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Review by Dan Popp July 20, 2006 (4 of 5 found this review helpful)
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Performance: Sonics (S): |
More of the same from the ironic, sardonic and laconic Mark Knopfler - but in this case, more is good. I admit that I expected a little more because of all the 5-star reviews, and was initially a little disappointed. I think there is a phenomenon that causes those listening in MC to spill-over stars from their sonic impressions into their marks for the material itself. Since I'm listening in stereo, my review will focus more on the songs and their execution.
Make no mistake, the stereo sonics are quite good. Mark sounds like he's singing and strumming in your living room - which is not entirely as it should be, in my opinion. The mix is a little odd; the bass guitar seems 2 notches too hot throughout, and the vocal seems to float above the track, rather than mixing into it, as well. Combined with the relatively sparse arrangements, this gives "Shangri-La" an 'intimate' feeling. The downside is that this mix makes the rhythmic support seem a little weak, and therefore the more uptempo songs don't have the force and punch I might expect.
The songs are quiet gems of reflection on the human condition. Knopfler's wry wit that brought us "Money For Nothing," "Ticket to Heaven" and "Heavy Fuel" is still distilling human souls and putting them on display. From the snake-oil salesman's sidekick in "Stand-Up Guy," to the retired extortioners sending "Postcards from Paraguay," MK gives voice to men bravely struggling to supress the conscious recognition of their own fallenness. He sends them up, but not in a mean-spirited way. There's a touch of, if not respect, then at least affection, for his subjects. This makes the roast palatable instead of bitter.
As well done as it is, there does come a feeling of "sameness" after awhile.
In fact, when Knopfler sings of children and love as "All that Matters," you may at first be puzzled as to whether you're hearing the voice of just another twisted personality (a parent who idolizes his offspring), or whether he's finally singing it straight. An occupational hazard of the satirist, I suppose.
The melodies are simple, evoking to me classic folk songs, though the chord structure is darker and the lyrics are more subtle. The musicianship is top-notch, as expected. Knopler's voice is serviceable to the way he tells the tale. And the characters are cleanly etched - though not, of course, clean.
If it weren't for the questionable stereo mix, and a little too little energy overall, this would rate 5 stars in my book, too. Not his 'best yet,' but worth many listens.
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