Friday, December 17, 2021

Dire Straits – On Every Street

 

Dire Straits – On Every Street

By

Jesse E. Mullen

 

 

You’re one of the biggest bands in the world, if not the biggest. You’ve gone from playing pubs to playing stadiums. You’ve released one of the best-selling albums of all time, and you’ve just finished touring said album. And then you go into hibernation for six years.

As was the story of Dire Straits. The British rock group had achieved massive sales for their 1985 album Brothers In Arms. Propelled by the singles “Money For Nothing” and “Walk Of Life,” it seems that nearly everyone has heard the record.

However, following the grueling world tour which concluded in April 1986, frontman, songwriter, and enigmatic lead guitarist Mark Knopfler was beginning to feel he’d had enough. So, following two years of (mostly) inactivity, he announced a breakup of the group in September 1988.

After starting a new group, Notting Hillbillies, and making a record with his idol Chet Atkins, Knopfler finally felt it was time to resurrect Dire Straits. So, in 1990, the band began recording a new album at AIR Studios in London. Entitled On Every Street, the record would finally be released in September 1991.

“Calling Elvis” begins the album with a tight rockabilly groove and strong interplay between bassist John Illsley and session drummer Jeff Porcaro. Mark Knopfler’s guitar builds over the course of the track from a simple hammer-on into some of his most explosive fretboard fireworks.

Newcomer Paul Franklin adds a choppy pedal steel riff to the verses, and keyboardists Guy Fletcher and Alan Clark add color to the bridges. If ever there was a band effort, this would be it. As the lyrics end, the track transitions into a hypnotic jam – one which would be drawn out to 11 minutes + when performed on tour.

The inspiration behind the title came from Knopfler’s brother-in-law, who said the guitarist/songwriter was “harder to get a hold of than Elvis.” The lyrics seem to be inspired by the “list songs” of Bob Dylan, as they string titles of Elvis Pressley songs together into a narrative.

Knopfler sings from the perspective of a fan, who calls Elvis endlessly in his later days – after the mystique had faded. It’s as if Knopfler is commenting on his own fame, feeling as though he’s had enough of dealing with the public. A thrilling start, but things would only get better.

The title track finds Knopfler in familiar lyrical territory. Much like “Private Investigations” from 1982’s Love Over Gold, “On Every Street” finds the narrator searching for someone who has wronged him – or in this case, someone close to him. Quite likely a veiled metaphor for lost love.

Knopfler sings from the perspective of a private investigator who unsuccessfully tries to track down a killer. During the second verse, we get a more explicit description of the man in question. He sports a “a ladykiller – regulation tattoo” and “silver spurs on his heels.”

Sonically, the track is a sparse, but wonderfully effective piece of music. Each verse ends with Knopfler pausing while singing “and it’s your face I’m looking for… On every street.” Alan Clark fills in the gaps with a gorgeous three-note piano melody. Knopfler responds with a three-note riff of his own – which would fit perfectly in a western film – followed by a Chris White saxophone interlude.

The track ends a sweet four-chord riff – surprisingly no lead guitar from Knopfler – and some very tastefully inspired pedal steel from Paul Franklin. Knopfler is at his best when he can stretch out musically, so it is refreshing to hear him take a different approach to the end of a song.

Knopfler clearly hadn’t rid himself of his rockabilly affliction as displayed by “The Bug.” Almost a sequel to “Walk of Life” – with six more years of wisdom – “The Bug” is an up-tempo, upbeat rockabilly song about life’s ups and downs.

“Sometimes you’re the windshield/sometimes you’re the bug” and “Sometimes you’re the Louisville Slugger/sometimes you’re the ball,” as the two-part chorus goes. Knopfler’s rhythmic, toe-tapping fingerpicking is again offset by Paul Franklin’s colorful pedal steel lines. It may not be rocket science, but it’s a whole lotta fun.

Just because a song is satirical, doesn’t mean it can’t be beautiful. “Ticket To Heaven” tackles a controversial topic – televangelism in America – with a wink and a nod. Over a lushly orchestrated George Martin soundscape, Knopfler sings from the perspective of a poor man who has been swindled by a megachurch.

The title – and chorus, by extension – would seem to be a cynical commentary on what motivates the religious to act benevolently: the promise of eternal salvation. The man in the song has no money to pay his heating bills. Yet he is willing to send what little he has to a minister on television who is making these lofty promises.

Because Knopfler is a gifted songwriter – and a much better writer than yours truly – he somehow manages to not come across as preachy or overzealous. Similarly, without the biting commentary of the lyrics, the song would come across as syrupy. But marrying the lyrics with Martin’s arrangements makes “Ticket To Heaven” a winner.

The satire was laid on even more heavily on the jazzy, Steely Dan-esque “My Parties.” Sung-spoken by Knopfler about the lifestyles of the rich and famous, it becomes more enjoyable once the listener realizes that it is being sung ironically.

Written from the perspective of a wealthy party host who lacks self-awareness, the audience is duly laughing at his expense. He brags about his possessions to anyone in his vicinity, demonstrates his lack of care about global warming, and even proposes a toast to himself.

One must wonder if Knopfler was trying to distance himself from the trappings of fame – and the unpleasant characters that it can bring. As a former junior reporter, his keen sense of observation has been noted in reviews since the first Dire Straits album came out. Perhaps he was observing what was becoming an all-too frequent occurrence around him.

The album ends on an uplifting note with the light country rock of “How Long.” Propelled by a bouncing John Illsley bassline and Paul Franklin’s pedal steel, the track tells a wistful tale of lust. Somewhat ironically, Knopfler’s lyrics paint a picture of a relationship that has hit a wall. He asks how long his lover will “keep [him] wondering.” However, the uplifting tone of the track suggests hope for the future.

And with that, Dire Straits recording career was finished. A year-long world tour would take them to the end of 1992 – and every corner of the globe – after which Knopfler would hang up the headbands and pursue a solo career. He would later hint at retirement in 2019.

On Every Street proved that Mark Knopfler still had a few tricks left up his sleeve. Despite receiving mixed reviews at the time of release, the album has aged remarkably well. While Love Over Gold remains Dire Straits’ magnum opus, they bowed out in grace and style. 

Warner Bros./1991