Is there some such thing as reincarnation in a rock band’s life? Possibly. On Every Street, released in 1991 after a six-year hiatus, was Dire Straits’ reincarnation; its sixth studio album and also the farewell record.

Mark Knopfler and his men chose to alter their republic of sound in a marked departure of sorts on this record. So a rebirth it was, in terms of style (this is a much more diverse body of work), content (the lyrics are nowhere near Dire Straits’ trademark morbidity, but instead, are sunny and mischievous) and structure (no two songs on this album are of the same pace).

Perhaps as a parting nod to rock’’roll, the album opens with Calling Elvis, a wonderfully poignant rendition of an Elvis fan’s inability to accept the King’s death. As the chords and the drums recede, the listener is left confronting a terrible silence that conveys the pain of losing a hero. Knopfler slows the pace further in the title track, a beautiful ballad about all that is ephemeral: “And you still refuse to be traced/ Seems to me such a waste/And every victory has a taste that’s bittersweet/And it’s your face I’m looking for on every street”. There is a pause in the track, after which Knopfler’s guitar breaks in, letting the song linger for just a while longer. The pause and the subsequent musical motion taken together are enchanting, as is Chris White on his flute and saxophone.

Fade To Black is delightfully bluesy, and one is jolted out of its swaying rhythm by Knopfler’s scathingly unsentimental take on the quirkiness of love, The Bug. “When you’re rippin’ and a ridin’ and you’re comin’ on strong/ You start slippin’ and a slidin’ and it all goes wrong”. But the rollercoaster ride slows down again, as the band saves the best for last: You And Your Friend, a twisted, erotic fantasy featuring some deft work by Nashville great Paul Franklin on pedal steel.

Heavy Fuel, which critics have often cited as a weak imitation of Money For Nothing, is in fact deceptive, as it employs a heavier sound and a frivolous tone to poke fun at the way of life that worships machismo and unabashed consumerism. The mood in Iron Hand is darker; lamenting the tragedy of a divided world. Both Ticket To Heaven and How Long are notable for the use of the Southern sound. But the signature tracks on this half are My Parties and Planet Of New Orleans, the former a languid ballad about creature comforts that are prioritised over ecological mayhem, while the latter’s arrangement invokes Telegraph Road.

Knopfler’s guitar playing, as always, is exemplary and the riffs mingle well. But what sets On Every Street apart from other Dire Straits works is its consistency. Every track on this album mesmerises for different reasons, making the album an instance of an illustrious, but altogether brief, rebirth.