While doing some rechearch last night, I was astonished about pretty bad early reviews about Brothers in Arms:
Scource is Wikipedia again:
Initial reviews of Brothers in Arms from the UK music press in 1985 were generally negative. In a scathing review for NME, 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".[40] Eleanor Levy of Record 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 of MOR rock."[37]
The reviews from other UK music papers were less harsh, with Jack Barron of Sounds 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 he can pull it off well... but not often enough here."[38] Melody Maker's Barry McIlheney observed that Knopfler had recently explored different creative directions with his work on movie soundtracks and on Bob Dylan's Infidels, 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 as AOR". 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".
LE