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Dire Straits became a byword for a certain sort of safe, homogenised music, and Knopfler was turned into a caricature of the middle-aged rocker, with jacket sleeves rolled up and wearing a headband. It made Dire Straits superstars, but it also warped the popular perception of both Knopfler and his band. That record was unstoppable from the moment of its release in May 1985. Theirs was no fleeting moment, either, with three more hit records following before they reached their apogee on their fifth studio album, Brothers In Arms. The white-hot success of their first single, Sultans Of Swing, and self-titled debut album was founded on the elder Knopfler’s fluid, finger-picked guitar style, which sounded as lovely as a bubbling stream. Emerging from the city’s fertile pub-rock scene at the dawn of the punk era, they were an overnight sensation.

It's time we remembered why.The simple facts are these: Knopfler formed Dire Straits in London in 1977 with his younger brother David on rhythm guitar, John Illsley on bass and Pick Withers on drums. Seven ex-members of Dire Straits have been interviewed for this book, providing fresh perspective and insight. Dire Straits On Track revisits, re-evaluates and contextualises the band's six studio albums and two live albums, as well as EPs and archive releases. Their music remains stubbornly unfashionable, but retains its huge fanbase. Mark Knopfler, their singer, guitarist, producer and songwriter, became a caricature of the middle-aged rocker in the minds of many. Over exposure as the safe, boring champions of the CD age, has resulted in Dire Straits becoming, to many, the embodiment of a certain sort of benign, homogenised music. Since then, however, their star has fallen. Brothers in Arms sold by the truckload, one of the first massive sellers on CD. Six years later, they were, for a time, the biggest band in the world. Dire Straits, unlikely pop stars led by a balding 29-year-old Geordie who could play guitar brilliantly, had finally arrived. 'Sultans of Swing', a very wordy song with lots of driving guitar, a tight rhythm section and some killer musicianship. At the end of March, a fresh new sound entered the British top 20. Six years later 1979 was an amazing time for UK post-punk pop. 1979 was an amazing time for UK post-punk pop.