Kill To Get Crimson : Mark Knopfler : Review : Rolling Stone

Along with occassional soundtracks and All the Roadrunning, his winning 2006 collaboration with Emmylou Harris, Kill to Get Crimson is Mark Knopfler's fifth solo album, and it's a gem. Since the 1995 breakup of Dire Straits, Knopfler has dedicated himself to making music that blends the deep resonance of traditional folk with the off-kilter edginess he brought to his former group's most trenchant songs. Knopfler is best at deftly drawn character studies -- the failed actor in "The Fizzy and the Still," the aging painter in "Let It All Go" whose passion for color gives the album its title. A recovering guitar god, Knopfler plays superbly -- check out his haunting solo on "The Scaffolder's Wife" -- but always with instinctive restraint. He's an ensemble player, nestling in among the likes of accordionist Ian Lowthian and fiddler John McCusker to summon sonic images that subtly reinforce the moods of his songs. Kill to Get Crimson, then, is at once egoless and supremely accomplished, a testament to the rare talent that enables a master to say something simply and beautifully, and leave it exactly at that.