As evidenced by Dire Straits’ self-titled first album, it’s always good to get a hit out of the way as fast as you can. Sultans of Swing may still be the track that defines Dire Straits, but there is plenty of depth to the band’s debut. The more obvious spills and thrills of Dire Straits’ brand of rock and roll are not fully in place, though the quality of Mark Knopfler as a guitarist is. That much is irreplaceable. Utter brilliance. But crucial to that is what surrounds him. There are moments on this self-titled release that do well to challenge what Dire Straits could have been. Guitar-led rock was and is all the rage. Standing out from the crowd is crucial not just to get new listeners onto your work, but to keep their interest, too. Dire Straits offered an instrumental skill and tone nobody else could, and much of that comes down to the staggering work Knopfler provides. He makes the complex seem simple, unlike other guitarists of his generation.
His vocals, too, are liquid gold. Down to the Waterline is a masterclass of an opener and had it not been for the catchier Sultans of Swing, it would be the standout track. What Dire Straits does so well is showcase their slick style. Immediately, we know of the Knopfler quality, that flourishing instrumental and written charm which lasts all through their discography. Songs like Setting Me Up have the obvious contrast, the putting me down, to contend with but it’s the blues-y delivery that will win the passing listener over. All of this build to one of the best-known rock and roll tracks is some truly comfortable listening. Southbound Again is a track which pulls the Americana roots of blues rock out of place. Tear out the heartland that brought on those tones, that USA-adjacent style, and bring it back to the UK. It’s sometimes easy to forget the likes of Eric Clapton and The Rolling Stones are British, given how heavy an influence the American blues played on their work.
The same occurs here, with Southbound Again. Hardly an English turn of phrase, but oozing with that northern charm. Everything to follow Sultans of Swing is, of course, going to pale in comparison. But as standalone pieces there’s some sharp work in there. In the Gallery has a tint of surrealism to it with Jesus Christ on the cross and skating ballerinas opening what is yet another brilliant example of the band’s roots rock quality. They’re the outsiders looking into the London scene, even the Leeds scene. Dire Straits plant their roots in the north east and remained there as all-time greats from the region. They would, naturally, transcend the location but their work, subtle or not, would continue painting a picture of their background. In the Gallery does this incredibly.
Wild West End is that perfect blur of blues sentimentality, the slice of life comments of coffee beans and magazine leafing notes is given a sincere extra with Knopfler’s voice. You get a feel for the location despite those wild west comments. Newcastle is a bit like the wild west now, especially when you’ve taken a wrong turn. But that’s the charm of the city at play. You can still find parts of Newcastle, part of where Dire Straits come from, and still keep their roots, in that song. Album closer Lions is a beautiful conclusion to what becomes an extremely strong debut album. Few could push on through quite like Dire Straits can, and while they would become catchy pop pioneers with the albums to follow, there’s nothing quite like their debut. A groove-laden thrill-ride where Knopfler is given his deserved chance to shine.
Great review thank you