your Hat is full of bluesy slide guitar, a Chris Rea-esque blues full of great harmonica and thumping, addictive beat. Privateering is typical acoustic Knopfler traditional sounding folk looking back to pirate times, but maybe through rose-coloured spectacles. It kicks in to a powerful rock refrain half way through. Lots of atmosphere present here.

Miss You Blues is beautifully heartbreaking, very Springsteen-esque in its folky feel. Lovely typical Knopfler guitar at the end as well. Corned Beef City is wonderful, trademark Knopfler blues rock, upbeat and featuring truck stop lyrics about bacon, egg and sausage. Great stuff. Great rock guitar on it. I love this one. There is some Dire Straits-ish Brothers In Arms-style guitar at the start of the laid-back Go, Love. It is a beautiful song full of killer guitar. Hot Or What is a copper-bottomed slice of tongue-in-cheek Knopfler blues. There is a lot of Van Morrison about it, for me. Yon Two Crows is Dire Staits-ish but also very traditionally folky in its feel, with a Northumbrian-Celtic feel too. Seattle takes us to the bars of the USA on a most evocative, atmospheric narrative song. 

Kingdom Of Gold is a low-key, sombre acoustic folk ballad. It goes on a bit too long maybe. Got To Have Something is a rousing, staccato, Dylanesque shuffling blues rocker featuring some great piano. Radio City Serenade is a lovely Knopfler ballad packed with emigrĂ© maudlin emotion. Its Celtic feel, sung from someone in the USA, is so moving as is usual from Knopfler on these sort of things. I Used To Could is a sleep but muscular blues and Gator Blood is a swampy Americana blues as you may imagine from the title. Bluebird is a slow tempo guitar-driven ballad and Dream Of The Drowned Submariner is even more sleepy but quirkily fascinating, lyrically. Blood And Water is another one harking back to a bit of Dire Straits guitar sound, but only here and there. Today Is Okay is a Van Morrison-style blues grinder. After The Beanstalk is a country-ish Band-influenced pice of Americana to finish this excellent album. Yes it tapers off a bit toward the end, but that is a minor gripe. No tracks are not worthy of a listen. Probably best to listen to either disc one or disc two in isolation though to avoid that feeling of too much Knopfler in one sitting.

Tracker (2015)

A laid-back album of beautiful, thoughtful songs in a folky style by the guitar genius that is Mark Knopfler. If you are one if those still desperately searching for some hint of Dire Straits-style sound, then you will be disappointed, just give up. Time has moved on.
Basil fondly recalls Knopfler’s early years working on the “Newcastle Chronicle” with a hard-bitten old journalist. Newcastle landmarks are mentioned like the “black church” which refers to the soiled stone blackened by the smoke of the industrial revolution, and Mark Toney’s Ice Cream Parlour, which is still there on Grainger Street. Laughs And Jokes And Drinks And Smokes is similarly nostalgic, with its jazzy intro that breaks out into Celtic-Northumbrian majesty. Lights Of Taormina is just beautiful, full of Dylanesque rhyme schemes with a hint of Tex-Mex and then there is Beryl, which gives the only tiny hint of Dire Straits. There is also some Elvis Costello & The Attractions-style organ featuring as well. 

The gritty, Springsteen-esque River Towns, with its sumptuous saxophone ending and the upbeat Skydiver are impressive too, as is Silver Eagle. Mighty Man is a fine Celtic historical, moving tale of navvies working on the railways. Broken Bones is a fabulous, semi-funky grinder of a number, full of atmosphere. Long Cool Girl is gentle, acoustically-driven and tender while Wherever I Go (with Ruth Moody) is a lovely duet to end on, with more wonderful saxophone too. There is a trustworthiness to Knopfler’s honest, bluesy work. Like Van Morrison, you know what you are going to get. Long may he continue.

Down The Road Wherever (2018)

This is Mark Knopfler's first album for three years or so. You know what you're going to get from him by now - immaculately played, laid-back folky, slow tempo rock. If you like Knopfler, you will like this. It is as simple as that. Nothing much changes in the material he has been putting out for many years now. Having said that, however, I have to say that, of all his solo albums, this contains the most musical diversity. Look, it's not Sgt. Pepper or A Night At The Opera in its chocolate box diversity, but, for Knopfler, it is by far the most changeable, track by track, album he has released. His voice largely remains the same, calm and melancholic, but musically, there is quite a lot in here. It isn't all just a gently strummed acoustic guitar.
The album's opener, Trapper Man, is a lengthy robust number with a muscular drum sound, some bluesy guitar interjections and Knopfler's usual quiet, gentle vocal. There is a contemporary-sounding drum section at one point, but largely it is a regular fare, with some trademark guitar throughout. There are vague echoes of Bruce Springsteen's later post-2000 work in places, particularly near the end. Just hints, though, in the piano riff. Back On The Dance Floor is a shuffling, infectious bluesy number that harks back a bit to Dire Straits' final album On Every Street. Something about the rhythm and guitar work reminds me of Knopfler's collaborations with Bryan Ferry, notably Valentine from Ferry's Boys And Girls album. 

Nobody's Child is a typical, walking pace, sensitive song with Knopfler's quietly reflective vocal sung over some Dire Straits-style slow guitar. One thing I am noticing is he is using this old Straits guitar sound circa Brothers In Arms"-"On Every Street a lot more than he has done on recent albums. Just A Boy Away From Home is an appetising slice of slow blues, like Chris Rea's bluesy material. The leading guitar riff reminds of something but I can't place it at the moment. For some reason it sounds like You'll Never Walk Alone. The more it plays, of course, I realise it is exactly that. What were hints have now turned into the instantly recognisable melody. The writing credits include Rogers and Hammerstein, credited for the obvious lift. When You Leave is a slow, fifties-influenced, smoky jazzy number, like something from Frank Sinatra's sombre, late night, feeling sorry for himself period. It is enhanced by some lovely, evocative jazzy saxophone. Good On You Son is more typical of Knopfler's early solo work. It tells of someone who has emigrated to Los Angeles as far as I can tell, although parts of the lyrics are somewhat inscrutable. It has some great Young Americans-influenced saxophone and an intoxicating, relatively upbeat (for Knopfler) rhythm. 

My Bacon Roll is one of those atmospheric, nostalgic Knopfler songs. The song appears to be reminiscing about "team building" exercises in some job or other and also a selection of traditional cafe breakfast fare. Knopfler has such a knack with quirky, beguiling songs like this. Laconic, wry and gently witty at times. Nobody Does That that sees old Mark getting the funk, with some punchy kick-ass horns and some funky wah-wah guitar and saxophone. Drovers Road has some Brothers In Arms-style guitar and a folky feel to it, with subtle Northumbrian pipes in the background. It is another marvellously atmospheric number.

One Song At A Time is a lengthy, subtly rhythmic shuffler of a song that tells of Knopfler's days in DeptfordSouth London in the old Sultans Of Swing days of 1979. 
Floating Away is musically beautiful and Knopfler's sleepy voice certainly suits the "floating away" title. Some entrancing guitar on this one too. As with all his lyrics, you just feel Knopfler is a man with a lot of wisdom, a lot of world-weary head-shaking as he watches everything floating away. He is also a man with a lot of sensitivity, as the tender Slow Learner exemplifies. He tells of how he likes to take things slow, and sings at a suitably languid walking pace over a drowsy jazzy background. Just when you think it is all getting a bit somnolent Mark gives us a bit of jaunty, Caribbean-style rhythm on the appealing Heavy Up. Good old Mark, though, he still sounds groggy despite the lively beat. It has some excellent Rico Rodriguez-style trombone at the end. Every Heart Is In The Room closes the non-"deluxe" version of the album slowly and soulfully.  

** On the bonus track, Rear View Mirror, Mark goes all Van Morrison-Georgie Fame on a lively, Hammond organ-driven slice of jazzy fun. Matchstick Man is an emotional ballad about gigging far from home in Penzance. It is a moving, thoughtful, at times uplifting, at times sorrowful and reflective album. If you like Mark Knopfler you will love it, of course. I am probably writing to the converted but I can find no reason for anyone to be disappointed.

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