The guitar dances around the melody with Clark’s acoustic piano, intertwined with touches of electric bass and high hat, add color. Mark Knopfler provides what may be his best acoustic guitar work, playing his Ovation six-string. Clark’s cello-like synthesizer opens the song and is accompanied by guest vibraphonist Mike Manieri. Knopfler, ever the observer, tells a simple story of a private dick, but the music is anything but simple. The other single, “Private Investigations,” is an oddly brilliant song. Like every other song on this album, “Industrial Disease” contains no harmony or backing vocals, but Knopfler’s delivery of the high quality of lyrics is on point. The music swings with Illsley’s walking bass, adding an even higher level of craftsmanship. Knopfler doesn’t play a solo on the song, instead combining an Erelwine Automatic Electric Guitar and distortion with Lindes’ cleaner-sounding rhythm parts. Clark employs his Hammond C-3 (yes a C-3) organ, piano and Farisfa-like synthesizer to propel “Industrial Disease.” The rhythmic foundation is based on a Wither’s tight snare and high-hat work, along with touches of synth drums.
“Industrial Disease,” which was the second single from Love Over Gold, did not chart in America despite the fact that it was upbeat and rocking. Love Over Gold has gotten off to perhaps a career-best start. The crowning glory is the four-minute ending guitar solo, where Knopfler and Dire Straits race toward the end of the titular road. Mark Knopfler provides five verses, at least three bridges and and number of turnarounds during the song’s 14 minutes. Fast forward a few decades, and it could have been about today, too. Lyrically, the song seems focused on the downturn of the American auto industry but could have easily been a story about the entropy in the world. “Telegraph Road” sees Knopfler flexing his arranging muscles, creating an almost prog-rock canvas, while providing space for Alan Clark to devise piano passages within the frame. The song paints an expansive landscape, with Clark’s piano serving as the main protagonist and Knopfler’s electric guitar its foil. John Illsley quickly enters with warm whole notes, followed by rim work from Withers. Mark Knopfler starts with a plaintive National Steel guitar intro, which is quickly supported by Clark’s expressive grand piano and lush synth wash. The standard is set by “Telegraph Road,” an opening epic that is bold in concept and brilliant in execution. Love Over Gold has 41 minutes of music, with only five songs. Even the most light-hearted song, “Industrial Disease,” is based on a subject matter of ruin and economic decay. Mark Knopfler seemed to have a sense of freedom, as this was his first time acting as sole producer for his band. Dorfsman was nominated for a Grammy for this album, and later won for Brothers in Arms. It was recorded solely at the Power Station studio in New York, with Neil Dorfsman engineering for the first time. The feel of Love Over Gold is like no other Dire Straits album. Clark, who joined the band for 1980’s Making Movies tour with Lindes, made a significant contribution to the sound of the band for the rest of his tenure.įounding members John Illsley and Pick Withers take up their bass and drumming positions, respectively however, Withers will soon exit after the recording sessions, succeeded by the great Terry Williams. In fact, only the first two albums contained the same Dire Straits lineup.Īlso of note is the addition of keyboardist Alan Clark. Knopfler, as bandleader, vocalist, producer, guitarist and chief songwriter, was not shy about changing up the band.
Lindes would go on to tour in support of the album, and was featured on the excellent live album Alchemy, but was later dismissed during the recording of the critically acclaimed 1985 bestseller, Brothers in Arms. Love Over Gold was Dire Straits’ fourth album, and the only studio project to feature Mark Knopfler, John Illsley, Pick Withers, Alan Clark and Hal Lindes.
0 kommentar(er)
