Working alongside a musical idol can often be more challenging than rewarding, and Mark Knopfler’s collaboration with Bob Dylan on the 1983 album Infidels served as a vivid example of this complex dynamic. Knopfler, guitarist and frontman of Dire Straits, had long admired Dylan. By the time they collaborated, Knopfler had already achieved widespread acclaim with Dire Straits’ 1978 debut and its iconic single “Sultans of Swing.” Dylan, at that time, was returning to secular music after three albums rooted in his born-again Christian phase, and Infidels marked that turning point.
Knopfler had previously played guitar on Dylan’s 1979 release Slow Train Coming, the first of Dylan’s Christian-themed records. Years later, when Dylan chose Knopfler to produce Infidels, the opportunity seemed like a dream fulfilled. Dylan had reportedly passed over names like David Bowie, Elvis Costello, and Frank Zappa before settling on Knopfler, hoping to work with someone well-versed in modern studio techniques. Despite this promising beginning, the sessions quickly became difficult and unpredictable.
When recording began at the Power Station in New York City in April 1983, Knopfler realized that Dylan had already set the tone. Dylan had already selected key members of the recording team, including reggae rhythm legends Sly & Robbie (Robbie Shakespeare on bass and Sly Dunbar on drums) and ex-Rolling Stones guitarist Mick Taylor, who had been introduced to Dylan months prior. These choices contributed to the album’s polished and rhythmically rich sound. Knopfler added keyboardist Alan Clark and engineer Neil Dorfsman, both of whom had worked with him previously. Together, Knopfler and Taylor’s guitar work gave the album its distinctive musical quality.
However, producing Dylan was not the collaborative process Knopfler had expected. Dorfsman, the engineer, described Dylan as an “agent provocateur” with tendencies that leaned toward sabotaging progress when things were going too smoothly. Dylan would derail sessions in odd ways—like bending a sandwich wrapper into the microphone—signaling his boredom with a song. On another occasion, he proposed recording a Christmas album in the middle of the Infidels sessions, a suggestion the team initially thought was a joke, though Dylan would eventually release one years later.
The irregularity and spontaneity of Dylan’s behavior created a tense studio environment. Knopfler, initially hopeful about shaping the record, was forced into a more reactive role, simply trying to manage Dylan’s erratic decisions. Dorfsman observed that Knopfler seemed increasingly deflated during the process, especially when Dylan ignored the producer’s input and changed song selections on the fly.
In an interview with Guitar Player magazine, Knopfler acknowledged the difficulty of the experience. He explained that while Dylan was incredibly disciplined as a lyricist and an absolute genius as a poet and vocalist, his approach to music was more basic. According to Knopfler, Dylan used music primarily as a vehicle for his words rather than a standalone expression. Still, Knopfler showed respect and adaptability, recognizing that production demands flexibility and a willingness to embrace each song’s unique identity.
Despite the hardships, Knopfler’s reverence for Dylan never waned. He praised Dylan’s lyrical genius, especially highlighting the track “I and I” from Infidels as particularly impactful. He quoted the song’s opening lines and remarked that such brilliance could discourage any songwriter from continuing. For Knopfler, Dylan’s musicality may have been simple, but it resonated deeply. The emotional authenticity in Dylan’s rudimentary piano playing, for example, served as proof that soul mattered more than technical precision.
Ultimately, Knopfler’s reflections underscored both the frustrations and the inspirations that came with working alongside a creative legend. Though the collaboration was fraught with challenges, it was also filled with artistic breakthroughs. The experience was a reminder that genius often comes with chaos—and for Knopfler, that chaos was both trying and unforgettable.
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