Get Lucky

Knopfler's previous album, Kill to Get Crimson, was described in Rolling Stone by reviewer Anthony DeCurtis as 'egoless and supremely accomplished...testament to the rare talent that enables a master to say something simply and beautifully and leave it exactly at that'. Two years on, could the same sentiments apply to Get Lucky?

Certainly it's another beautifully crafted album, with some lovely instrumentations but it's arguably the most pensive of Knopfler's creations: the majority of the tracks are tinged with an aching melancholy, some with Celtic inflections. This sentiment is admirably illustrated in 'Remembrance Day', a definite highlight of the album, in which he shows reverence for the war heroes that have passed on. The children chanting 'we will remember them', coupled with some wonderfully effective guitar work by MK, produces a counterpoint that resonates with particular poignancy. Similarly, the final track about Knopfler's uncle - a piper who died in battle aged 20 - goes to serve as a reminder of the value and, all too often, the brevity of a human life.

But what impresses me most with Knopfler's skill as a songwriter is his ability to place the listener in a particular place and time simply through the way that he writes. And there's a certain degree of cinematic magic here: Consider the song in which Knopfler muses about one of the greatest guitar makers in the world (John Monteleone) going about his work: 'The chisels are calling; it's time to make sawdust. Steely reminders of things left to do'. His affection and appreciation for the instruments he makes (`Gentle persuasion, I bend to the wood and I coax it so sing. Monteleone, your new one and only will ring') is matched only by the musician who will play and treasure it. In the folk incarnation which is 'Before Gas and TV', Knopfler successfully achieves a sense of perspective that is time-specific. And although it is perhaps the least appealing of the songs, it encourages a new viewpoint: an opportunity to re-evaluate where we are today but from a very different place.

In terms of the guitar writing, those looking for 15-minute guitar epics along the lines of 'Telegraph Road' will be disappointed with this CD. Even though there are some fine solos here, Knopfler uses the guitar to serve the song and not the other way around. He has no desire to wail his guitar simply to please those that haven't moved on since Dire Straits. That said there are a few surprises here: the 'live' bluesy sound in 'You Can't Beat The House' is refreshingly different, with more than a passing resemblance to the guitar of B. B. King. And to those wanting a more muscular Les Paul guitar sound, 'Cleaning My Gun' will happily oblige. It is, after all, the only track on the album that really cranks up the decibels!

The album may lack the fretboard virtuosity that some fans cherish, but since when did virtuosity equal greatness? To reiterate: 'it [takes a] rare talent that enables a master to say something simply and beautifully and leave it exactly at that'. Unpretentiousness it maybe, but Get Lucky is a sublime recording that will reward fans for years to come.

'Get Lucky' marks Knopfler's 7th solo studio album and the artisan of musical craft has done it once again. Having already carved out his own distinctive niche, this latest offering further reinforces this position with 11 great biographical and autobiographical musical tales which tell their own story in a sensitive and thought-provoking way that make you want to go deeper with each listen. Drawing on key elements from his entire discography, 'Get Lucky' is also perhaps MK's most personal album to date with a nostalgic and reflective view of his Scottish roots and a bygone era. This provides a Celtic folk feel which compares well with elements from 'Golden Heart' and his film score work such as 'Local Hero', 'Cal' and 'A Shot at Glory'. As an album therefore, you'll find few surprises but, by the same token, there are some great stand-out tracks, including the rousing 'Border Reiver' which kicks off proceedings in much the same way 'What It Is' did on his 'Sailing to Philadelphia' album. 'Get Lucky' therefore more than complements his other work as he continues to modestly show off his song writing prowess and lyrical dexterity that demonstrate he is much, much more than just 'the voice and guitar of Dire Straits'. For a fan this is definitely a must. For a newbie, it may take some listening, but the journey of discovery would be well worth the effort.

Knopfler's previous album, Kill to Get Crimson, was described in Rolling Stone by reviewer Anthony DeCurtis as 'egoless and supremely accomplished...testament to the rare talent that enables a master to say something simply and beautifully and leave it exactly at that'. Two years on, could the same sentiments apply to Get Lucky?

Certainly it's another beautifully crafted album, with some lovely instrumentations but it's arguably the most pensive of Knopfler's creations: the majority of the tracks are tinged with an aching melancholy, some with Celtic inflections. This sentiment is admirably illustrated in 'Remembrance Day', a definite highlight of the album, in which he shows reverence for the war heroes that have passed on. The children chanting 'we will remember them', coupled with some wonderfully effective guitar work by MK, produces a counterpoint that resonates with particular poignancy. Similarly, the final track about Knopfler's uncle - a piper who died in battle aged 20 - goes to serve as a reminder of the value and, all too often, the brevity of a human life.

But what impresses me most with Knopfler's skill as a songwriter is his ability to place the listener in a particular place and time simply through the way that he writes. And there's a certain degree of cinematic magic here: Consider the song in which Knopfler muses about one of the greatest guitar makers in the world (John Monteleone) going about his work: 'The chisels are calling; it's time to make sawdust. Steely reminders of things left to do'. His affection and appreciation for the instruments he makes (`Gentle persuasion, I bend to the wood and I coax it so sing. Monteleone, your new one and only will ring') is matched only by the musician who will play and treasure it. In the folk incarnation which is 'Before Gas and TV', Knopfler successfully achieves a sense of perspective that is time-specific. And although it is perhaps the least appealing of the songs, it encourages a new viewpoint: an opportunity to re-evaluate where we are today but from a very different place.

In terms of the guitar writing, those looking for 15-minute guitar epics along the lines of 'Telegraph Road' will be disappointed with this CD. Even though there are some fine solos here, Knopfler uses the guitar to serve the song and not the other way around. He has no desire to wail his guitar simply to please those that haven't moved on since Dire Straits. That said there are a few surprises here: the 'live' bluesy sound in 'You Can't Beat The House' is refreshingly different, with more than a passing resemblance to the guitar of B. B. King. And to those wanting a more muscular Les Paul guitar sound, 'Cleaning My Gun' will happily oblige. It is, after all, the only track on the album that really cranks up the decibels!

The album may lack the fretboard virtuosity that some fans cherish, but since when did virtuosity equal greatness? To reiterate: 'it [takes a] rare talent that enables a master to say something simply and beautifully and leave it exactly at that'. Unpretentiousness it maybe, but Get Lucky is a sublime recording that will reward fans for years to come.