Dire Straits - Brothers in Arms (1985)

Dan:

Having attained stardom, Dire Straits upped their game even further with Brothers in Arms, an album that seemingly had it all: great production using digital sound, pop hits, deep messages, and musical artistry. 

The hit single, "Money for Nothing," got frequent play on MTV and FM radio. It was as popular as "Sultans of Swing" was on their first album, but the clever video helped to boost its exposure and popularity. An uncredited appearance by Sting echoing the phrase "money for nothing" in his high-pitched voice helped as well. I thought the song was a bit foolish, but I'm sure that was part of its appeal. 

What I like most about Brothers in Arms is its songcraft. Once past the first three songs on side 1 ("So Far Away," "Money for Nothing" and "Walk of Life"), the deeper messages creep in. "Your Latest Trick" serves up an ambiguous relationship between a musician and someone else - a hooker? - a girlfriend? - a manager? Whatever, the night life scene is described in grim detail, buoyed by a lazy tempo and Mark Knopfler's vocals. Side 1 closes with "Why Worry," a simple song of comfort to a woman suffering from the blues. 

Side 2 steers the album into even more serious territory: the horror of war. "Ride Across the River" pictures a mercenary:

Now I'm a soldier of fortune, I'm a dog of war

And we don't give a damn who the killing is for

Yeah it's the same old story with a different name

Death or glory, it's the killing game

To say the least, that's a long way from the silliness of "Money for Nothing." The next song, "The Man's Too Strong," remorsefully lays some of the guilt for war crimes at the feet of "the man." 

Oh, Father, please help me

For I have done wrong

The man's too big

The man's too strong

"One World" then portrays a weary protagonist unable to find an antidote for his blues and realizing that the ideal "one world in harmony" is elusive. 

The closing title song offers a heartfelt narrative by a soldier dying after being wounded in combat. Removed from his homeland valley, he is abandoned in the mist-covered mountains, his final resting place. It's a wistfully sad song that comes to the conclusion that "we're fools to wage war on our brothers in arms." The sadness oozes from the melody, slow tempo and the stunningly sincere voice of Mark Knopfler. He reportedly felt the weight of the Falklands war in 1982 between the UK and Argentina. Such beautiful melancholy and depth of feeling grabs me every time. 

Overall, side 2 deals better with anti-war sentiment than any other rock album I've heard. It's a masterpiece of conception and execution, all within the confines of progressive rock. Simply remarkable!

Steve:

Brothers in Arms was all the rage in 1985. Funny as it seems today, the one song I thought had no chance of being a hit was "Money for Nothing" - simply because of the use of a certain F-word (thrice in the second verse, no less). F-word notwithstanding, I was glad when it did catch on, since it's a pretty rockin' tune, and the subject matter was pretty timely. Sung from the point of view of a guy working in an appliance store ("we gotta install microwave ovens, custom kitchen deliveries"), it apparently paraphrases conversations Knopfler overheard from one such guy complaining about MTV and how little talent was needed to make it in the music business. Knopfler also uses a guitar tone which was quite popular at the time, and one which I don't think he had used before. It resembles the grungy riffing of ZZ Top, who were huge on MTV in the wake of their Eliminator album (1983).

These days, my favorite track is "Ride Across the River", whose spacious production and world-music elements (mariachi trumpet, a synth imitating a pan flute, a vague reggae feel) are typical of the production style of other sophisticated pop artists of the time (Peter Gabriel, Bryan Ferry, Paul Simon, etc.). Mark Knopfler's expressive lead guitar over the top of this stew ensures its place as a classic track, although I had not bothered to ponder its lyrical meaning until reading Dan's comments above. "The Man's Too Strong" was always a favorite of mine too. The loud resolving guitar chords in the chorus of this otherwise quiet song drive home the anger the song is trying to convey.

Dire Straits - Dire Straits (1978)

Dan:

There was, perhaps, no more welcome debut in 1978 than the self-titled Dire Straits. Combining clever songs with driving rhythms and clean guitar lines, this new band made a huge impact on a wide audience. An otherwise normal colleague of mine in Florida got hooked on the hit "Sultans of Swing," and who could blame him? It remains my favorite Dire Straits song, although Brothers in Arms is my favorite Dire Straits album. 

The original band included the Knopfler Brothers (Mark and David) on guitars with John Illsley on bass and Pick Withers on the skins. Mark was the undisputed leader of Dire Straits; he wrote all the songs, played lead guitar, and sang all the songs. 

There is no special discovery story for this album. It seemed to impose itself on everyone I knew via the FM radio airplay of "Sultans." I liked the song in part because it was about a fictitious jazz group and the personal stories of its members playing to inattentive small audiences while barely being able to afford their instruments. Except perhaps Harry: 

And Harry doesn't mind, if he doesn't, make the scene 

He's got a daytime job, he's doing alright. 

Certainly not an unrealistic scenario, but who else in the rock world would think of composing such a song? Mark seemingly references brother David in the lyric: 

You check out guitar George.

He knows all the chords.

Mind, it's strictly rhythm he doesn't want to make it cry or sing. 

If I were David Knopfler, I would gladly play rhythm and let my more talented bro's axe handle the crying and singing. 

As it swept over us, Dire Straits' other songs became known as well. Many of these seem understated, lacking wild solos, bashing beats, and raucous vocals. But they're all well-crafted and attractive on the terms the Knopflers offered to listeners. My favorites are all on side 2, following "Sultans": "In the Gallery," Wild West End," and "Lions." 

Dire Straits' approach to writing and playing original songs was to last for the next four years, after which they began to stretch the length of some songs. Love Over Gold and Brothers in Arms are masterpieces that reflect a more sophisticated approach to composing while not losing their signature sound. That said, there's something fresh and exciting about the first album that has never been bested. 

Finally, I remain ambivalent about the live albums, Alchemy (1984), which were (somewhat oddly) released separately as Part 1 and Part 2. Either the music did not translate well into stage performances, or I just liked the studio material better. Whatever, I didn't spend much time with Alchemy.

Steve:

Dire Straits' popularity at a time when punk and new wave were getting most of the press attention is an interesting phenomenon. I see Mark Knopfler and crew as a continuation of the gestalt that begat Bruce Springsteen in the US - that is, a 70s update of the lyrically deep world of Bob Dylan-inspired rock, at a time when Bob himself was interesting and unpredictable enough to capture the imagination of the popular masses - after nearly a decade of hibernation. Dylan had "come back" with some well received LPs and a fairly raucous rock tour (the "Rolling Thunder" tour) that resembled a traveling circus as much as a rock show.

Of course, both Springsteen and Dire Straits had plenty of tricks of their own to add to the Dylan inspiration. In Mark Knopfler, Dire Straits had a first-class lead guitarist clearly inspired by J.J. Cale (as was Eric Clapton at this time), who was also able to spin a disarmingly relatable lyric, sung in a humble, conversational tone of voice that resonated with audiences. "Sultans of Swing" is the best example of this approach, and it's fortunate that this was the song that they chose to represent themselves. As a nearly six-minute single, it went to the top 5 in multiple countries (as if echoing the similar success of "Like a Rolling Stone" a decade earlier). 

Even so, my favorite track on the album just may be the opener, "Down to the Waterline." With its quiet opening suggesting a peaceful night, the song then rips into a brisk but inviting groove with sly and playful lyrics regarding an evening liaison by the water with a lady friend. There's a slight element of danger present ("Policeman shines a light on my shoulder") but the overriding mood is just some randy fun, and it's easy to grin and tap your toes.

As with Dan, my favorite Dire Straits albums came later (either Making Movies or Love Over Gold for me, depending on the day), but the debut Dire Straits deserves a lot of credit and attention for being a unique album for its time. Even among its ostensible peer group - Elvis Costello and Graham Parker come to mind - Dire Straits had a cool austerity, not to mention its virtuoso instrumentalist, that stood out from the pack.