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Rock - Verschenen op 10 september 1991 | EMI

It took Mark Knopfler more than six years to craft a followup to Dire Straits' international chart-topper, Brothers In Arms, but though On Every Street sold in the expected multi-millions worldwide on the back of the band's renown and a year-long tour, it was a disappointment. Knopfler remained a gifted guitar player with tastes in folk ("Iron Hand"), blues ("Fade To Black"), and rockabilly ("The Bug"), among other styles, but much of the album was low-key to the point of being background music. The group had long-since dwindled to original members Knopfler and bassist John Illsley, plus a collection of semi-permanent sidemen who provided support but no real musical chemistry. The closest thing to a successor to "Money For Nothing," the big hit from Brothers In Arms, was the sarcastic rocker "Heavy Fuel." It became an album rock radio favorite (though not a chart single), and fans still filled stadiums to hear "Sultans Of Swing," but On Every Street was not the comeback it should have been. © William Ruhlmann /TiVo
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Rock - Verschenen op 1 september 1982 | EMI

Despite the fact that Love Over Gold contains only five songs, the powerful effect of these selections makes this Dire Straits' most underrated record. Building on the ambitious arrangements and more sophisticated story-songs that made up the prior Making Movies, Mark Knopfler audaciously composed "Telegraph Road," a near-15-minute cut that traces society's technological evolution. Although this kind of subject matter might sound ostensibly dry, Knopfler's crisp playing and warm raspy voice, combined with Alan Clark's gorgeous keyboard runs, makes for a sweeping experience. Elsewhere, Knopfler uses the satirical romp "Industrial Disease" to turn a lesson on international economics and bureaucratic red tape into an infectious shuffle. Rounding out this unusual pop album are the atmospheric, piano-driven title track, the ominously film noir-flavored "Private Investigations," and "It Never Rains," the story of a hard-luck lover that comes off with an optimistic air thanks to Clark's pulsing organ playing and Knopfler's robust delivery. © TiVo
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Rock - Verschenen op 1 januari 1978 | EMI

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Rock - Verschenen op 1 juni 1979 | EMI

Rushed out less than nine months after the surprise success of Dire Straits' self-titled debut album, the group's sophomore effort, Communiqué, continues in the same vein. Mark Knopfler and co. had established a sound (derived largely from J.J. Cale) of laid-back shuffles and intricate, bluesy guitar playing, and Communiqué provides more examples of it. "Lady Writer" (a lesser singles chart entry on both sides of the Atlantic) nearly duplicated the sound of "Sultans of Swing," even if . Communiqué sold immediately to Dire Straits' established audience, but no more, and it did not fare as well critically as its predecessor or its follow-up. © William Ruhlmann /TiVo
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Rock - Verschenen op 16 maart 2015 | EMI

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De Schotse zanger en gitarist Mark Knopfler (1949) heeft zijn band Dire Straits al lang achter zich gelaten, maar wijkt in zijn solomuziek niet ver af van de sound van de populaire band. In 2015 verschijnt het soloalbum Tracker, waarop de Schot de fans uiteraard weer laat genieten van zijn herkenbare gitaarspel. In de songs vermengt hij pop met folk en roots-muziek. © TiVo
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Rock - Verschenen op 10 januari 1983 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 26 maart 1996 | EMI

Mark Knopfler's debut non-soundtrack solo album, Golden Heart, was, in effect, the follow-up to the last Dire Straits studio album, On Every Street (1991). But it was also a compendium of the various musical endeavors in which Knopfler had engaged since emerging as a major figure in 1978. "Imelda" was cast in the mold of "Money for Nothing," with its trademark electric guitar riff and sardonic lyrics about Imelda Marcos, and other songs resembled Dire Straits songs, notably "Cannibals," which recalled "Walk of Life." But "A Night in Summer Long Ago" was presented in a Scots/Irish traditional folk style, complete with a lyric about a knight and a queen and would have fit nicely on Knopfler's soundtrack for The Princess Bride, and "Are We in Trouble Now" was a country ballad featuring pedal steel guitar and the piano playing of Nashville session ace Hargus "Pig" Robbins that would have been appropriate for Knopfler's duo album with Chet Atkins. For all that, there was little on the album that was new or striking, and Knopfler seemed to fall back on familiar guitar techniques while intoning often obscure lyrics. You get the feeling that there was a story behind each song, but except in the cases of "Rudiger," a character study of an autograph hunter, and "Done with Bonaparte," the lament of a 19th century French soldier on the retreat from Moscow, you might have to read Knopfler's interviews to find out what the songs were actually about. Knopfler hadn't used the opportunity of a solo album to challenge himself, and at the same time he had lost the group identity (however illusory) provided by the Dire Straits name. The result was listenable but secondhand. © William Ruhlmann /TiVo
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Rock - Verschenen op 14 september 2009 | EMI

Mark Knopfler heeft met het uitbrengen van Get Lucky inmiddels net zoveel solo studioalbums uitgebracht uitgebracht als albums met Dire Straits. Dat is op zichzelf al een signaal dat het misschien tijd wordt om te stoppen met het vergelijken van zijn twee carrières, en om simpelweg te accepteren dat ze twee verschillende dingen zijn. In een notendop: hij is een stuk stiller geworden. “Border Reiver” begint met een speelgoedfluitje en een piano, daarna strijkers, en al gauw horen we Knopflers karakteristieke bariton op kalme wijze de tekst voordragen. De nummers ondersteunen Knopflers verhaal-liederen en muzikale karakterstudies, wanneer hij vrachtwagenchauffeurs beschrijft of belichaamt (“Border Reiver”), of rondreizende arbeiders (“Get Lucky”), of gitaarbouwers (“Monteleone”), of zeemannen (“So Far From the Clyde”), om er maar een paar te noemen. Het schetst een pastoraal portret van het arbeidersleven op het Britse eiland van enige tijd terug. © William Ruhlmann /TiVo
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Rock - Verschenen op 1 januari 2004 | EMI

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Pop - Verschenen op 1 januari 2000 | EMI

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Rock - Verschenen op 1 januari 2007 | EMI

Kill to Get Crimson werd opgenomen na Mark Knopflers jaar lange collaboratie met Emmylou Harris, en lijkt op niets meer of minder dan nog weer een smaakvol, ingehouden album van hem. Het past gemakkelijk in de rest van zijn mellow Americana niche, waar country, blues en rock samensmelten tot een geluid zonder een specifieke stijl, maar een die genoeg geluiden van het verleden oproept. Knopfler berijd deze groove makkelijker dan ooit, en alhoewel stemmigheid de sleutel is, zoals het altijd is op een Knopfler soloalbum, ligt de nadruk niet op gitaar maar op de nummers. Het ding is dat de stemming in de meeste gevallen de sound overtroeft tenzij je heel goed luistert. Je moet het minder toegewijde luisteraars daarom niet kwaad nemen als ze hier puur alleen als achtergrondmuziek van genieten, als ze dat al doen © Stephen Thomas Erlewine /TiVo
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Rock - Verschenen op 23 augustus 1982 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 28 juli 2021 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 1 januari 1984 | EMI

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Rock - Verschenen op 19 augustus 1991 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 8 oktober 2021 | UMC (Universal Music Catalogue)

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Jazz - Verschenen op 27 juli 1984 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 3 september 2021 | UMC (Universal Music Catalogue)

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Pop - Verschenen op 23 maart 1999 | UMC (Universal Music Catalogue)

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Rock - Verschenen op 19 mei 1978 | UMC (Universal Music Catalogue)

Componist

Mark Knopfler in het magazine
  • Magic Mark
    Magic Mark When he’s not working on a film score or paying a musical visit to one of his numerous friends, Mark Knopfler focuses on producing high quality solo albums.