What does it sound like?:
By the time of their fourth album, Dire Straits had experienced that now rare luxury of having time to grow and develop. A fiery live act, centred around Mark Knopfler’s astonishingly fluid guitar playing (and an uncannily tight and sympathetic collective ability as a group – check out their Old Grey Whistle Test appearances), they sometimes had the tendency on their first three albums to tip over into blandness. (For me, those early albums all tend to blend into one AOR gloop). But there were signs of greatness to come, not least in Knopfler’s burgeoning songwriting ability (Romeo and Juliet from Making Movies being his first unqualified success, a light, dancing creation tempered by a combination of street suss and cynical playfulness worthy of Paul Simon).
Love Over Gold, then, was a change in sound (they ditched the producer and allowed Knopfler to produce on his own) and a leap forward in maturity. While there is an unshakeable whiff of eighties about the whole project (the dread digital gated reverb is in full effect, as well as a track listing in the style of a computer monitor), Love Over Gold’s roots actually lie in » Continue Reading.