History Music / OnEveryStreet

* {{Feelies}}: [[https://www.discogs.com/Dire-Straits-The-Bug/release/7781929 One promotional CD single release]] of "The Bug" in France and Beneleux came packaged in a papercraft beetle. Likewise, [[https://www.discogs.com/Dire-Straits-Heavy-Fuel/release/418710 the limited-edition mini CD release]] of "Heavy Fuel" came in a papercraft hamburger.

''On Every Street'', released in 1991, is the sixth and final album by British roots rock band Music/DireStraits. Released six years after their massively successful and just-as-massively acclaimed ''Music/{{Brothers in Arms|Album}}'', the album wasn't exactly one that came about under amicable terms. Frontman Mark Knopfler had spent much of the interim working on film soundtracks and other side projects, with Dire Straits themselves having only occasionally regrouped for brief one-off performances before disbanding in 1988. Vertigo Records, having gotten fed up with the lack of a follow-up to ''Brothers in Arms'', strongarmed Knopfler into reforming Dire Straits for another album at the start of 1991, with Knopfler and bass player John Isley returning alongside keyboardist Alan Clark, keyboardist & guitarist Guy Fletcher, and saxophonist Chris White, accompanied by a number of session musicians.

* NotChristianRock: "Ticket to Heaven", where the (imaginary) singer is clearly sincere about his belief, though the song itself is a pretty cynical jab at televangelists.

-->I don't care if my liver is hanging by a thread\\

* WarIsHell: The general theme of "Iron Hand", with the added implication that war represents how humanity hasn't truly changed since prehistory, still being savage and impulsively violent.

* {{Eagleland}}: The narrator of "My Parties" ardently ascribes to type 1, featuring a "musical doorbell" that plays "America the Beautiful" and "Tie a Yellow Ribbon", though he himself is more of a type 2 given his arrogance and refusal to acknowledge actual real-world issues with anything other than snide dismissal.

''On Every Street'', released in 1991, is the sixth and final album by British roots rock band Music/DireStraits. Released six years after their massively successful and just-as-massively acclaimed ''Music/BrothersInArms'', the album wasn't exactly one that came about under amicable terms. Frontman Mark Knopfler had spent much of the interim working on film soundtracks and other side projects, with Dire Straits themselves having only occasionally regrouped for brief one-off performances before disbanding in 1988. Vertigo Records, having gotten fed up with the lack of a follow-up to ''Brothers in Arms'', strongarmed Knopfler into reforming Dire Straits for another album at the start of 1991, with Knopfler and bass player John Isley returning alongside keyboardist Alan Clark, keyboardist & guitarist Guy Fletcher, and saxophonist Chris White, accompanied by a number of session musicians.

* CerebusSyndrome: The album presents a more melancholic and brooding take on the mainstream-friendly, prog-tinged roots rock that had previously defined ''Music/BrothersInArms''.

** The album itself also deserves mention: at 60:16, it stands as Dire Straits' longest studio album. This is even the case on LP releases, which pack the grooves closely enough to feature the entire album uncut on a single record (albeit at the expense of reduced sound quality and faster playback degradation). Compare this to ''Music/BrothersInArms'', which edited down several tracks on the LP release in order to contain as much of the album as possible without any groove compression (though this discrepancy is likely owed to the fact that the vinyl record was still the dominant format for popular music in 1985, whereas in 1991 it had already been phased out as a point of priority by major labels).

* {{Feelies}}: [[https://www.discogs.com/Dire-Straits-The-Bug/release/7781929 One promotional CD single release]] of "The Bug" in France and Beneleux came packaged in a papercraft beetle.

** "A Ticket to Heaven" is an interesting example-- on the surface, the melody matches the lyrics perfectly, but when you look at the lyrics closely, it's actually an ironic satire of televangelists.

* WarIsHell: The general theme of "Iron Hand", with the added implication that war represents how humanity hasn't truly changed since prehistory, still being savage and impulsively violent.

The end result was a much more melancholic affair compared to ''Brothers in Arms'', crafting a mix of ''Communiqué''[='s=] laid-back sound and ''Music/LoveOverGold''[='s=] tone, atmosphere, and density, punctuated by only a sparse handful of uptempo tracks, a sharp contrast with its jauntier 1985 predecessor. As a result of this shift in tone, the album received mixed reviews from both fans and critics, who couldn't come to a consensus on whether or not it was an adequate follow-up to ''Brothers in Arms'' or a disappointing cash-in that came in too late to be of any real use. It didn't help that the album was highly anticipated in the leadup to its release, leaving plenty of room for HypeBacklash when it turned out not to have the same energetic tone that permeated its predecessor. Fans, however, took more kindly to the album with time, regarding it as a good album in its own right and a fitting end to Dire Straits' career, though it's still considered one of their lesser albums from a comparative standpoint.

In spite of its middling critical reception, the album was a considerable commercial success for Dire Straits, topping the albums charts in the UK, Australia, Austria, France, Italy, Norway, Sweden, and Switzerland, in addition to peaking at No. 12 on the Billboard 200. The album was also eventually certified diamond in France, quadruple-platinum in Spain and Switzerland, double-platinum in the UK, Canada, Australia, Latvia, and Platinum in the United States, Austria, Finland, Germany, the Netherlands, and New Zealand. However, compared to the gargantuan sales of ''Brothers in Arms'', these results were a relative disappointment in the same way that ''Music/{{Tusk}}'' was a failure compared to ''Music/{{Rumours}}'' for Music/FleetwoodMac.

The album was also supported by a world tour spanning from 1991 to the end of 1992. According to band manager Ed Bicknell, the tour was an unpleasant experience, marred by souring personal relationships between band members and a growing awareness of their decline from mainstream relevancy. Aware of this, Mark Knopfler made the decision to dissolve Dire Straits for the second and final time in 1995, shifting focus to his solo work and leaving behind a band that ended as tensely as it began, except instead of being hounded by the risk of financial ruin, this time they were hounded by the inevitability of losing their grip on the zeitgeist. Knopfler would remain active in the music scene via his solo career and is still active to this day, but in a far smaller position compared to the massive levels of mainstream popularity Dire Straits had seen in 1985.

* WarIsHell: The general theme of "Iron Hand", with the added implication that war represents how humanity hasn't truly changed since prehistory, still being savage and impulsively violent.
* YourCheatingHeart: "Fade to Black" and "You and Your Friend" from On Every Street explore this trope from the point of view of the man being cheated upon.

** The album itself also deserves mention: at 60:16, it stands as Dire Straits' longest studio album. This is even the case on LP releases, which pack the grooves closely enough to feature the entire album uncut on a single record (albeit at the expense of reduced sound quality and faster playback degradation). Compare this to ''Music/BrothersInArms'', which edited down several tracks on the LP release in order to contain as much of the album as possible without any groove compression.

** The album itself also deserves mention: at 60:16, it stands as Dire Straits' longest studio album. This is even the case on LP releases, which pack the grooves closely enough to feature the entire album uncut on a single record (albeit at the expense of reduced sound quality and faster playback degradation).

I'll write a suicide note on a hundred-dollar bill\\

The end result was a much more melancholic affair compared to ''Brothers in Arms'', crafting a mix of ''Communiqué''[='s=] laid-back sound and ''Music/LoveOverGold''[='s=] tone, atmosphere, and density, punctuated by only a sparse handful of uptempo tracks, a sharp contrast with its jauntier 1985 predecessor. As a result of this shift in tone, the album received mixed reviews from both fans and critics, who couldn't come to a consensus on whether or not it was an adequate follow-up to ''Brothers in Arms'' or a disappointing cash-in that came in too late to be of any real use. Fans, however, took more kindly to the album with time, regarding it as a good album in its own right and a fitting end to Dire Straits' career, though it's still considered one of their lesser albums from a comparative standpoint.

The end result was a much more melancholic affair compared to ''Brothers in Arms'', crafting a mix of ''Communiqué''[='s=] laid-back sound and ''Music/LoveOverGold''[='s=] tone, atmosphere, and density, punctuated by only a sparse handful of uptempo tracks, a sharp contrast with its jauntier 1985 predecessor. As a result of this shift in tone, the album received mixed reviews from both fans and critics, who couldn't come to a consensus on whether or not it was an adequate follow-up to ''Brothers in Arms'' or a disappointing cash-in that came in too late to be of any real use. That said, the album was a considerable commercial success for Dire Straits, topping the albums charts in the UK, Australia, Austria, France, Italy, Norway, Sweden, and Switzerland, in addition to peaking at No. 12 on the Billboard 200. The album was also eventually certified diamond in France, quadruple-platinum in Spain and Switzerland, double-platinum in the UK, Canada, Australia, Latvia, and Platinum in the United States, Austria, Finland, Germany, the Netherlands, and New Zealand. However, compared to the gargantuan sales of ''Brothers in Arms'', these results were a relative disappointment in the same way that ''Music/{{Tusk}}'' was a failure compared to ''Music/{{Rumours}}'' for Music/FleetwoodMac.

** "A Ticket to Heaven" is an interesting example-- on the surface, the melody matches the lyrics perfectly, but when you look at the lyrics closely, it's actually an ironic satire of teleevangelists.

The end result was a much more melancholic affair compared to ''Brothers in Arms'', crafting a mix of ''Communiqué''[='s=] laid-back sound and ''Music/LoveOverGold''[='s=] tone, atmosphere, and density, punctuated by only a sparse handful of uptempo tracks, a sharp contrast with its jauntier 1985 predecessor. As a result of this shift in tone, the album received mixed reviews from both fans and critics, who couldn't come to whether or not it was an adequate follow-up to ''Brothers in Arms'' or a disappointing cash-in that came in too late to be of any real use. That said, the album was a considerable commercial success for Dire Straits, topping the albums charts in the UK, Australia, Austria, France, Italy, Norway, Sweden, and Switzerland, in addition to peaking at No. 12 on the Billboard 200. The album was also eventually certified diamond in France, quadruple-platinum in Spain and Switzerland, double-platinum in the UK, Canada, Australia, Latvia, and Platinum in the United States, Austria, Finland, Germany, the Netherlands, and New Zealand. However, compared to the gargantuan sales of ''Brothers in Arms'', these results were a relative disappointment in the same way that ''Music/{{Tusk}}'' was a failure compared to ''Music/{{Rumours}}'' for Music/FleetwoodMac.

* CerebusSyndrome: The album presents a more melancholic and brooding take on the mainstream-friendly prog-tinged roots rock that had previously defined ''Music/BrothersInArms''.

* TakeThat: "My Parties" satirizes those who indulge in hedonism to escape from pressing real-world issues, in this case environmentalism (as the album came out at a time when the movement was making a resurgence to levels not seen since the 1970's).

The end result was a much more melancholic affair compared to ''Brothers in Arms'', crafting a mix of ''Communique''[='s=] laid-back sound and ''Music/LoveOverGold''[='s=] tone and atmosphere, punctuated by only a sparse handful of uptempo tracks, a sharp contrast with its jauntier 1985 predecessor. As a result of this shift in tone, the album received mixed reviews from both fans and critics, who couldn't come to whether or not it was an adequate follow-up to ''Brothers in Arms'' or a disappointing cash-in that came in too late to be of any real use. That said, the album was a considerable commercial success for Dire Straits, topping the albums charts in the UK, Australia, Austria, France, Italy, Norway, Sweden, and Switzerland, in addition to peaking at No. 12 on the Billboard 200. The album was also eventually certified diamond in France, quadruple-platinum in Spain and Switzerland, double-platinum in the UK, Canada, Australia, Latvia, and Platinum in the United States, Austria, Finland, Germany, the Netherlands, and New Zealand. However, compared to the gargantuan sales of ''Brothers in Arms'', these results were a relative disappointment in the same way that ''Music/{{Tusk}}'' was a failure compared to ''Music/{{Rumours}}'' for Music/FleetwoodMac.

[[AC:Side One]]

[[AC:Side Two]]

* RealitySubtext: The album came out solely as a result of Vertigo forcing Mark Knopfler to put out a new Dire Straits album. As a result, the songs frequently feature a bitter, melancholic tone reflective of Knopfler's burnout towards Dire Straits, with the closing track "How Long" being a particularly transparent allegory for his relationship with his bandmates by that point.