| Brothers in Arms | ||||
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| Released | 17 May 1985 (1985-05-17) | |||
| Recorded | 1984 – 1985[1] | |||
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| Genre | Pop rock[2] | |||
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| Dire Straits chronology | ||||
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| Singles from Brothers in Arms | ||||
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Brothers in Arms is the fifth studio album by the British rock bandDire Straits, released on 17 May 1985,[3] byVertigo Records internationally andWarner Bros. Records in the United States. It was the first album in history to sell over one million copies inCD format.[4] The album was produced by bandleaderMark Knopfler and byNeil Dorfsman, who had engineered Dire Straits' 1982 albumLove over Gold and Knopfler's 1983 soundtrack albumLocal Hero.[5]
Brothers in Arms spent a total of 14 non-consecutive weeks at number one on theUK Albums Chart (including ten consecutive weeks between 18 January and 22 March 1986), nine weeks at number one on theBillboard 200 in the United States and 34 weeks at number one on theAustralian Albums Chart. It was the first album to be certified ten-times platinum in the UK[6] and is theeighth-best-selling album in UK chart history.[7] It is certifiednine-times platinum in the United States by theRecording Industry Association of America (RIAA) and is one of theworld's best-selling albums, having sold more than 30 million copies worldwide.[8][9][10] To promote the album, Dire Straits embarked on theBrothers in Arms Tour, which ran from 1985 to 1986.
The album won aGrammy Award in1986 forBest Engineered Album, Non-Classical and Best British Album at the1987 Brit Awards; the 20th Anniversary reissue won another Grammy in2006 forBest Surround Sound Album. In 2020,Rolling Stone magazine rankedBrothers in Arms number 418 on its list of the "500 Greatest Albums of All Time".Q magazine ranked it number 51 on its list of the "100 Greatest British Albums Ever".
In 2025, to commemorate the 40th anniversary of the album’s original release, the album was re-released in several formats, including a five LP box set and triple CD. This box set included the full studio album as well as a previously unreleased full-length live concert from the band’sMunicipal Auditorium, San Antonio show during the world tour.[11]
The initial sessions forBrothers in Arms were recorded from November 1984 to February 1985 atAIR Studios on the island ofMontserrat, aBritish overseas territory in the Caribbean.[12] Before arriving at Montserrat, Knopfler had written all the songs and rehearsed them with the band. The studio lineup was Knopfler (vocals, guitar),John Illsley (bass, backing vocals),Hal Lindes (guitar),Alan Clark (piano, organ),Terry Williams (drums) and new memberGuy Fletcher (synthesisers, backing vocals). Lindes left the band early on in the sessions, and was replaced in December 1984 byJack Sonni, a New York guitarist and longstanding friend of Knopfler. (Sonni's only eventual contribution to the album was the guitar synthesiser on "The Man's Too Strong", with all the other guitar parts played by Knopfler).[13]
The studio itself was small, with a 20-by-25-foot (6 m × 8 m) recording space that offered virtually no isolation. "It was a good-sounding studio," Dorfsman later recalled, "but the main room itself was nothing to write home about. The sound of that studio was the desk," referring to theNeve 8078 board.[5] Knopfler and Dorfsman utilised the main studio's limited space to best effect, placing the drum kit in the far left corner, facing the control room.[5] They placed the piano in a tight booth in the far right corner, miked with AKG C414s. The Hammond B3 was placed nearby, with itsLeslie speaker either wedged into the soundproof entryway to the control room or even set up outdoors. Illsley's bass amplifier was recorded inside a small vocal booth with a Neumann FET 47 and aDI unit. Knopfler's amplifiers were miked with 57s, 451s, and Neumann U67s. Fletcher's synths were placed in the control room.[5]
Brothers in Arms was one of the first albums recorded on aSony 24-track digital tape machine. The decision to move to digital recording came from Knopfler's constant striving for better sound quality. "One of the things that I totally respected about him," Dorfsman observed, "was his interest in technology as a means of improving his music. He was always willing to spend on high-quality equipment."[5] However, they encountered a defective batch of recording tape at AIR Studios, which would result in the loss of part or all of three album tracks.[13]
During the recording of "Money for Nothing", the signature sound of Knopfler's guitar may have been enhanced by a "happy accident" of microphone placement. Knopfler was using hisGibson Les Paul going through a Laney amplifier. While setting up the guitar amplifier microphones in an effort to get the "ZZ Top sound" that Knopfler sought, guitar tech Ron Eve, who was in the control room, heard the "amazing" sound before Dorfsman was finished arranging the mics. "One mic was pointing down at the floor," Dorfsman remembered, "another was not quite on the speaker, another was somewhere else, and it wasn't how I would want to set things up—it was probably just left from the night before, when I'd been preparing things for the next day and had not really finished the setup."[5] What they heard was exactly what ended up on the record; no additional touches were made during the mix.[5]
According to aSound on Sound magazine interview with Neil Dorfsman, during the first month of the recording sessions at Montserrat the performance ofTerry Williams was considered to be unsuitable for the desired sound of the album.[5] According to Williams himself, he had recorded all his drum parts to a click track, which he felt hindered his ability to channel the rhythmic feel he wanted. About six weeks into the sessions, after listening to a playback of what had been recorded so far, he voiced his disappointment to Mark Knopfler over some of his own playing. Shortly after this, he was dismissed from the sessions, and Dorfsman and Knopfler made the decision to erase his contributions.[14][15]
Williams was replaced in the sessions by jazz session drummerOmar Hakim, who re-recorded all the album's drum parts during a two-day stay before leaving for other commitments.[5] All of the drumming on the final album was performed by Hakim, with the exception of the improvised crescendo at the beginning of "Money for Nothing" and the rockabilly track "Walk of Life". According to another interview with Dorfsman, Williams played toms and tom fills throughout "Money for Nothing" and "Walk of Life".[16][17] Both Hakim and Williams are credited on the album.[18][19]
Due to the issues with the defective recording tape, the album sessions subsequently relocated to thePower Station in New York in February 1985 for additional overdubs.[13] These included contributions from New York musicians includingMichael andRandy Brecker,Mike Mainieri (who had previously contributed vibraphone toLove Over Gold) and percussionistJimmy Maelen, plus trumpeter Dave Plews andAverage White Band saxophonistMalcolm Duncan. When Illsley sprained his wrist after a fall whilst jogging in Central Park, rendering him unable to play, the band hired studio bassistsTony Levin andNeil Jason to complete the bass parts.[20][13] Levin contributed to "Why Worry". Neil Jason was brought in for a week's work which included takes on "So Far Away", "Walk of Life", "Ride Across the River", "Your Latest Trick" and "The Man's Too Strong", although the only fully confirmed released results from the Jason sessions were the slap-style funk bassline on "One World" and "slides on myfretless—almost like aSyndrum effect" on the intro to the extended version of "Money for Nothing".[13][21]
With Omar Hakim having been a temporary studio hire, Dire Straits needed a full-time drummer for the upcomingpromotional concert world tour (which started in April 1985 and lasted until April 1986),[18] and it is rumoured thatAndy Kanavan joined the band very briefly to fill this role. Terry Williams ultimately played on the tour as a full band member, and Dire Straits managerEd Bicknell disputed the Kanavan story in a forum disussion, stating that Williams had never officially left the band at this point and that there was no record of Kanavan ever joining the band.[22] All the music videos that were released from the album featured Williams.[14]
Brothers in Arms has been described musically as apop rock album.[2] The music video for "Money for Nothing" received heavy rotation onMTV, and it was the first to be aired onMTV Europe when the network launched on 1 August 1987.[23] It is one of only two Dire Straits songs on a studio album not to be solely credited to Knopfler (the other being "The Carousel Waltz", which opensMaking Movies), with guest vocalistSting given a co-writing credit due to the melody of the repeated "I want my MTV" (sung by Sting) at the start echoing the melody of the Police's "Don't Stand So Close to Me".[24]
"Walk of Life" was a number two hit in theUK Singles Chart in early 1986 and a number seven hit in the USBillboard Hot 100 later that year. The song was nearly left off the album, but was included after the band out-voted producer Neil Dorfsman.
On the second side of the album, three songs ("Ride Across the River", "The Man's Too Strong" and "Brothers in Arms") are lyrically focused on militarism. "Ride Across the River" uses immersive Latin American imagery, accompanied by synthesizedpan flute, mariachi trumpet, a reggae-influenced drum part and eerie background noises. "The Man's Too Strong" depicts the character of an ancient soldier (or war criminal) and his fear of showing feelings as a weakness. Written during the 1982Falklands War, "Brothers in Arms" deals with the senselessness of war.[25]
In 2007, the 25th anniversary of the war, Knopfler recorded a new version of the song atAbbey Road Studios to raise funds for British veterans who he said "are still suffering from the effects of that conflict".[26]
The guitar featured on the front of the album cover is Mark Knopfler's 1937 14-fretNational Style "O"Resonator.[27] The Style "O" line of guitars was introduced in 1930 and discontinued in 1941. The photographer was Deborah Feingold.[28] The back cover features a painting of the same guitar, by German artist Thomas Steyer. A similar image was also used, with a similar colour scheme, for the 1989 albumThe Booze Brothers byBrewers Droop, which features Knopfler on a few tracks.
Brothers in Arms was one of the first albums directed at the CD market, and it was a fulldigital recording (DDD) at a time when most popular music was recorded on analog equipment. It was also released onvinyl (abridged to fit on one LP) andcassette. Producer Neil Dorfsman says the digital multitrack was mixed on a Solid State Logic analog board, with the resulting two track mix re-digitized via a Prism A/D converter and recorded on a DAT machine.[29]
Brothers in Arms was the first album to sell one million copies in the CD format and to outsell its LP version.Rykodisc co-founder Rob Simonds subsequently wrote, "[In 1985] we were fighting to get our CDs manufactured because the entire worldwide manufacturing capacity was overwhelmed by demand for a single rock title (Dire Straits'Brothers in Arms)."[30]
It was remastered and reissued with the rest of the Dire Straits catalogue in 1996 for most of the world outside the United States, and on 19 September 2000 in the United States. The remastering for both reissues was done byBob Ludwig at Gateway Mastering using theSuper Bit Mapping process.[31] In 2000, it was released onXRCD2 format, remastered by Hiromichi Takiguchi using K2 20bit technology.[32] A 20th anniversary edition was issued onSuper Audio CD on 26 July 2005 (becoming the 3000th title for the SACD format), featuring a 5.1 surround sound remix done byChuck Ainlay atBritish Grove Studios. It was mastered by Bob Ludwig at Gateway Mastering.[33] The 5.1 mix was also released onDualDisc format withDVD-Audio 24 bit/96 kHz track on 16 August 2005. Ainlay's 5.1 remix won a Grammy for Best Surround Sound Album at the 48thGrammy Awards ceremony.[34][35] In 2006, ahalf-speed–mastered vinyl version of the album was issued. Mastered by Stan Ricker, this version consists of four sides on two 33 1/3 rpm discs, containing the full-length songs on vinyl for the first time. In 2013,Mobile Fidelity Sound Lab released a hybrid SACD mastered from the original tapes by Shawn R. Britton. It includes the original stereo mix only.[36] In 2014, a new master was released in Japan on SHM-SACD – it is made from the original analogue master tapes and contains the original LP length of the album: 47:44. This edition was transferred by Mick McKenna and Richard Whittaker at FX Copyroom usingDirect Stream Digital.
On 19 May 2014, Vertigo reissued the album on double 180g vinyl; this edition contains the full-length songs. It was mastered by Bob Ludwig,Bernie Grundman and Chris Bellman from the original analogue and digital tapes, and was also included onThe Studio Albums 1978–1991 the previous year.[37] In 2015, Mobile Fidelity also released the album on double 45 RPM vinyl, which was mastered by Krieg Wunderlich.[38] The same year, the album re-entered the UK Albums Chart at number 8 following the record being made available at a discounted price on digital music retailers. In March 2021, a new half-speed mastered edition was released, mastered atAbbey Road Studios by Miles Showell. The release was a double-LP, 45 rpm, 180 gram edition, with the complete version of the album, for only the second time (the first being issued by Mobile Fidelity Sound Lab in 2015).
The album has spent a total of 356 weeks on the UK Albums Chart.
On 16 May 2025, the 40th anniversary of the album’s original release, the album was re-released issued onBlu-Ray with Dolby Atmos and 24 bit/96KHz version of the original CD and Vinyl mixes. It was also re-released as a five LP box set and triple CD. This edition included the full studio album as well as a previously unreleased full-length live concert from 16 August 1985, at the band’s Municipal Auditorium, San Antonio during thepromotional concert world tour, the first time that a full length concert from the 1985-86 tour has been made available on album.[11]
| Review scores | |
|---|---|
| Source | Rating |
| AllMusic |   [39] |
| Christgau's Record Guide | B−[40] |
| Encyclopedia of Popular Music | [41] |
| The Great Rock Discography | 8/10[42] |
| MusicHound | 4/5[43] |
| Pitchfork | 8.6/10[44] |
| Q | [45] |
| Record Mirror | [46] |
| The Rolling Stone Album Guide |  [47] |
| Sounds | [48] |
Initial reviews ofBrothers in Arms from the UK music press in 1985 were generally negative. In a scathing review forNME,Mat Snow criticised Knopfler's "mawkish self-pity, his lugubriously mannered appropriation of rockin'Americana, his thumpingly crass attempts at wit". He also accused the album of the "tritest would-be melodies in history, the last word in tranquilising chord changes, the most cloying lonesome playing and ultimate in transparently fake troubador sentiment ever to ooze out of a million-dollar recording studio".[49] Eleanor Levy ofRecord Mirror dismissed the "West Coast guitars reeking of mega bucks and sell out stadium concerts throughout the globe. Laid back melodies. Dire Straits – summed up... This is like any other Dire Straits album quarried out of the tottering edifice ofMOR rock."[46]
The reviews from other UK music papers were less harsh, with Jack Barron ofSounds feeling that "it's only a halfway decent album because it has only halfway decent songs... Knopfler has distilled his sonic essence, via blues, to appeal to billboard romantics with cinemascope insecurities. And hecan pull it off well... but not often enough here."[48]Melody Maker'sBarry McIlheney observed that Knopfler had recently explored different creative directions with his work on movie soundtracks and onBob Dylan'sInfidels, and bemoaned that "this admirable spirit of adventure fails to materialise... Instead it sounds just a bit too like the last Dire Straits album, which sounded not unlike the last one before that, which sounded suspiciously like the beginning of a hugely successful and very lucrative plan to take over the world known asAOR". He concluded, "the old rockschool restraints and the undeniably attractive smell of the winning formula seem to block out any such experimental work and what you end up with is something very like the same old story".[50]
US reviews were more positive. Writing forSpin magazine, E. Brooks praised Knopfler's guitar work and noted that "when the intensity of his words approaches that of his ravishing stratocaster licks, the song soars. That doesn't happen as often as I'd like on this new album [...] but I find myself returning to certain cuts the way one might come back to a favorite chair." Brooks singled out the "haunting ballad" "Your Latest Trick", the "acerbic satire of vid-rock culture" in "Money for Nothing" and the "outstanding craftsmanship in the words and music" of the title track, which was "not a new message, but at least something other than sex, cars, or drugs is being talked about here. Take that and the quality of the musicianship, and you've got a lot."[51] Debby Bull gave the album a mixed review forRolling Stone magazine, praising the "carefully crafted" effort, writing, "The record is beautifully produced, with Mark Knopfler's terrific guitar work catching the best light". Although she found the lyrics literate, Bull noted that the scenarios "aren't as interesting as they used to be on records likeMaking Movies". Despite the production values and notable contributions from guest artists like drummerOmar Hakim and theBrecker Brothers, Bull concluded that "the music lacks the ache that made Knopfler's recent soundtracks forComfort and Joy andCal so powerful."[52] InRolling Stone's end-of-year round-up of 1985's key albums, Fred Schruers said that "Knopfler's nimble, evocative guitar style and gentle vocalizing are still as appealing as they were on previous scenario-rich albums".[53]
In 1996, British music journalistRobert Sandall wrote:
Looked at now with 20/20 vision of hindsight, the image on the sleeve ofBrothers in Arms seems uncannily prophetic: that National steel guitar heading up into the clouds—a shiny 6 stringed rocket devoid of any obvious means of propulsion—describes, better than any words can, what happened to Dire Straits after the release of their 5th studio album. Up till the summer of 1985 success had, for them, come as a by-product of the music making process. They had never courted celebrity, chased fads, or played safe. Dire Straits had been loved and respected as one of the few bands to have maintained strong and credible links with the multifarious roots of rock and roll at a time—remember all the desperate pop posing of the early 80s?—when roots were emphatically not a fashionable place to be.[54]
Reviewing the remastered Dire Straits albums in 1996, Rob Beattie ofQ awardedBrothers in Arms five stars out of five and wrote that "repeated listening reveals it as a singularly melancholic collection – see the guitar slashing of 'The Man's Too Strong' and the title track, where joy is as sharp as sorrow".[45] In a 2007 review forBBC Music, Chris Jones calledBrothers in Arms "a phenomenon on every level... a suite of Knopfler's very fine brand ofJJ Cale-lite".[55] In his retrospective review forAllMusic,Stephen Thomas Erlewine gave the album four out of five stars, crediting the international success of the album not only to the clever computer-animated video for "Money for Nothing", but also to Knopfler's "increased sense of pop songcraft". According to Erlewine, Dire Straits had "never been so concise or pop-oriented, and it wore well on them". Erlewine concluded that the album remains "one of their most focused and accomplished albums, and in its succinct pop sense, it's distinctive within their catalog".[39]
In 2010, whenBrothers in Arms was among ten albums nominated for the best British album of the past 30 years by theBrit Awards, music broadcaster and authorPaul Gambaccini described the list of nominees as "risible" but added, "Brothers in Arms runs away with it for the quality of songwriting and musicianship."[56][57]
In 2018,Classic Rock wrote thatBrothers in Arms "made Dire Straits superstars, but it also warped the popular perception of both Knopfler and his band. 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 wasn't even as if he had contrived to make a blockbuster. In large part it was hushed and melancholy, a sigh rather than a roar. But it was damned by having its signature single explode out of context."[58]
Brothers in Arms won Best British Album at the1987 Brit Awards[59] (in a first-time occurrence, it had actually been nominated for Best Album a year earlier at the1986 Brit Awards but lost out toPhil Collins'No Jacket Required, before being nominated again the following year due to its chart longevity).[60]Also in1986, the album won aGrammy Award forBest Engineered Album, Non-Classical, while the20th Anniversary Edition won another Grammy in2006 forBest Surround Sound Album.[61]
In 2000,Q magazine placed the album at number 51 in its list of the 100 Greatest British Albums Ever.[62] In 2003, the album ranked number 351 onRolling Stone magazine's list of the "500 Greatest Albums of All Time",[63] and number 352 in a 2012 revised list, and number 418 in the 2020 revision.[64][65] The album was also included in the book1001 Albums You Must Hear Before You Die.[66]
In November 2006 the results of a national poll conducted by the public of Australia revealed their top 100 favourite albums.Brothers in Arms came in at number 64 (see "My Favourite Album").Brothers in Arms is ranked number three in the best albums of 1985 and number 31 in the best albums of the 1980s.[citation needed]
As of July 2016Brothers in Arms is theeighth-best-selling album of all-time in the UK.[67] In the Netherlands, the album held the record for longest run ever on the Dutch Album chart with 269 weeks (non-consecutive) but was surpassed byAdele's album21 in 2016.
Awards and nominations
| Year | Ceremony | Nominated work | Recipient(s) | Category | Result |
|---|---|---|---|---|---|
| 1986 | Brit Awards | Brothers in Arms | Dire Straits | Best British Album | Nominated[60] |
| 1986 | Grammy Awards | Dire Straits Neil Dorfsman andMark Knopfler, producers | Album of the Year | Nominated[61] | |
| Neil Dorfsman, engineer | Best Engineered Album, Non-Classical | Won[61] | |||
| Juno Awards | Dire Straits | Best Selling International Album | Won[68] | ||
| 1987 | Brit Awards | Best British Album | Won[59] | ||
| 2006 | Grammy Awards | Brothers in Arms (20th Anniversary Edition) | Chuck Ainlay, surround mix engineer;Bob Ludwig, surround mastering engineer;Chuck Ainlay and Mark Knopfler, surround producer | Best Surround Sound Album | Won[61] |
All songs written byMark Knopfler, except "Money for Nothing", written by Knopfler andSting. The CD and cassette versions feature full versions of "So Far Away", "Money for Nothing", "Your Latest Trick" and "Why Worry". Because of this, side two of the cassette version has about 10 minutes of blank tape.
| No. | Title | Cassette No. | Length |
|---|---|---|---|
| 1. | "So Far Away" | A1 | 5:12 |
| 2. | "Money for Nothing" | A2 | 8:25 |
| 3. | "Walk of Life" | A3 | 4:12 |
| 4. | "Your Latest Trick" | A4 | 6:33 |
| 5. | "Why Worry" | A5 | 8:31 |
| 6. | "Ride Across the River" | B1 | 6:58 |
| 7. | "The Man's Too Strong" | B2 | 4:40 |
| 8. | "One World" | B3 | 3:40 |
| 9. | "Brothers in Arms" | B4 | 7:00 |
| Total length: | 55:15 | ||
Single LP track listing
| No. | Title | Length |
|---|---|---|
| 1. | "So Far Away" | 3:59 |
| 2. | "Money for Nothing" | 7:04 |
| 3. | "Walk of Life" | 4:12 |
| 4. | "Your Latest Trick" | 4:46 |
| 5. | "Why Worry" | 5:22 |
| Total length: | 25:23 | |
| No. | Title | Length |
|---|---|---|
| 1. | "Ride Across the River" | 6:58 |
| 2. | "The Man's Too Strong" | 4:40 |
| 3. | "One World" | 3:40 |
| 4. | "Brothers in Arms" | 7:00 |
| Total length: | 22:19 47:42 | |
Credits adapted from album liner notes.[69]
Dire Straits
| Additional musicians
|
Production
Weekly charts[edit]
| Year-end charts[edit]
Decade-end charts[edit]
|
| Region | Certification | Certified units/sales |
|---|---|---|
| Argentina (CAPIF)[146] | Gold | 30,000^ |
| Australia (ARIA)[148] | 17× Platinum | 1,240,000[147] |
| Austria (IFPI Austria)[149] | 4× Platinum | 200,000* |
| Belgium (BRMA)[150] | 4× Platinum | 200,000‡ |
| Brazil (Pro-Música Brasil)[151] | 3× Platinum | 750,000[151] |
| Canada (Music Canada)[152] | Diamond | 1,000,000^ |
| Denmark (IFPI Danmark)[153] | 7× Platinum | 140,000‡ |
| Finland (Musiikkituottajat)[154] | 2× Platinum | 116,784[154] |
| France (SNEP)[156] | Diamond | 2,000,000[155] |
| Germany (BVMI)[157] | Platinum | 500,000^ |
| Hong Kong (IFPI Hong Kong)[158] | Platinum | 20,000* |
| Italy (FIMI)[159] sales 1985-1987 | Platinum | 500,000[159] |
| Italy (FIMI)[160] sales since 2009 | Platinum | 50,000‡ |
| Netherlands | — | 470,387[161] |
| New Zealand (RMNZ)[162] | 24× Platinum | 360,000^ |
| Poland (ZPAV)[163] | Platinum | 20,000‡ |
| South Africa | — | 100,000[164] |
| Spain (PROMUSICAE)[165] | 3× Platinum | 300,000^ |
| Sweden (GLF)[166] | Gold | 50,000^ |
| Switzerland (IFPI Switzerland)[167] | 6× Platinum | 300,000^ |
| Switzerland (IFPI Switzerland)[167] 1996 release | Platinum | 50,000^ |
| United Kingdom (BPI)[168] | 15× Platinum | 4,500,000‡ |
| United States (RIAA)[169] | 9× Platinum | 9,000,000^ |
| Zimbabwe | — | 5,000[170] |
| Summaries | ||
| Worldwide | — | 30,000,000[10] |
* Sales figures based on certification alone. | ||
The opening tracks are pretty conventional pop-rock chart shooters
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)But the channel's continental incarnation- MTV Europe- (...) was launched in 1987 with the first video- beamed into 1.6 million paying households- being Dire Straits' Money for Nothing.
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link){{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link){{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link){{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link){{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link){{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)...what kept the record selling was Mark Knopfler's increased sense of pop songcraft
{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)We brought in a number of other top session musicians (...), including (...) Neil Jason, who helped out on the song 'One World'. This needed a funk bass sound, which I don't do but Neil does very well.
We brought in a number of other top session musicians (...), including bassist Tony Levin, who played on 'Why Worry' (...). Tony played a bass instrument called a Chapman Stick (...).
{{cite web}}: CS1 maint: bot: original URL status unknown (link)Alam da platina tripla pelos 750 mil copias de Brothers in Arms, a banda de Mark Knopfler garimpou entre nos duas platina dimples de 250 mil cada (Alchemy, o primeiro que estourou, em 84, e coletânea Money for Nothing, de 8) e um disco de ouro (no LP de estreia Dire Straits, de 79)
| Studio albums | |
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| Live albums | |
| Compilations | |
| EPs | |
| Singles |
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| Other songs | |
| Tours | |
| Related articles | |
