Showing posts with label brothers in arms. Show all posts
Showing posts with label brothers in arms. Show all posts

Monday, 27 April 2015

Dire Straits: Surviving TV Appearances 1978-1991





You can now buy 'Solid Rock - The Alan's Album Archives Guide To Dire Straits' by clicking here!








The AAA patent-pending all-singing all-dancing all-headband wearing Dire Straits youtube playlist is now up and running! Visit 
https://www.youtube.com/playlist?list=PLlzWxNlf9PORvAEaeAAeW3Oaa-iX50wGN

Just when you thought you were safe from an article all about an AAA band's TV appearances, here is another one! Dire Straits might not have been the most photogenic of bands - they tended to let their music do the talking and rarely appeared on random TV programmes plugging their wares like some AAA bands (especially those brought up in the sixties). However of all the bands we cover they were perhaps the biggest pioneers in music videos behind The Monkees, creating some of the most adventurous and certainly longest music videos of our entire collection. What's more they recorded videos for just about every single released from 1981 onwards, taking full advantage of the popularity of MTV (seriously: 'Your Latest Trick' and 'Why Worry?' are all that's missing from albums three to six). Usually these lists would have documentaries, concerts and TV shows interspersed within this list, but a brief dalliance with the Old Grey Whistle Test in 1979 and a popular gig at Live Aid aside, Dire Straits weren't really that sort of a band, so this article will be a little different to the usual ones we cover, complete with set-listings.
The really good news is that, thanks to their birth in 1978 (round about the same time the UK started properly cataloguing and hanging onto its archives) this Dire Straits lists is pretty much complete, with no performances lost forever in the ether (although, as with all these lists, there's a good chance we've missed some obscure release broadcast on some network somewhere, so feel free to post a message on the website and we'll update this book if we ever re-issue it in the future). 

The other good news is that almost everything on this list is available to view officially somewhere (the 'Sultans Of Swing - The Best Of Dire Straits' DVD, for instance, features every single promo video - which is quite some going!) so for once our 'Dire Straits' youtube playlist looks a little lonely (however feel free to follow us and have a roam around this and all our other ones still at https://www.youtube.com/user/AlansArchives - where else are you going to find clips of singing dogs nestling against Beatles cartoons and a Pink Floyd fridge?!)  Note too that we haven't bothered with releases that are available 'complete' which should, hopefully, end up in our DVD section at one point (that's basically the concerts 'Alchemy' - 1983 - and 'On The Night' - 1993 - we've given the music videos also collected onto disc and the Live Aid set special dispensation to remain or this article would be a bit short!) Also while we're at it, we're only including releases that use the Dire Straits name in our list: those interested in Mark Knopfler's solo career might be interest in the following, all available on Youtube at the time of writing: music videos for 'Going Home - Theme From Local Hero' (on which Alan Clark appears too), 'Darling Pretty' 'True Love Will Never Fade' 'Silvertown Blues' 'Cleaning My Gun' and 'Piper To The End', plus a Jools Holland 'Later...In Concert' show from 1997, the 2011 documentary 'A Life In Songs' and the BBC produced 2013 interview 'Mark Lawson Chats To Mark Knopfler'. There are also promos for the Notting Hillbillies singles 'Your Own Sweet Way' and 'Feel Like Going Home'. Right, now the official business is out the way it's onto our list which includes everything from TV salesmen to intergalactic phone-calls with puppets to Mark Knopfler looking cool with a headband...

1) The Old Grey Whistle Test (UK TV 15/5/1978)

Sultans Of Swing/Wild West End/Lions

Dire Straits are at their youngest and hungriest here, being one of only two places where you can see the original line up (Including David Knopfler on nicely aggressive rhythm guitar). Amazingly this performance also remains the only non-live version of 'Sultans Of Swing' around so it's forever turning up to represent the band on various DVDs/documentaries/'I Love 1980s/rock/headbands' type programmes. It's a good one too, Mark seeming right at home as he stares down at his feet before pulling off peal after peal of classic guitar. The whole band play well in fact, with John Illsley and Pick Withers setting up the mother of all grooves behind (note the fact that there are no keyboardists yet, later one of the big ear-catching parts of the Dire Straits sound). 'Sultans' is clearly already the highlight but the other two songs - rarer album tracks from the debut eponymous record - sound good here too, far too good to throw out of the setlist a mere year later. 'Wild West End' features a lovely David Knopfler introduction and the band sound nicely at home on a ballad, Knopfler leaning into the mike to whisper and grinning his head off at something going on stage left (what on earth is whispering Bob Harris up to now?!) This performance surprisingly popped up alongside 'Sultans' on a BBC4 compilation 'Guitar Heroes At The BBC'. 'Third song 'Lions' however has to the best of my knowledge never been re-broadcast: a shame because in many ways it's the best performance of the three, taken at a slightly faster lick than the studio original and with an even better clearer sound on Knopfler's guitar (even if his vocal is noticeably rougher than the other two).  A nice find with Dire Straits exactly the kind of band The Old Grey Whistle Test was meant to showcase: one who could really play live, had charisma and charm and came with something to say. In retrospect that they only ever came back once more.

2) Rockapalast (German TV 16/2/1979)

Down To The Waterline/Six-Blade Knife/Once Upon A Time In The West/Lady Writer/Single-Handed Sailor/Water Of Love/In The Gallery/Follow Me Home/News/What's The Matter Baby?/Lions/Sultans Of Swing/Wild West End/Where Do You Think You're Going?/Eastbound Train. Footage of a rehearsal take of 'Sultans Of Swing' also exists.

There's a case to be made that Germany had all the best TV. Take 'Rockapalast', a classic live show that took place late at night most weeks and featured a huge array of talent over the years - usually bands on the up before they found mega-stardom. The only full-length concert known to exist from these early years, it's not as slick and professional as 'Alchemy' or 'On The Night' but is a lot more exciting than both, with Knopfler muttering inaudible asides into his mike between songs and the band tackling lots of rarer material from their then-new album 'Communique'. The band aren't on as great a form as at the OGWT but are still super-fast and super-ready for the fame coming their way, with Knopfler pulling off some stunning guitar work throughout the set. Note too the presence of rare track 'Eastbound Train', demoed by the band in 1977 but skipped over for the first album; it's presence here in favour of most of the first album songs suggests that the band may have been toying with reviving it for 'Communique'. Highlights of the set include a nice, almost reggae-fied version of 'Six Blade Knife' and a funky 'Water Of Love' that sounds much more upbeat and aggressive than the album version. The band play with a harder edge all night, much like the sound of this second album, which will come as a surprise to the fans who don't know it; in many ways actually it's a shame that this show didn't come from slightly later as hearing the stronger  'Makin' Movies' rockers played with the same fire as here would have been quite something. One problem though: there seems to be something up with the lighting, with Dire Straits playing in the dark for most of the set and there's a slightly fuzzy tone to the quality (although this last case could just be the only extant copy I've seen). There's also a slightly annoying echo on Knopfler's voice which takes the blunt edge off a lot of these early songs which badly needs it. Still, this is a nice oft-forgotten performance (sometimes repeated in Germany but rarely elsewhere, sadly) long overdue for a DVD release.

3) The Old Grey Whistle Test (UK TV 29/11/1980)

Tunnel Of Love

Returning to the OGWT to promote album number three 'Makin' Movies', the band are much more confident although surprisingly they only seem to have taped one song. This performance features Alan Clark and rhythm guitarist Hal Lindes in the line-up for the first time and both seem to be having fun, with the elder Knopfler looking round at his colleagues much more than normal. Musically this is a slightly faster take of the album favourite, complete with the organy opening from 'Carousel', but sounds simplified a little too much with Knopfler reduced to almost speaking the lyrics in an attempt to keep up. The solo in the slower, middle section is exquisite, however. 

4) Romeo and Juliet (Music Video 1980)

Oddly the first Dire Straits video eschews the very obvious visual signals in the song for some peculiar mind-games about the characters getting lost in a huge overgrown maze. This Romeo is a weedy bespectacled Cassnova - not what most fans were imagining - while Juliet looks like a 1980s version of a blonde bimbo (brunette, shoulder pads, very red lipstick and a horrendous taste in fashion). Along the way we somehow end up at the cinema (still within the maze), Romeo falls from a 'balcony' cut into the maze and the pair make out in silhouette. Definitely one of those videos where the director was thinking too much! Perhaps tellingly, the band don't make an appearance in their first video, not even Mark Knopfler! (Presumably this is to cover the fact that David has been thrown out the band, but Dire Straits haven't announced it yet).

5) Skateaway (Music Video 1980)

This one is more like it, though no less weird I have to say. Clearly using the same set, this time the 'maze' is seen from different angles and is painted over with 'arrows' and made to resemble a 'road' as per the lyrics of this song. Not that many fans are looking at the background anyway, given that a whacking great rollerskater in a mini-skirt is taking most of the screen most of the time. She actually looks more like the 'Juliet' I had in my head, modern and sassy in a very 80s way, with a walkman on her back. The lines 'she's makin' movies on location' also leads to a fun section where we break the fourth wall and see the 'clapper board' and various extras breaking into shot too early! The band - Mark John and Pick - only appear right at the end in silhouette on a revolving platform down the end of a corridor (actually that maze again with a bit cut out of one wall) before awkwardly dancing slightly closer to the camera over the last minute or so - by the way we're going to see more of that platform in the next video!

6) Arena (UK TV BBC Documentary 1980)

One of those moody elongated documentaries that are the hallmark of 'Arena', complete with inane-yet-suddenly-by-turns-fascinating interview snippets and a chance to see the band at rest and play. Mark messes around with his acoustic guitar (to not much interest to be honest), Pick chats from behind his drum stool (and makes some rather good band noises, replicating what his school band used to sound like!) and David, looking old and sad before his time with almost a full beard, doesn't talk about leaving Dire Straits but does reflects on a 'tiring two years' and sounds depressed about having lost touch with all his pre-fame friends. There's concert footage from the early days interspersed too (is there a missing gig from the 'Communique' period?) While clearly a puff piece for third album 'Makin' Movies' this is - occasionally at least - a revealing little programme that says much without saying a great deal (very Dire Straits in fact!) Though not yet repeated (not in recent years anyway - it was on twice in the same year), Mark must be proud of having earned the right to be on one of the BBC's flagship programmes: the video on the internet was uploaded by none other than Mark's official Youtube channel!

7) Tunnel Of Love (Music Video 1981)

My favourite of the Dire Straits videos, this third single from 'Makin' Movies' features the bonkers imagery of the first two videos with more natural shots of the band performing (well, miming) to the song. The band are a three-piece again, with no explanation given for whose playing the keyboard opening (Alan Clark will officially join the following year) and only three of them appear on the video's famous 'revolving band' image over the opening (making good use of the revolving platform hired for the last video shoot). The un-credited director still clearly loves his silhouettes, though thankfully this time they're played by extras rather than the band, not to mention girls in very 80s makeup (blue eyeshadow this time round).

8) Romeo and Juliet (Top Of The Pops 1981)

Perhaps surprisingly the only Dire Straits appearance on the UK's premier music programme, this much repeated clip features a very short-haired Mark showing off his new National Guitar (the silver one that's about to appear on the front cover of 'Brothers In Arms' in four years' time). What's odd is that the band are plugging this song, which had fallen out of the charts by this time and plugging a song that was going down rather than up was against TOTP policy in those days (did someone not have the heart to tell the band they were meant to be playing 'Tunnel Of Love'?!) Alas most repeats of this clip cut it short to two or three minutes but the original runs as long as the record.

9) Private Investigations (Music Video 1982)

An atmospheric video to match an atmospheric video, this one is clearly more 'serious' than the last three and yet doesn't have quite the 'bonkers' distinction of the past three. Once again here Knopfler has created a wonderfully lurid, visual premise (a tiring spy trying to track down his own wife's extra-marital affairs) which is treated rather clunkily and boringly, with lots of shots of walking feet, searching in drawers and 'blinds on the win-ders'. In a sign perhaps of how the band were becoming viewed, only Knopfler appears for the first half of the song doing the most random things: writing at the spy's desk, peering through his window-blinds and blowing out candles (as well as, more reasonably, playing the Spanish guitar solo at the heart of the song). The others only appear in close-up near the end. The sudden mood switch in the middle (including Clark for the first time, although we don't see very much of him - which must have been a huge disappointment for him at the time!) - when the song gets electric and nasty - is well covered though, with the scene suddenly switching without warning from night into day on the first throb of Illsley's bass guitar. Oh and the big finale? Erm, a toy clown falls off a shelf. No I don't understand that one either...

10) Platengala International (Dutch TV 1982)

A rare TV appearance from the period with the band miming and alternately looking over-intense and serious or giggling when they catch each other's eyes. 'Investigations' is a rare song to see performed at all - it's very long and cumbersome, great as it is - and seeing this video, with the band standing round looking bored during the hushed dramatics during the second half, explains why. Still nice though.

11) Live Aid (13/7/1985)

Money For Nothing/Sultans Of Swing

Live Aid was intended from the first as a commercially-driven enterprise, with only the biggest acts of the day allowed to take part. In previous years you sense Dire Straits might not have got the invite. However 1985 was their year and they had to be there, premiering their new single 'Money For Nothing' with a guest appearance by co-writer and fellow Live Aider Sting, who wanders around the stage looking lost while mugging 'I want my MTV' at all the cameras (it is, perhaps mercifully, the only time he ever re-created his part on the song, which live was generally handled by Clark and Illsley together). The new song is near-enough perfect for the event, a reminder that even in the money-loving 80s there are more important things than commerce and Knopfler's 'look at them yo yos' comments seem oddly prescient given that the band followed U2 on stage (at 6pm British time). The new song goes down almost as well as a new-look 'Sultans Of Swing' which has by now been tripled in length to better resemble the other songs in the band's set, complete with saxophone solo and five-minute guitar break at the end. Excessive, maybe, and not a patch on the OGWT version of the song, but 'Sultans' copes with the changes remarkably well and sounds far perkier than later versions of the song from the 'Alchemy' and 'On The Night' DVDs. In all, Dire Straits did a great cause proud.

12) So Far Away (Music Video 1985)

By 1985 Dire Straits are well known enough to be granted the right to actually appear in one of their own videos. 'So Far Away' is compared to the earlier clips almost extraordinary in its sheer ordinaryness: this is the band 'playing' (actually they're miming again) without any funny business: no mazes, no extras daubed in make-up, not even a silhouette. As a result, is it just me or is it really boring too? It's also slightly disconcerting to see the usually sombre Knopfler smiling quite so much, usually all too obviously falsely. Look out, though, for the first use of the iconic 'National' guitar silhouette right at the end of the song a few months before it appears on the front of the 'Brothers In Arms' sleeve.

13) Money For Nothing (Music Video 1985)

The most inventive and certainly the most famous Dire Straits music video was directed by Steve Barron features electronic digital shop assistants speaking Knopfler's sarcastic lines (the idea is that he's trying to sell the unseen narrator a TV in a TV repair shop and is commenting on all the 80s 'faggots' on the TV screens). Dire Straits, meanwhile, appear on a TV screen at the back of the shop which the assistants pass, zombie-like, during the course of the song. Modern viewers can't watch this video without thinking of the retro-graphic game 'Minecraft' (the characters share the same 'Lego-block' style shapes) but actually this was cutting edge for 1985. Hilariously Sting's part in the middle (the beginning is rather glossed over) is sung by a tall, thin, weedy shop assistant! Sadly, though, the director chickens out of showing us just what exactly the peculiar euphemism 'Hawaiian noises' are! Often voted in 'top 100 music video' polls this video created  a huge splash at the time, although it's actually dated worse than the 80s costumes in the earlier videos.

14) The Walk Of Life (Music Video 1986)


Alas this third video has the band running out of ideas. Dire Straits' most 'American' recording (it's basically a collage of all the mid-50s Americana rockabilly records Knopfler used to own), this video is more or less equally split between shots of the band grinning again and, erm, American Footballers, basketball and baseball players  ('He got the action, he got the motion, that boy can play!' - yes I see that now, but what about the lines 'Here come Johnny singing oldies, goldies' surrounded by footage of Michael Jordan?!) All too clearly an attempt to crack the coveted 'American' market, this results in a rather hackneyed video which somewhat failed - after scoring a #1 hit with 'Money For Nothing' in the US this single fell back to #7 despite peaking at #2 at home.

15) Brothers In Arms (Music Video 1986)

The best of the 'Brothers In Arms' videos, this moody black-and-white Raymond Briggs-style scribbled promo by director Bill Mather manages to fit the loose idea of Knopfler's words (visions of peril and thunder across the sea) without ever being too literal (there are no soldiers, for instance, although there is inevitably a 'mist-covered mountain'). The shots of the band interspersed within the song (using a black and white lens and a charcoal filter by the looks of things to make things even darker) works really well and at times you can't see the join (sometimes there isn't one., the illustrators actually physically drawing the band just to keep you on your toes). The result is one of the band's better videos on a song that on paper at least seems like one of the hardest to pull off, full of nuances and layers that are difficult to get across in videos, even one as long as a Dire Straits' always are.

16) The Nelson Mandela Concert (UK TV 11/6/1988)

Walk Of Life/Sultans Of Swing/Romeo and Juliet/Money For Nothing/Brothers In Arms/Wonderful Tonight (backing Eric Clapton)/Solid Rock

In 1988 our fellow AAA monikered organisation (Artists Against Apartheid) decided that Nelson Mandela's 70th birthday marked an excellent chance to both celebrate his life and achievements and help put pressure on the African Government of the day to free him from prison. In the end it took another 20 months and a lot of controversy (the BBC were widely condemned for giving it so much screen time, while the Americans took the easier decision of simply editing out anything even vaguely political and just keeping the music) but this high profile concert ('a political Live Aid') was a big deal at the time and featured several big names. Dire Straits were an obvious choice to ask to appear having broken the album sales record with 'Brothers In Arms' and were both the headliners and the first act to be asked to play (they were used as 'leverage' to get other bands to sign up). However the band nearly came unstuck when they asked for the not unreasonable step of being able to rehearse inside the arena before the event - after two years off the road they were a little rusty (and sounding it too, it has to be said). In the end the Dire Straits performance was one of the low points of the evening, without the controversy surrounding other guests (such as Stevie Wonder, who walked off with ten minutes to go when a machine 'ate' his pre-taped backing or Whitney Houston who complained at being asked not to mention anything political on stage). Knopfler did however jam with Eric Clapton and Dire Straits added their unique 50s-80s fusion onto one of the better performances of his 'Wonderful Tonight' song written for wife Patti Boyd.

17) Live In Knebworth (UK TV 30/6/1990)

Solid Rock/I Think I Love You Too Much/Money For Nothing/Sultans Of Swing (Mark Knopfler also guests with Eric Clapton and Elton John's bands)
There have been lots of live concerts at Hertfordshire's Knebworth House since 1975, but the 1990 shows was by far the biggest with TV-streamed performances by Paul McCartney, Queen, Pink Floyd, Elton John, Led Zeppelin, Status Quo - oh and Dire Straits, then breaking a two year silence that had seen Mark Knopfler play with The Notting Hillbillies and boogie on a duets album with Chet Atkins. Playing a short set by their standards, a slightly slicker and less exciting Dire Straits started off by going back to the past with a rather lumpy 'Solid Rock' before playing the set's biggest surprise, an Eric Clapton-guesting version of 'I Love You Too Much', a song Knopfler wrote but wasn't sure who to record it with (he'd tried it out with The Notting Hillbillies but it was too 'blues' for them - it didn't suit Dire Straits either judging by this performance and in the end he gave it to musician friend Jeff Healey for his solo album 'Hell To Pay'). The band then exit to the strains of two of their bigger and most popular classics, although neither charge along quite as well as in the past. With Dire Straits disbanding for another year, it seems that they 'failed' Knopfler's litmus test at this concert and forced him to re-think where to take the band next.

18) Calling Elvis (Music Video 1991)

The silence of 'what next' was broken by an eagerly anticipated video. Figuring that the music business had been using them like a 'puppet', Knopfler collaborated with Thunderbirds creator Gerry Andersen on a music video that would re-launch both their careers. The video 'worked' for Thunderbirds, who went on to an enjoy a renaissance all out of scope with the programme's worth (I'm a 'Stingray' man myself - they had better characters and plots), although Dire Straits never really recaptured their earlier glow (this song peaked at a disappointing UK peak of #21, although the Americans seemed to like it more). The video is fun, with Thunderbirds-style puppets of all the band (with Illsley's spiky hair and Knopfler's headband especially spot on) while the Thunderbirds crew both appear in stock footage and 'working' the stage (where Brains does the lighting and Lady Penelope seems to be the stage manager). There's also a weird sub-plot about Thunderbird 4 (the yellow submarine one) submerging in a lady's bath (she looks not unlike the model seen in 'Skateaway' although unhelpfully no sites out there will tell me who either of these women are). All this is pretty neat, but has absolutely nothing to do with the song which yet again takes a very visual image (Mark calling up his old idol in Heaven) and promptly ignores it, with perhaps one institution too many taking part in this simple video. There's also a confusing tagline with puppet-Knopfler mumbling something into a microphone that sounds like 'that's us - we're out' (although he could equally be saying 'what the?!? Help! OUCH!!!')  Oh and the performances are pretty 'wooden' too - and we don't mean the puppets!

19) Heavy Fuel (Music Video 1991)

This is more the sort of video fans were expecting, a neat reflection of the lyrics of one of Knopfler's more sarcastic songs. Just as 'Money For Nothing' worked by putting the 'words' in the hands of a character, so this one is mainly about a mealy-mouthed roadie who bosses everyone (including the band) around. A clever use of colour means that we sonly see 'his' black-and-white world with swirls of colour every so often and the band are clearly having fun with the 'new wave' of early 90s pop and boy-bands (the roadie dressing up in a backwards baseball cap and shorts).The promo ends with everyone friends again, he roadie coming out on stage to correct the microphone and being co-erced into an uneasy looking group hug live on stage - until a fan breaks through the crowds and runs in screaming anyway (would you believe it, she looks like the 'Skateaway' model yet again...)

20) The Bug (Music Video 1991)

An odd place to end this list and in fact an odd end to the Dire Straits discography full stop. Taking the line 'it's one step forward then it's back you go' a little too literally, this song tells the story of a 'Romeo and Juliet' style pair of lovers who love and hate each other, but jumps back and forth through their time zones more often than a timelord. Somewhere along the line she grows up to be a model and he becomes a racing driver. Meantime a Nashville-suited Knopfler leads the band through this quirky sounding song with a nice lot of close-ups of all the band members this time. Like most of the videos on this list I haven't got a clue what it all means...



A Now Complete List Of Dire Straits Articles Available To Read At Alan’s Album Archives:
‘Dire Straits’ (1978)  
http://www.alansalbumarchives.blogspot.co.uk/2013/02/dire-straits-1978.html
'Communiqué' (1979) http://alansalbumarchives.blogspot.co.uk/2015/02/dire-straits-communique-1979.html

'Makin' Movies' (1981) http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-5-dire.html

'Love Over Gold' (1983)  
http://alansalbumarchives.blogspot.co.uk/2008/07/review-82-dire-straits-love-over-gold.html

‘Brothers In Arms’ (1985) http://alansalbumarchives.blogspot.co.uk/2012/08/dire-straits-brothers-in-arms-1985.html

'On Every Street' (1993)
http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-79-dire.html
Surviving TV Appearances (1978-1991) http://alansalbumarchives.blogspot.co.uk/2015/04/dire-straits-surviving-tv-appearances.html

Unreleased Recordings (1978-1991) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-unreleased-recordings.html
Non-Album Songs 1977-1991 http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-non-album-songs-1977-1991.html
Live/Solo/Compilation/Film Soundtrack Albums Part One (1977-1999) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-livesolocompilation-albums.html
Live/Solo/Compilation/Film Soundtrack Albums Part Two (2000-2014) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-livesolocompilation-albums_25.html
Mark Knopfler’s Guest Appearances https://alansalbumarchives.blogspot.co.uk/2018/01/aaa-extra-mark-knopflers-guest.html
Essay: From ‘Dire Straits’ To ‘Mass Consumerism’ https://alansalbumarchives.blogspot.co.uk/2018/01/dire-straits-essay-from-dire-straits-to.html
Five Landmark Concerts and Three Key Cover Versions https://alansalbumarchives.blogspot.co.uk/2018/03/dire-straits-five-landmark-concerts-and.html

Wednesday, 1 August 2012

Dire Straits "Brothers In Arms" (1985)


You can now buy 'Solid Rock - The Alan's Album Archives Guide To Dire Straits' by clicking here!





 Dire Straits “Brothers In Arms” (1985) 


So Far Away/Money For Nothing/Walk Of Life/Your Latest Trick/Why Worry?//Ride Across The River/The Man’s Too Strong/One World/Brothers In Arms 


The fourth best selling AAA-related album ever (in fact the 7th best selling record of any kind in the UK), it used to be reckoned that one in four of all British citizens had a copy of this album in their collection. Dire Strait’s biggest seller by some margin, it brought worldwide fame and superstar status that Mark Knopfler decided he didn’t want, causing a retreat from the public eye that carries on today after a career that was already pretty high-profile. There were an astonishing five top 30 singles taken from this album, with three of them still known round the world today and heard endlessly on the radio – to the cost of some of the band’s better songs actually. This album also pioneered the CD format, being the catalyst for old and new collectors to finally shell out for a CD player in the same way that ‘She Loves You’ skyrocketed the sale of vinyl and ‘White Christmas’ pioneered 78s. The best-selling band of the 1980s released this, the best-selling album of the 1980s at the mid-point of the decade, hitting a chord with both the fidelity lovers of the times and the retro rock lovers from past decades. It wasn’t just sales either: the awards that ‘Brothers In Arms’ received would take up more shelf-room than all this year’s gold Olympic medals together. ‘Brothers In Arms’ really was everywhere and a record as close to the heart of what life was like in 1980s Britain as any I’ve come across. But is this record really worth the accolades, the 30 million sales and the overshadowing of the rest of Dire Straits’ back catalogue? Well, as ever with this site, the answer is yes and no. Just as ‘Sgt Peppers’ was to 1967 and the Sex Pistols were to 1977 so this is to 1987: an album so clearly of its time that its hard to come to it with later, more modern ears and fall in love with it the same way. A good four of the singles taken from the album – ie the ones that everybody knows – are actually pretty dire by Dire Straits’ standards, novelty rock light years from their best work. Had Dire Straits leapt straight to this album from the lacklustre ‘Comminique’ and the stepping stone seven-song ‘Makin’ Movies’ I’d have been perfectly happy with it, marvelling at Mark Knopfler’s ability to vary the tempo more than his old habit of writing purely fast and purely slow songs and ability to make such slow songs so commercial and easy on the ear. Yet coming after the band’s masterpiece ‘Love Over Gold’, which matched Knopfler’s love of retro 50s rock with a real empathy and passion for politics and people around the world circa 1983 I can’t help but feel disappointed at such a backwards step, with spot-on political commentary and wordy guitar-based epics no one else could have written now substituted for the short-term novelty fuzz of side one, songs which every vaguely commercial band have written or re-written in their time. Compared to the troubled citizens of ‘Telegraph Road’, the 14 minute opus that still barely has time to fit in the story of civilisation, the earnestness of ‘Love Over Gold’ or the sarcastic spot-on wit of ‘Industrial Disease’ much of this album sounds empty and hollow, built for airplay time not longevity. None of the singles from this album work anywhere near as well as ‘Sultans Of Swing’ or even ‘Private Investigations’ and the reason we talk about ‘Money For Nothing’ ‘#Walk Of Life’ et al so much now is simply a matter of timing: after a troubled half-decade pop this polished and uplifting, together with some cracks at the 1980s lifestyle, was exactly what was needed. However if you were an alien who’d just come to the planet and wanted to check out Earthling music by starting with the best-sellers, oblivious to what was happening on the planet at the time you landed, chances are you’d be scratching your three heads by the time the fifth track finished and wondering what all the fuss was about. Yet that said this album is a game of two halves, a real curate’s egg of songs that worked better then on side one and songs that work better now with some 25 years’ distance on side two, with the one-two punch of ‘Ride Across The River’ and ‘The Man’s Too Strong’ among the band’s greatest achievements (along with ‘Telegraph Road’). The latter song, especially, is a real overlooked gem that deserves to be better known, compacting all the drama, unease and political insight that made Dire Straits the special band they were for their short six album burst of creativity (its also, thank goodness, the direction Mark Knopfler has gone to with his solo albums, a quieter barer more intense sound where the lyrics are as key as the music and riffs). In fact had the band gone on to release a sixth single from the album, this might have been the biggest seller of them all. In fact, side two’s half-concept about military might and regret and guilt is an awesome piece of extended songwriting, an even better soundtrack to the unnecessarily troubled decade of ‘Star Wars’, Thatcher the milk snatcher and the Falklands invasion than the poppier, more immediate songs. They were overlooked at the time, surrounded by noisier recordings out to grab the audience’s attention, but these four songs are the real sound of the decade, in the same way that ‘Peppers’ is best known for the drama of ‘A Day In The Life’ and the whimsy of ‘With A Little Help From My Friends’ and the technicolour of ‘Lucy In The Sky With Diamonds’, even though anyone with half an ear will recognise George Harrison’s warning fable of ‘Within You Without You’ as the ‘real’ soundtrack of 1967. To last, an album needs to be more than the sum of its parts – it needs to offer something no other album can (after all, any self-respecting Dire Straits hits collection contains majority of this album’s five singles too; incidentally can you believe the audacity of Vertigo calling one of their compilations ‘Money For Nothing’?) The reason ‘Brothers In Arms’ stays on your CD player after the singles have been and gone by track six is the power of the songwriting of the second side, where brash shouting and character playing are replaced by honesty, sincerity and emotion. There is one other important element to consider when discussing this album. Given that just five years before this album’s release Knopfler was a failed music journalist and a fed-up history teacher, his musical dreams seemingly washed up by the age of 29, the fact that he was now scoring number one singles and albums regularly should have made this the best period in his life – heck in anyone’s life. But even before this album’s mega status Knopfler was already showing signs of strain and pressure, overwhelmed by the growing fanbase Dire Straits was accumlating by 1983. Unlike the other big sellers of the 1980s (Prince, Madonna), Dire Straits built their star image not from confidence, arrogance or an ability to own a stage (it’s a sad fact that the Dire Straits concerts out on video are much less interesting than listening to their records) but from ears that naturally picked up on what people in the street were feeling, reflecting the mood of at least the Western world back on the record buying public. Despite the good times Knopfler was experiencing, comparatively late in life, years later he was to call this period one of the ‘worst’ times for him personally, with so much to live up to and remark again and again how pleased he was that fame came to him at an older, wiser age because without that grounding early on he’d have gone monkeynuts from the sheer scale of it all (a ‘luxury’ bands like The Small Faces and artists like Cat Stevens and Lulu never had – not that it probably felt like a ‘luxury’ to the penniless journalist-come-teacher struggling to make ends meet in his 20s). One fact that not many people know – because Knopfler managed to keep his private life as private as any talked about rock star can be – is that Mark was newly married in this period. This was in fact his second marriage, to Lourdes Salomone in November 1983 – about the time ‘Love Over Gold’ came out - and you’d then logically expect ‘Brothers In Arms’ to be a happy album about love, marriage, union and finally finding your soulmate. In actual fact, it isn’t at all: the images of love on this album sound more like a man screaming to get out of than falling in love. The path from one relationship is never simple and never clean cut, no matter what sites like this one have to portray, so could it be - despite the dating of this album and the happy vibes that should surround it - that Knopfler is still pining here for the loss of his childhood sweetheart Kathy White. As an extremely general rule, most AAA band members who marry pre-fame are still married decades on (their love clearly not being based on love of someone’s money or status but their character), but another reason Knopfler seems to have hated the pressure and fame that came with this album was that, barely a couple of years earlier, it added to his break-up. Here love is a changing, moving, un-embraceable mystery, with both ‘Your Latest Trick’ and the more sarcastic lyrics on ‘One World’ the nastiest and most sniping we’ll ever hear Knopfler be and adds to the feeling around this album that stardom is a bad thing to have. Knopfler’s still writing about this now, such as the song ‘The Car Was The One’ on his 2010 album ‘Get Lucky’: the teenage Knopfler yearns to be like the loved showman who drives race cars at a local track but when all is said and done and Knopfler too has that amount of attention and fame he realises that it wasn’t the lifestyle he wanted: it was the car. This would also fit with the theme of being ‘disconnected’ in someway across the album, with even the songs about relationships that aren’t about marriage and love sounding fragile and built on guilt and shame rather than the brotherly love the title implies. Indeed, the reason ‘Money For Nothing’ was such a huge single was that, as well as a catchy riff and a booming ear-catching drum break, it successfully summed up what a fractious, divided era the 1980s was, with the MTV generation replacing their parents’ 1960s demand for sound warmth and subtlety with visual images and cold static digital noise. In fact ‘Brothers In Arms’ is a clever title for an album that’s all about togetherness and the search for breaking the lonely isolation of life. The title track refers to army veterans returning from some giant shared experience they’ll never have again and the bond this creates, but for the first 45 minutes of this record it could easily be the fit for that splintered MTV generation spoofed in ‘Money For Nothing’, the spurned lover of ‘Your Latest Trick’, the kind soul reaching out with words of comfort on ‘Why Worry?’ or the suddenly guilt-laden dictator of ‘This Man’s Too Strong’, realising that without support or help from others he is nothing. I might be reading too much into Knopfler’s lyrics here but the way I see it all of these songs are about fame in some way and the way it isolates the person at the centre of it from the ‘ordinary’ people they used to hang around with and the way it changes the way everyone around you views you. If so then its a particular irony that an album about isolation and the need for connections between people became one of the biggest sellers of all time, further distancing Mark from those around him (after all, if you were hungry for this level of fame you wouldn’t then immediately cancel Dire Straits to record with some little-known friends as The Notting Hillbillies as Mark did in 1988 or put the band on ice for eight years until ‘On Every Street’). The way I see it the brotherliness and tradition-respecting of the 1990s were an immediate response to the ‘me’ decade of the 1980s, with Dire Straits learning the lesson before most and reaching out into the darkness, trying to make a connection. The fact that the best selling album of the decade contains all the answers needed as well as asking the questions is, in retrospect, extraordinary, with ‘side two’ of this album the solution to the problems posed by ‘side one’. It fits well, this title, for a suite of songs about working out what it means to exist and be alive – although I still wish ‘Love Over Gold’ had been saved for this record as its a title that fits even more perfectly, making a million selling record about the importance of not losing sight of what’s important. Not that you can’t enjoy this album on a lower, simpler level either. One of the reasons some albums go on to become big sellers is that they appeal to lots of people on lots of different layers at once: ‘Dark Side Of The Moon’ being perhaps the best example, with enough guitar and drum solos to keep rockers happy but enough of a half-theme of the pressures of life and some pretty deep lyrics for a rock album in 1973 to keep regular Floyd fans pleased. ‘Brothers In Arms’ is probably pulled off the shelf by most people for the hit singles ‘So Far Away’ ‘Walk Of Life’ and ‘Money For Nothing’. For me, none of these songs represent as perfect or certainly as original a piece of pop songwriting as any of the band’s previous run of form (the swinging ‘Sultans Of Swing’, the sad romance of ‘Romeo and Juliet’, the pulsating sad-happy drive of ‘Tunnel Of Love’, the mystery and power of ‘Private Investigations’ – OK perhaps not the abominable ‘Twisting By The Pool’...), but the reason these songs in particular took off is because they’re so similar to what been around already, but simply updated to a new more 1980s sound. Anyone could have recorded these songs, which don’t particular sound like other Dire Straits records (there’s hardly any guitar on any of them for starters). In fact there’s very little guitar on this album at all, considering that it’s the one with the famous cover of Knopfler’s prize National Guitar from 1936 (the same brand Paul Simon references on the title track of his breatkthrough 1980s album ‘Graceland’). Traditionally Dire Straits songs are built on riffs, ones that grow in intensity and passion as the narrators lose themselves in something (the music in ‘Sultans Of Swing’, love in ‘Romeo and Juliet’, heck even skating in ‘Skateaway’!) Very few of the songs from ‘Brothers In Arms’ are – only ‘Walk Of Life’ has a really hummable riff and that’s played on a synthesiser! Freed of his guitar, Knopfler spends more time and effort on his vocals than normal, turning in some of his best performance on songs like the spine-tingling title track and ‘Why Worry’ (though you have to turn the CD up pretty loud to hear it properly; again another sign of how timid a performer Knopfler is compared to the decade’s other big sellers). The rest of the band sound more ‘together’ here than normal too, with keyboardist Alan Clark the reliable second-in-command he had been on ‘Love Over Gold’ (that’s his work you can hear on the credits of the Most Haunted TV series!) and getting more time than Knopfler’s guitar and bassist John Illsey given more space to work with than normal (his unexpected outburst on the middle of ‘Why Worry’ shows what a fine guitar player he can be when Knopfler isn’t dominating the sound). Amazingly, though, its jazz session drummer Omar Hakim who shines the most on this album: brought in at the last minute to replace Terry Williams (who himself had replaced long term drummer Pick Withers barely months before) and made to play his parts to the most basic of backing tracks, his recording was done and dusted within a fortnight, long before most of these songs would have taken shape – and yet he’s right on the money every time, giving the band a looseness and wildness they could have done with a lot sooner (although funnily enough the wildest and loosest passage – the outburst of solo drumming in the break of ‘Money For Nothing’ is William’s only work to make the finished album; on this evidence alone it’s a real shame the band didn’t use him more, although you do wonder whether he’d have had Pick Withers’ subtlety of sound from their earlier years). One of the other things that helped make the album such a success was its crisp, digital sound. Dire Straits weren’t the first to use digital recording (that was Stephen Stills in 1979, not that those tapes are available even now!) and ironically the technology came along just at the time when analogue recording processes had themselves reached a level of greatness they’d never had before (‘Love Over Gold’ being a case in point if you hear it on vinyl– I defy any listener to hear any real difference between the two if their record is still in a good enough condition to be up to the task!) But there’s no denying the ‘sound’ and ‘texture’ of this album is more important to it than most records, even in the aural fidelity loving 80s. Knopfler always had a keen ear for an arrangement and time and again this album excels: ‘So Far Away’ might be tired 60s pop as a composition but the opening bass vibrato and half synthed harmonies (very 10cc incidentally) is perfect for catching the ear; equally the wild drumming at the heart of ‘Money For Nothing’ is the most electrifying and memorable section of a song that has nowhere to go and no reason for being there; the title track too would be nothing without its eerie opening and supporting sound effects. Digital is still a dirty word in the collecting world and for good reason – some of the late 1980s re-issues of 1960s albums (the Beatles’ for instance) sounded horrid, tinny and flat, far worse than the records of the day and so much the opposite of the warm enveloping sound from that decade that, in Neil Young’s words, it’s the aural equivalent of taking an ice-cold shower instead of a warm bubble bath. But for albums that were designed from the first to fit the medium – as with this album – it can sound marvellous, albeit with some very 80s digital instruments in the mix that date the sound for today’s ears much more than the guitar-bass-and-drums of 1963. It’s hard making an album for the digital market where the best parts are subtle and underplayed, but ‘Brothers In Arms’ second half is even more extraordinary for getting the balance just right, for not overplaying the subtlety or burying the lyric s(and vocals) behind a sea of effects. Considering that this is only the second album Knopfler ever produced on his own (with ‘Love Over Gold’ the first and an equally impressive album production-wise), its a huge success, making the best of what was around at the time (and before younger readers get smug, just wait to hear how dated One Direction and Justin Bieber will sound in 25 years’ time!) Incidentally, the album did come out on vinyl – ‘Brothers In Arms’ wasn’t the world’s first CD-only album as some books and websites will tell you, but it was the first album deliberately written to CD ‘length’ (with several tracks shortened for vinyl). Ironically many of the songs sound better in these shorter edits (Dire Straits songs are traditionally longer than average and more so on this album than most), perhaps showing already the self-indulgence that will come with the 80 minute length albums later on in the decade. So – in essence – it’s easy to see why this album became such a big seller (being perfect for the times, cashing in on the CD age, hit singles galore) without necessarily meaning its a great album. Certainly there is good work on this album, with two maybe three songs as good as anything Mark Knopfler’s ever written and the whole album played by a band at the peak of their powers. But compared to the 100% success rate (for me at least) on ‘Love Over Gold’ this album remains a disappointment, a frustration that in the long term probably cost us fans more than we gained: there’s only one more Dire Straits studio LP after this one and it takes a ridiculous eight years, in which time Mark has seen another relationship crumble, got sick of the music business and the big tours and decided to do something, anything else in order to get the public pressure off his back. (‘People calling us the biggest band in the world...it’s not about the music then, its about the popularity. I needed a rest’ is a very telling quote from the ‘Every Street’ period). Knopfler was never one of those musicians born to handle such sudden success, doing his best work in the shadows when nobody seems to be watching (his excellent last solo album ‘Get Lucky’ being a case in point, released with so little publicity I didn’t know it was out till a month ago) – the fact that he released the perfect album for the years 1985 (recording time) to 1987 (when this album won most of its awards) is in retrospect just an unlucky break. That such a shy, inward-looking soul should end up getting the feelings, fears and frustrations of a whole decade on one album and tour to several million people is one of those strange coincidences that seem to happen round such great musicians who can’t help but communicate what’s in their hearts and souls. It’s fitting that an album about communication breakdown should start with ‘So Far Away’, a 1980s echo of a song that’s been around for generations – and doubtless will for generations to come. It’s tempting to see this song as being about the fallout from Knopfler’s first marriage, especially the lines about being in ‘another town’ sounding like the age-old moan about touring and being away from home but, that said, it may well be the pop connoisseur trying to write his own take on a song about distance that pretty much every writer handles at some point in his career. There are some clever ideas in this song, though, which raise it from the average: the line about ‘being so in love – and being so alone’ just makes the song, as do the lines in the final verse about the distance between the pair being so wide geographically that ‘you’ve been in the sun and I’ve been in the rain’ a clever metaphor for the emotional distance between themselves too. I certainly prefer this song to the other singles taken from this album, as at least this one has a pretty tune and some clever lyrics, even if it doesn’t quite have the originality or uniqueness of the best Dire Straits songs. A surprisingly uptempo song for such a sad subject, the recording is highlighted by a tremendous band performance that has Illsey’s very Motown bass and Clark’s atmospheric keyboards turned up high in the mix, making the most out of a so-so song. By Dire Straits songs this one is rather compact, down to three verses and three repeats of the same chorus (no middle eight or instrumental this time around), but even this one has a curiously extended fade that seems to rattle on for a good 90 seconds after the track has ended (like many a song from this album, the shorter vinyl edit is preferable). ‘Money For Nothing’ is Dire Strait’s best known song, despite being nothing like the rest of their work. A contrast in dynamic tension, this collaboration between Knopfler and Sting (who sings the opening verse) pits a moody slow beginning against the loud brash second half. In fact, its structured very much like Wings’ ‘Band On The Run’ this song, complete with the un-related middle eight bridging the gap between the two distinct sections. By Knopfler’s standards this a rather sarcastic, insincere song, featuring a rare bit of play-acting and inspired by a day he spent trying to buy a TV from an electronic store and listening to the angry shop assistant listing everything wrong with the images from MTV appearing on the giant TV screens. Taking his comments as a metaphor for how the 60s generation was putting down the 80s generation (despite being in turn to badly put down by the 40s generation), it somehow manages to both celebrate and spoof 1980s youth culture. Knopfler was in the perfect position for this kind of balanced view, being a big hit in the music business between 1978 and 87 despite his age actually putting him closer to the stars of the late 60s and early 70s (like we said earlier, ‘Sultans Of Swing’ came out when he was 29, late for a pop star). It makes for a memorable song, especially the drum segue between the two parts and the moody opening chanting ‘I want my MTV’ over and over, but you have to say this song hasn’t worn well with repeated listening, being something of a one-line joke. The chorus also doesn’t fit, relating the details of the narrator’s day job a world away from the stars on MTV and yet not doing enough to make the differences between the two worlds distinct. Like many Dire Straits songs its also a good minute too long, with no less than four repeats of the chorus and an extended guitar solo on the fade which, by Knopfler’s high standards, is both simplistic and dull. Still, that’s listening to it with 21st century ears, now that MTV is itself a generation old and showing videos by the children of the people who were on it when this song was written and has come in for an awful lot more abuse than it did in 1985. Back when this song was written it was amazingly prescient and breaking ground, even if the song doesn’t always use it in the right way. Full marks to Sting for his contribution and ‘re-shaping’ of the song, though – by far the best hour’s work he ever did. ‘Walk Of Life’ is much parodied, with its ‘wa-hooh’ yells from Knopfler and its decidedly retro sound and lyrics. Unlike some musicians on our list Knopfler’s always done his best to stay true to his roots in the rockabilly of the 1950s rather than trying to ‘progress’ from album to album and ‘Walk Of Life’ is probably the one song on this album you could hear coming as long ago as the first album ‘Dire Straits’ in 1978 (if even more simplistic and poppy). A good time song about a hip singer named Johnny (who may or may not be John Lennon), the 1950s were just about far away enough in the mid-80s to be fashionable again, the sound of the teenagers’ garndparents rather than parents’ generation (which is why the 60s were back in fashion in the 90s, hence Oasis, and why we’re now having to suffer the horrors of the 1980s all over again now; its also why so many films were set then in the 1980s – Back To The Future being a famous and Paul McCartney’s ‘Give My regards To Broad Street’ being a less famous example; finally it’s also why The Kinks had their first hit in 13 years with the 1950s-set ‘Come Dancing’ in 1983 despite writing several; similar flop songs for several years prior to this). Sweet and simple, there’s little in this song to dislike – but there’s not much substance to it either and by Dire Straits standards again none of their unique contemporary sound (after all, 10cc had been half-spoofing half-praising the 1950s since 1972 on songs like ‘Donna’ and ‘Johnny Don’t Do It’ – funny how everyone in that decade seems to have been called Johnny!) That said there’s one hint at something darker in the lyric, where the joyous dancing comes ‘after all the violence and the double talk...’, a hint that the setting isn’t as sweet and innocent as it pretends to be in the rest of the song. There’s also something uncomfortable with Knopfler’s vocal, which wanders around the place an awful lot compared to his usual precision and sounds like he’s got a heavy cold. Talking of which it’s Knopfler’s cracked vocal that ruins ‘Your Latest Trick’ for me, a surprisingly bitter put down of a loved one Mark sounds as if he’s doing his best not to be a part of the song at all (had the Dire Straits had more than one vocalist they’d no doubt have sung this on the record), something that really suits the song’s feeling of betrayal – as if the narrator doesn’t want to admit the breakdown of the relationship to himself never mind us. Unfortunately either the cold or a genuine reluctance to commit this song to digital tape means that Knopfler can’t handle the song’s subtleties and his heavy-handedness here robs what could have been a sweet little song of much of its power. It’s almost certainly about the break-up of his first marriage, given how real many of the details are – the narrator so unable to take in the news he instead records all the hustle and bustle of activity around him. There are some classic lines here and there (the garbagemen ‘doing the monster mash’) and the one about how, if the lady wanted out, she should have ‘used one of the keys on my chain’ instead of making her own ‘out of wax’ and abandoning him while he’s in another town (out on the road?) But alas the chorus isn’t one of them, simply cycling through the rather obvious hurt and betrayal that might have been better left hanging in the air as a mystery in the song – indeed with three full repeats its rather rammed down our throats. I’m also not a fan of the moody opening, which is about as 1980s as it gets: long slow and ponderous with saxophone and 80s synths playing to not much effect (why oh why is Knopfler’s great guitar work drenched with echo and buried in the mix?) A frustrating mis-mash of a song that could have worked very well but taken together falls apart. It did surprisingly well in the singles chart, though, despite being the fourth release from the album and despite being one of the least commercial songs on the LP – so what do I know? The side ends on ‘Why Worry’ which is kind of the mirror image of the last song: instead of a bitter betrayal from a distance this is the warmth of a new relationship up close, with the narrator seeking to calm the fears of his loved one. Despite being the last and poorest selling of all the album’s singles, it’s probably the most covered song Knopfler’s ever written (Art Garfunkel does a great version of this song), despite the fact that no one else could have come up with the lovely extended opening which is born for Mark’s crystal clear guitar work. His vocal is up to speed now, too, and the equal of his fine lyrics about turning problems around (another common idea, sure, but well handled here: would that other songs providing comfort had the chorus line ‘there should be laughter after pain, there should be sunshine after rain, so why worry now?’) The one real love song on the album, its moving indeed, the aural equivalent of a blanket a hot water bottle and a box of chocolates, looking for positives in negatives. Interestingly this song is very similar in mood, theme and structure to Simon and Garfunkel’s ‘Bridge Over Troubled Water’ – an album very close to ‘Brothers In Arms’ on the list of best-selling albums – suggesting that what a wannabe successful artist should record for their first album is a kind of warm audio hug; both songs are slow and ponderous but with enough going on to keep the excitement – perhaps more importantly both songs are closely rooted to gospel, although here the music is dominated not by an organ or piano but by Alan Clark’s subtle synthesiser work. Alas two things prevent this from becoming the highlight of the album: the mix of this song is awful; its much quieter than the songs either side of it (despite neither being particularly noisy) with Knopfler’s vocal, which should be the centrepoint of the song, ducked quieter than anything else in the mix; there’s also yet another extended ending which despite giving Knopfler’s guitar a good work out sounds more like a battle than act of comforting and undoes much of the atmosphere built up on the track’s first four minutes. Still, this is a lovely song even with all the ‘mistakes’ and it deserves its place in the pantheon of great AAA ‘covered’ songs. Side two is the real heart of the album, however, opening with the eerie and dramatic ‘Ride Across The River’, a song that sounds like across between ‘Apocalypse Now’ and a Michael Palin travelogue. The backing to this track is fantastic and would have made for a fine backing track in its own right: Clark’s keyboards are the perfect soundscape for the exotic and bizarre, sounding like cannibals playing percussion, and the call and answering between Knopfler’s sterling guitar work and a Mariachi trumpet band shouldn’t work but somehow does. It’s the lyrics, though, that excel, with the narrator a soldier searching for something - ostensibly the prey he’s been hired to shoot but as the jungle setting turns to night (with the sound effect of some crickets in the second half of the song) it becomes more about a search for the self. In short, its what Joseph Conrad was supposedly writing about in ‘Heart Of darkness’, his racist book about exploring Africa, but there the metaphor and images got mangled so badly the reader got lost – here the comparison is made explicit, that the ‘heart of darkness’ is inside the hired assassin who had gave no thought to his victims until he risked becoming a victim himself. The song then widens out in the last verse for some of the political sniping that made ‘Love Over Gold’ so memorable, with Knopfler coming up with the classic line ‘Nothing going to stop them as the day follows night – right becomes wrong and the left become the right’. The assassin in the song is then revealed as the band of revolutionaries out to overthrow the old regime – only to add another even more corrupted one in its wake. There are far too many good things about this recording to list for you, but here’s a few: just as the song is beginning to get boring near the end it suddenly jumps a key and the tension goes up another notch (the kind of thing the album’s other songs desperately need in the interests of variety and power), the extended finale using every exotic instrument in the band’s toybox and Knopfler’s screaming vibrato guitar part, sounding magnificent and crystal clear in this setting of hidden ambushes and human deception and lies. Despite being one of the longest songs on the album, it isn’t anywhere near long enough, keeping the audience’s interest to the very end. A real album highlight and one of the best Dire Straits songs of all. Even better is ‘The Man’s Too Strong’, a track which picks up with the last piece’s transformation from pride and stoicism to guilt and fear, with the breakdown of a former dictator facing ruin in the eyes. Dire Straits rarely played with dynamics before ‘Money For Nothing’ but here’s another, even finer example: Knopfler sings the verses to the accompaniment of his acoustic guitar in a typically understated way before his guilt and anguish spills over for a ‘WHAM WHAM ba-ba-bam’ wordless chorus that pulls the rug out from under his eyes and conveys perfectly the idea of rebels at his door. Knopfler sums up his latest character’s life story in a series of excellent stanzas, each one filling us in on his character and why such a nasty character deserves a shot at redemption. ‘I have legalised robbery – called it belief, I run with the money – I have a head like a thief’ – similar in style to the fall of Mr Flash in Ray Davies’ great Preservation rock opera on ‘Flash’s Confession’, this is a long list of nasty attributes that far from making him big, strong and powerful make him seem like just another small weak human gone wrong. It’s all here: the beginnings as a ‘drummer boy’ dazed by the majesty and the splendour of the old rulers, the jealously of the power of the old guard, the overthrow, the ‘re-writing of history’, the isolation behind walls that kept the ruler further away from the people he vowed to represent and the final betrayal by those he thought loved him. In other words a little power goes a long way – and absolute power corrupts, absolutely. Some commentators claim this song is about Stalin – that could well be, given Knopfler’s love of history (he taught the subject for a time) but for the record I reckon this song is about then prime minister Margaret Thatcher; Knopfler was born to socialist parents and as fans have already heard on the sterling ‘Telegraph Road’ hated the idea of one person having so much power over others. What Thatcher was up to in the 1980s (basically killing the industries and the working classes) beggars belief and the more I read about what was really going on the more horrified I get; there at the time, with some slight power to speak out against it, Knopfler may well have been inspired to put Thatcher into song. The ending of this recording is sheer class, Clark’s held sinister synthesiser note and Knopfler’s final flurry of notes on the acoustic summing up the aftermath of battle. A frankly brilliant song, the highlight of the entire album and possibly of the band’s career as well. Thankfully Knopfler’s headed towards this acoustic song’s soft-hardness and his political lyrics ever more on his solo albums but never quite with the power to match this superb recording. After two such strong songs ‘One World’ sounds like a let-down, but out of context its stilla fine second-division number. Half serious, half sarcastic, this is an update on the old Dire Straits humour of ‘Millionaire Blues’ and ‘Badges, Stickers and T-Shirts’, B-sides that like this song moan their socks off and then laugh at the rich, comforted narrator for daring to have problems. It’s a clever way out of a songwriter putting into words what their most likely to write about (frustration) but with enough humour to laugh at the self (as most people would kill to have problems like these). ‘Can’t get no sleeves for my records’ is a hilarious beginning – especially given that this is an album that effectively killed off vinyl records – but the song does get deeper by verse two, seemingly another about the end of Knopfler’s first marriage with lines like ‘Can’t find the reason for your actions – I don’t much like the reasoning you use’. The song then pulls out again for a view of the problem as one suffered the world over; basically why can’t we all just get along? (The TV has nothing ‘but the same old news’ generation after generation, full of fighting, overthrown Governments and natural disasters). The best part of the song, though, is a rare middle eight that slows down to take a look behind the narrator’s ‘mask’, with Knopfler telling us direct that ‘most writers write because of vanity’ , believing that their work can be of use or interest to some one else before saying that actually it’s what keeps him sane – and reaching out in the darkness to see if someone shares the sanity as yours is what keeps him going. It’s a fine moment in a fine song, where Knopfler’s supposedly jokey narrator lets his guard down and admits as to why he’s re-writing this song about little frustrations for the third time. The backing is much more traditional than what we’ve had on this album before, with the guitar bass and drums turned up high and the keyboards down a notch, although its not a patch on the group performances that graced ‘Dire Straits’ and ‘Makin’ Movies’. Still, a third straight success story in a row – and the third song not to have been released as a single. The title track of ‘Brothers In Arms’ is, rightly, regarded as one of Knopfler’s greatest masterpieces. In his own words its been sung at funerals and at weddings – something that’s puzzled him greatly given what a sad song it is, encompassing death and ghosts. There’s something uplifting about this song tool, though, with the dead narrator so close to his comrades in battle that he simply won’t let go, there at the scene of their biggest battles and watching on again proudly as they return ‘to their valleys and their farms’. The narrator himself cannot move on, he’s trapped to live out each battle over and over again without the ability to move on – yet strangely he’s not upset by it, more proud of his activity as part of a ‘brotherhood’. So far this quite a worryingly pro-war song, then, sadly closer in harmony with the pointless jingoism of the Falklands War (where men were lost for a few square feet filled with sheep), but Knopfler’s a better writer than that and another classy middle eight just makes the song, asking why – when our planet is all we know that exists in the universe – we’re so content to stay divided, fighting over differences instead of enjoying shared similarities. In short, if we all had the brotherhood of men at war, then there would be no war – and that the ‘Brothers In Arms’, though they may be fighting on different sides – are really all human beings together. We’ve moaned about the mixes and recordings elsewhere on this album, but not here: the band pull together magnificently, with an excellent atmospheric intro that might well be Alan Clark’s best work for the band before Knopfler’s guitarwork is atmospherically eased into the silence. Knopfler’s vocal too relates how close this song is to his heart, even though it originally started as a song about his Scottish heritage (though brought up in Newcastle he was born in Edinburgh) and does sound very much like a Scottish air (complete with ‘mist covered mountains’). An elegiac tribute to how precious our world is and why it should never ever be put under the strain it was in the 1980s (the decade with the most wars ever I think I read somewhere, and that’s without the cold war raging hotter than ever) this song is just one of many ‘warning’ songs that made it big in the 1980s. Unlike ‘Live Aid’ and ‘Two Tribes’, though, this song is much more than just novelty and rightly deserves its reputation as one of Dire Straits’ best. Overall, then, a so-so first side which everyone knows is joined by a majestic second side that deserves to be much better known. Not a bad hit rate for a supposedly well regarded album that’s so firmly rooted to the time period in which it was released (as we’ve seen on this site I rate ‘Sgt Peppers’ as the worst Beatles album and ‘Bridge Over Troubled Water’ as the worst Simon and Garfunkel album). The call to sing the record’s better known but lesser songs in concert must have cheesed Knopfler off no end and probably led to his current lower profile, where he can play what he wants without too much fuss from his loyal fanbase. I hope, though, that Knopfler doesn’t forget the heights he reached on this album’s real peak moments on both this album’s second side and the whole of ‘Love Over Gold’ and that we may yet see the best from this most empathetic and subtle of writers. We did not desert you, your brothers in arms, your fanbase.


A Now Complete List Of Dire Straits Articles Available To Read At Alan’s Album Archives:

‘Dire Straits’ (1978)  
http://www.alansalbumarchives.blogspot.co.uk/2013/02/dire-straits-1978.html
'Communiqué' (1979) http://alansalbumarchives.blogspot.co.uk/2015/02/dire-straits-communique-1979.html

'Makin' Movies' (1981) http://alansalbumarchives.blogspot.co.uk/2008/09/news-views-and-music-issue-5-dire.html

'Love Over Gold' (1983)  
http://alansalbumarchives.blogspot.co.uk/2008/07/review-82-dire-straits-love-over-gold.html

‘Brothers In Arms’ (1985) http://alansalbumarchives.blogspot.co.uk/2012/08/dire-straits-brothers-in-arms-1985.html

'On Every Street' (1993)
http://alansalbumarchives.blogspot.co.uk/2010/11/news-views-and-music-issue-79-dire.html
Surviving TV Appearances (1978-1991) http://alansalbumarchives.blogspot.co.uk/2015/04/dire-straits-surviving-tv-appearances.html

Unreleased Recordings (1978-1991) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-unreleased-recordings.html
Non-Album Songs 1977-1991 http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-non-album-songs-1977-1991.html
Live/Solo/Compilation/Film Soundtrack Albums Part One (1977-1999) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-livesolocompilation-albums.html
Live/Solo/Compilation/Film Soundtrack Albums Part Two (2000-2014) http://alansalbumarchives.blogspot.co.uk/2015/05/dire-straits-livesolocompilation-albums_25.html
Mark Knopfler’s Guest Appearances https://alansalbumarchives.blogspot.co.uk/2018/01/aaa-extra-mark-knopflers-guest.html
Essay: From ‘Dire Straits’ To ‘Mass Consumerism’ https://alansalbumarchives.blogspot.co.uk/2018/01/dire-straits-essay-from-dire-straits-to.html
Five Landmark Concerts and Three Key Cover Versions https://alansalbumarchives.blogspot.co.uk/2018/03/dire-straits-five-landmark-concerts-and.html