Electric guitar music touches a membrane deep inside me that seems to exist for the purpose of resonating this sound alone (the only thing that touches it even more strongly is if the guitar chords are paired with a truly unusual voice). I'm sure every lover of great guitar music knows what I am talking about. Ever since I discovered that membrane years ago, I have been on the look for that special sound; be it straightforward rock, blues or folk music. However, growing up in a time when the radio airwaves were flooded with either disco or punk, depending on what station you were listening to, it wasn't always easy to find. Then one day I heard "Sultans of Swing," and my membrane resonated - all the more because this was not only a great guitarist playing but also one of the most unique voices I'd heard in a while, and the musical style seemed to defy classification, too ... it was somewhere between rock and blues, but I wasn't sure what exactly to call it.

However you define their sound, though, listening to Dire Straits' self-titled debut album almost 25 years after its publication, it is still amazing how rounded and accomplished their style was even then. The band's composition would change over the course of the years and Mark Knopfler would take them to the heights of the ambitiously-conceived "Love Over Gold" and the bestselling diversity of "Brothers in Arms," but the basic elements of the typical Dire Straits sound, recognizable throughout all those later developments, were there right from the start: Knopfler's rough, dark vocals, his signature style as a guitar player, the unique Fender sound soon associated with his name, and even little details like his tendency to introduce songs by a couple of solo guitar slides - seemingly just tossed out casually but immediately catching the listener's attention, even before the band joins him for the "real" start of the song; a feature present from the very first track on this first album, "Down to the Waterline." Their debut release was Dire Straits' most sparsely-produced record; musically it did not yet involve the more elaborate elements of Knopfler's later compositions, and it was the only release featuring only the band's original four musicians. This, in addition to the album's equally firm anchoring in rock, blues and folk music (with a little bit of country here and there) and the particularly raw tinges of Mark Knopfler's voice gave it a "down to earth" feeling not always present in the band's later recordings. Besides, Knopfler had not yet discovered the limelight of a really large concert arena (the band's name was no coincidence, after all) - he obviously always knew he was good, but many of his early songs almost became different pieces of music over the course of their live performances throughout the years; most notably, "Sultans of Swing:" just listen to the version recorded on the "Alchemy" live album five years later. Perfection? Absolutely and undeniably ... but also incredible showmanship, ignited by the cheers of the audience and by his pure joy in playing.

"Dire Straits" is much more than just a well-done debut album; it is as essential a component of the band's and Mark Knopfler's body of work as any of its successors. I disagree with those who are saying that this is the "real" Dire Straits; to me, this band (and Knopfler in particular) still defies categorization, and every one of their records first and foremost expresses the state of their musical development at the time it was recorded. But regardless where you place this particular album in their catalog, one thing is for sure: It is one of those few timeless and definite classics that will forever have a validity of their own and whose importance, if anything, only grows with the passage of the years.

Also recommended:
Alchemy: Dire Straits Live
On the Night
Night in London
Sailing to Philadelphia (CD & DVD Audio)
Local Hero (1983 Film)

Many of us had our first exposure to Dire Straits when MTV did nothing but air "Money for Nothing" from the "Brothers In Arms" album. It is unfortunate that that album became their defining moment because every album that proceeded it was exceptional. Of those exceptional albums, the album that was the greatest is their self-titled debut album. A mixture of blues, rock, Country and Mark Knopfler's unique guitar method fill the nine tracks of this album.

There is not a track on this album that you will want to skip. The opening track, "Down to the Waterline" sets the tone for the album. As the tune opens, you can almost picture yourself walking down the docks at night through a fog, and then a few well-placed notes on the guitar lead us into this upbeat song. The solo is killer as is all the guitar work throughout this song. "Water of Love" continues the magic with Pick Withers laying down a great rhythm track, and Knopfler playing slide on his Dobro. One of the best songs on the album is "Six Blade Knife", a very strong blues piece. This sound has been imitated many times, which is understandable because it is a great song. Knopfler's solos are slow and meaningful. He doesn't have to use a lot of notes to get his point across. Probably, the most popular song to come off this album is "Sultans of Swing", and it is easy to see why. The rhythm is catchy, the riffs between verses are powerful, and the solo is amazing.

There are not many powerful albums out there that can match this debut effort. If I had to keep but ten albums in my collection, this would definitely be one of them. If you're looking to get some Dire Straits, this album and the live "Alchemy" are the only ones you truly need. The others are quite good, but this one is simply the best.

Dire Straits' self titled first album is one of that rarest of rock 'n' roll treasures: the flawless album. In each of Dire Strait's subsequent efforts - most of them still outstanding -Knopfler has let himself down: 'Communique' is too obviously an attempt to replicate this album; in 'Making Movies' he knackers great songs by not finishing them quickly enough (as he does in 'Love Over Gold', which is half an album of genius diluted over a whole record); and 'Brothers in Arms' and, to a greater extent, 'On Every Street' suffer from a degree of over-production which renders most of the material (though by no means all of it) pretty sterile. This first album suffers none of this malaise. The songs are focussed, pacey, and knopfler's custom strat growls and sings because it is played by a gifted man with something to prove. His love for the roots of blues and rock (hardly hip, in the middle of the punk explosion) is transparent - witness the swampy National guitar slide in 'Water of Love' - and elsewhere his unique fingerstyle pops, spits and sizzles like a wet finger on a hot iron. This album predate's Knopfler's discovery the Les Paul, or anything past number 6 on 'gain' knob on his amplifier, but his gently compressed guitar sound is all you'll want to hear. At times it's just staggering. On the other hand, this is no essay in fretboard exhibitionism. Knopfler's obvious influences are, in terms of vocal style Dylan (or if you're unkind, Oscar the Grouch) and in composition, J J Cale, and the instrumentation doesn't derogate from that. The one possible duff shot is the oddly highbrow lyric in 'In the Gallery' (the only example I'm aware of of the high art/low art debate in aesthetics being canvassed in a pop song), but Knopfler sounds so much like he means it - and the guitar breaks are so bitching - that you can forgive him for that. And his argument is convincing, too. The production is raw and honest, probably because the album was recorded on a shoestring by a bunch of unknowns, and it's a feel Knopfler would do well to go back to. 'Dire Straits' is timeless stuff. Lovely Job, Mark.

This is Dire Straits first and still their best album. Their musical skills had been finetuned playing the British club scene and they were never sharper. The first song "Down to the Waterline" seems to define the band stylistically. Lead guitarist Mark Knopfler is able to shift gears effortlessly between soft, delicate playing and harder licks, which really compliments his fine lyrics. The backing band is really tight and includes Marks brother David, who left the band after this album, on guitar and the great jazzy drumming of Pick Withers. Dire straits was in sharp contrast to the New Wave that was prevalent at the time. From the Honkytonk masterpiece "Setting Me Up" to the rich Dobro on "Water of Love" to the top ten hit "Sultans of Swing," their sound remains completely unique in popular music. Combining country and blues in a very literate form and yet evoking a kind of "urban melancholy." If you want to really learn how to play guitar, the two albums you NEED are this and Eric Clapton and Duane Allman's "Layla and other assorted love songs"

With this eponymous debut, Dire Straits plants its flag on the hill, both defining its sound and setting the new standard for contemporary guitarists. Remarkably confident and accomplished, Dire Straits manages to pay tribute to its influences without mimicing or cheapening them. Simultaneously, it avoids the temptation to give into the punk revolution taking place around London, or to toss in a pop single to get a radio hit. The result is an rock-solid collection of blusey, earthy tracks, each as good as the last.

While there are many influences present -- the Mississippi delta, Louisiana's bayous, Nashville's honkytonks, J.J Cale's simple genius, B.B. King's thrifty fills, Steely Dan's eerie precision -- none overwhelms. Instead, each supports a timeless, uniquely English take on roots music that stands up to endless repeat listenings.

While Knopfler's virtuoso guitar certainly helps, it's still astounding that a band could spawn so many flawless songs on one album, let alone a debut. While "Sultans of Swing" has become an AOR staple, it remains a tremendous song. "Down to the Waterline"'s driving beat, amazing fills and gorgeous break make it a favorite, and the gentle, Dobro-infused "Water of Love" is nothing short of a classic. If I had to find a "flaw," it would be the country shuffle of "Setting Me Up" and "Southbound Again." There's absolutely nothing wrong with either of these songs, but because so many American country artists offer a more authentic sound, they seem somehow less vital.

One of the few discs that will stay in my car's player for days on end. If you enjoy Dire Strait's sound, alt-country or the blues, or appreciate outstanding guitar work and well-crafted songs, this should prove to be a favorite. Enjoy.