The unique thing about this group is that it is three tiered in its essence. The band's most noticeable aspect is a strong, sophisticated, glamorous image. This tag of studied, careful presentation sets them apart from other groups, particularly in the U.S. where other British glam-new wave groups had less success. Secondly, the band consists of strong, identifiable personalities in its various incarnations. This trait has landed them in gossip and news pages outside of the music business, giving them a considerable publicity boost over their peers. With these two (debatable) attributes to their credit, the video medium was a perfect one to catapult them to public recognition . While many felt their music overshadowed by the quality and success of their videos, their image and personalities cannot be separated from an analysis of their music.

1) Planet Earth: This song has become so familiar that it is difficult to imagine what it would sound like had it burst onto the American music scene at the time of its initial release in England. All through their musical progressions, Duran set a mood for each stage and "Planet Earth" is one of the best examples of their early releases. It is not only a strong piece of music with a memorable melody but it contains all the lyrical excitement and interest of a new musical invasion. The synthesizer parts are particularly integral to le Bon's lyrics, but the burbling bass and relentless drumming are so much a part of the melody line no single one stands out. The guitar line, somewhat subtle, is effectively used. The number is well mixed, creating a wall of sound without detracting from the individual music lines. It would have been a memorable American debut.
2) Planet Earth (Night Version): One of their strongest dance mixes, this song expands from the 7 inch version making it a separate song rather than a derivative dance piece. From the thudding drums at the opening to the pulsing bass line the track makes itself distinguishable and gives the guitar line a chance to enhance the song. The horn lines also give it a different feel and the solidness of the single version make this a real hit.
> 3) Late Bar [1981 Flip of "Planet Earth"]: On this early track several features of Duran's music are apparent. The driving rhythm section makes the dance floor take note and shows the group's club roots. The mixing could be more selective however as this somewhat muddy tone doesn't make for accessible listening at home. The music has spirit though, and the wailing guitar dubs of Andy Taylor complement le Bon's vocals. As in most cases, le Bon's lyrics suit the music.
4) Girls on Film: The perfection of this single demonstrates why it survived since the early days of Duran's demos. It has become one of their most distinctive songs and not just because of its video enhancement. "Girls on Film" is one of Duran Duran ''s best songs. The tight and balancing mix is probably its strongest point. The rhythm section, with Roger Taylor's consistent drumming and accompanying cymbal line forms the song's drive. The guitar dubs add energy and verve and the synthesizer holds everything together unobtrusively. With this kind of instrumental work holding together an already strong melody line, "Girls on Film" stands out in all respects and scores the group an A in pop music and danceability.
5) Girls on Film (Night Version): The 7 inch version holds together so well it is hard to top and this version doesn't. It does make a name for itself as a dance version of an already strong dance single though. An interesting variation on the already classic melody line is added and le Bon's vocals are given a chance to stand out more distinctively.
6) Faster Than Light [1981 Flip of "Girls on Film"]: The mixing on this track stands in direct contrast to that done on "Late Bar". Rather than blend all the tracks together heavily, it allows each instrumental line to stand out clearly--particularly the guitar and grinding bass. The synthesizer work is sparser than usual but almost more effective as a result. The beat is consistent and le Bon's vocals in particular demonstrate how much of a "studio track" this is. Unweighty but well crafted.
7) Anyone Out There: A softer piece that makes particularly good use of its bass line. While this is not a particularly strong number it closes well and gives le Bon's lyrics a good chance of standing out due to the understated mix. The guitar and synthesizer add cohesiveness but are subtle while the bass adds distinction to the rolling melody. The break is well showcased and probably the strongest section.
8) To the Shore: A fortified mood piece and a highly sensual song. From the first intro of the synthesizer swirls, an enveloping wall of sound harbors le Bon's vocals and poetic lyrics. His rendition is one of his best performances, the overdubs adding to the tune's effectiveness. When the additional instruments kick in they add rather than subtract to the song's pull. The mix blends all sounds supremely to form opposing, yet harmonizing, factors in the song as vocals and instrumentals react with and to each other. This track is a whole from opening to closing and is probably the best example of le Bon and Rhodes's writing chemistry.
9) Careless Memories: A good number for the synthesizer, Rhodes complements the tone of le Bon's lyrics well, while the rhythm section adds a proper sense of explosion and brooding. When Taylor's guitar rises out, the showcase of instrumentals is complete. This is one of the group's most power hitting numbers creating a classic sound for the band. The mix is just right in not allowing any of the parts to fragment as they could have. This song should have fared better on the charts.
10) Khanada [1981 Flip to "Careless Memories"] Although this number frequently sounds too heavy for its delicate vocal and synthesizer lines it still holds an ethereal beauty separate from any other Duran song. The lyrics are particularly strong and effective in their setting. Both the opening and closing are too heavy and harsh with the bass and guitar needing to play different lines or be mixed differently. An excellent chorus and good back-up vocals really get "Khanada" across, but this is an occasion where rhythm and mood have failed to connect.
11) Fame (Bowie/Lennon) [1981 Flip of 12 inch "Careless Memories"] Reworking a strong hit is always difficult and this version is no better than the original. The group puts its own sound to it, however, and comes out looking good in large part due to drums and vocals. This track's good mix separates le Bon's singing, displaying it to the group's best advantage. The synthesizer is effective in its addition to the rhythm section and Taylor's guitar line is a deserved focal point. This use of external material is effective in demonstrating Duran's musical strength and creativity.
12) Nightboat: This song probably best displays the dark, moody aura of the group's early music. Both musically and stylistically this song endures. The bass and synthesizers get together beautifully to create the song's feel. The mix is so adroit in creating the mood that the actual musicianship is overlooked, standing out only during le Bon's absent vocals in the break. Taylor's effective guitar riff in this part is just one example of how the instrumentals flow in and out of each other just as le Bon's lyrics (among his best) carry the listener through the number.
13) Sound of Thunder: For the group's first song written together this is a strong song, and a has a subtle hook to it. The melody is not all that remarkable but the instrumentals make up for it. A strong bass and synthesizer sound builds on the good drum and guitar work. Le Bon's vocals are also well rendered. Though not as striking as some of their other recordings, "Sound of Thunder" is a song that stays with you and keeps you listening. This makes it more effective on the album than if it was a single.
14) Friends of Mine: Nowhere in their early material is the deep, dark sound more apparent or overused than here. Where "Nightboat" put it to superb use, "Friends of Mine" is overburdened. Despite the superior main vocal performance, le Bon fails utterly in his usually striking self-harmony. The over heavy bass completes the track's failings. This is a very guitar oriented song and sparser, toned down mixings and less overbearing back-ups would have allowed the song's merits to be seen. It has solid instrumental lines, a fine chorus and a good close out. With solid musical footing, this song becomes a band classic live.
15) Tel Aviv: In the beginning a somewhat indulgent piece of instrumentalism, this song carries itself off by the end due to the enveloping swirl of synthesizers that keep the guitar and rhythm section together. The mix is good and shows the instrumentals off . Le Bon's vocals as another mood piece are well chosen but the piece's failing is that it lacks impact. It is pleasant to listen to and closes well but it doesn't stand out. It could have used some vocal dramatics and a good set of lyrics to make it noteworthy.

16) My Own Way [Independent Single-1981]: A much reworked number with some four versions to it, this original mix demonstrates some of the problems that were later corrected. It is a light toned and swift footed song, but its mix is over instrumentalized. The bass work is good and the drumming almost frenetic. "My Own Way"'s biggest problem in all its incarnations is that, while a good tune, it lacks the energy of many of their other songs and the group attempts to substitute speed for drive. The synthesizer strings do particularly well during the break but le Bon's vocals have too much to compete with to overcome the song's weak points.
17) My Own Way[Night Version-1981]: The scurrying rhythm that drowns out this melody line in the 7 inch version is the very strength of this mix. Blended with occasional synthesizer effects, a sparser guitar track, and additional strings, the song becomes unique and superior to the original rendition. The mix follows much the same pattern as their first 12 inch mixes. There is an instrumental introduction leading into the familiar 7 inch version. Le Bon's vocals seem more emphatic and enthusiastic on this version, perhaps due to vocal highlighting. Once the intro ends however, the old problems come out to play.
18) Like An Angel[1981 flip to "My Own Way"]: This track truly hails the impending changeover of styles. A light, almost carefree number, it has a flowing melody line free from the early somber and moody tone. "Like An Angel" is a good guitar piece although the instrument sometimes runs too heavy in the mix and tends to bury le Bon's vocals. The synthesizer is a nice background track and the lyrics are evocative. It's neither remarkable, nor particularly memorable, but it is adequately performed and features a nice vocal performance (when le Bon doesn't fade into the music). Unlike "Tel Aviv" it proves that a strong vocal performance, combined with a pleasant to mundane tune can make the difference.

19) Rio: From the heralding synthesizer build at the song's beginning to the triumphant drum roll, this song was an excellent thematic choice for the album. Full of enthusiasm, optimism and vitality, it continued the fine rhythm work the group can be noted for. The trilling synthesizer lines are lighthearted and the lightly mixed rhythm section keep the song moving. The guitar chords strike in energy to produce a distinctive melody. Le Bon's lyrics fit well and his vocals complement the musical style. The trendy sax break and synthesizer effects add a suave charm making this, not only a pop hit, but a new classic for them with a style and period all its own. A true smash.
20) Rio, Pt. II [1981]: This is their first noticeably poorer dance mix. With the exception of an extended guitar lead in the beginning and a double break intermixing guitar and sax, this is the 7 inch version. As such the material itself can't fail to be good, but it's no excuse after the fine "Girls on Film" night version.
21) My Own Way: This song gets its (supposedly) final versions in this album release. Apparently some songs were remixed between its first and second releases in the U.S., creating slightly different song versions--some of which were relabeled as dance mixes. I find the first version of the album "My Own Way" to be superior as it adds echoes to Simon's vocals and has a slightly longer ending with more ad-libbing by Simon. The song itself remains the same, but with some "Americanized" lyrical additions and a much improved, sparser mix. For one, this change highlights le Bon's vocals, which are an asset to this song since it draws its power, not from the melody lines, but the skill of rendition and mix. The accentuated drum beats at the proper times. The lightened synthesizer and a clear beat emergence don't lose the song any danceability but gains it listenability. This mix also gives the track a deeper sound and proves that less can be more.
22) Lonely In Your Nightmare: This piece starts off nicely and ends just as well. It is a soft number that, unlike "Khanada", gained accord on what its mood would be. The poetic effect of le Bon's lyrics, his properly sentimental vocals and longing expression are all well rendered. The back-up vocals could be softer, however, as they often sound harsh and shrill. The guitar is the dominant line and serves the song well, although the mix could tone down some of the higher ranges. The plaintive bass line is the song's strongest point and comes out stronger in some mixes than others. "Lonely" succeeds admirably at what it sets out to do-- provide a memorable and lovely soft track within the album's context. It is enticing to think what might have been similarly done with "Khanada" during this period. As a last note, on one album version, the ending is much too abrupt.
23) Hungry Like the Wolf: Like "Rio", this song sets a mood very well. It differentiates from the title track in tone but not mood, for a year earlier it could have sounded like "Nightboat". "Hungry" has the debatable honor of being their most commercial number to this date, but, despite its renown, is also one of the blandest. The mix is good, providing a balance between the hard guitar chords, heavy rhythm section and burbling synthesizer track. The keyboards are used to best advantage for they enhance the melody at every turn. Le Bon's vocals don't have much to work with but he carries off a difficult chorus. His lyrics suit the song's mood and the combination makes for a solid hit , though a leashed one.
24) Hungry Like the Wolf [Night Version 1982]: This version is better than the album version only in being less abbreviated but it sounds hurried somehow. It doesn't merit being called a Night Version but at least it isn't choppy. What happened to all the great dance mixes this group used to do?
25) Hold Back the Rain: Another song with several release versions -- one album version being abysmally edited to the point of frustration. The version reviewed here will be the remix version offered on their Carnival EP. Like "Girls On Film" this song strays the most from the album tone, but not in style. It is upbeat, but carries a brooding message. It is wandering rather than concentrated. The lyrics are good and le Bon makes the most of them, succeeding best in his ad lib fills at the end. He adds a desperation to the words and gives the song an urgency just in the vocals. The drums are integral and the synthesizer adds life to this song, overcoming the somewhat heavy guitar use. The bass is so well mixed it isn't discernable -- which is to the track's advantage. All it is needed for is to punctuate the drum's beat. The guitar could be toned down and vocals accentuated in the break. With shrewder mixing, this could been a solid hit for them.
26)New Religion: In many ways a much more distinguished piece on the album than their hits, "New Religion" plays the "Friends of Mine" role on Rio . This song is a Duran Duran classic, one which the band continually includes on its live play lists. Drawing its power from melody and le Bon's introspective lyrics, the vocals are also strong. The main feature though is the synthesizer that opens so well. From the constantly whining siren echoing in the background to the break lines, the keyboards give "New Religion" its distinctive sound and particular beauty. The drums and bass harmonize well and give a strong undercurrent that keeps the guitar with them. The synthesizer soars around the collective and the song gathers strength as it goes along. The guitar break is well done and the song is well mixed, putting power at the end. While not as well crafted as some others, this is a song not to be overlooked by any listener.
27) New Religion [Night Version - 1982]: The only real re-mix from this album, "New Religion"'s dance mix doesn't compete with its original, just complements it. Giving the synthesizer a controlled indulgence, the song never assumes its complete 7 inch version but just draws power from some of le Bon's vocals. It does serve to highlight the hidden moodiness of all of le Bon's writing, and has a haunting beauty that excuses its conventional mix. Pleasant and pretty, this track is an appetizer for the main course.
28) Last Chance on the Stairway: "Rio"'s companion piece. It begins with a light, well-mixed sound that has a totally put-together feel. It is a good pop piece compacting energy in its melody, and the bass again plays a strong part. The guitar strains a bit too harsh, but the song's stylishness overcomes all. From the cigarette lighter beginning to the perky xylophone break this is a terrific number.
29) Save a Prayer: Beginning almost as a cult classic this song has taken on a life of its own and any first time listener will be entranced by it. Showcasing the slow side to Rio, it may be the loveliest of Duran Duran's ballads. It provides a strong mood and tone for itself (something which "Lonely" fails to do). But because it has such a good and easy melody (simplicity being the key working point of a ballad), it endures. It is also sparsely mixed, adding to the simplicity in its softness. The synthesizer carries the piece lightly and the rhythm section rolls along casually. When the guitar enters after the second verse it enriches the sound. The harmonies are well thought out, and while the vocals sound a bit strained for such a relaxing and inspirational number, the chorus is unbeatable. From its tone setting beginning to its rich and moving ending, "Save a Prayer" is flawless in its arrangement and overall effect. A deservedly popular piece, it can survive any incarnation.
30) The Chauffeur: A synthesizer number, "The Chauffeur" nevertheless shows how effective a song can be when using only a synthesizer to create both texture and melody. Another band favorite, this song is another fine example of what a unique sound le Bon's vocals and Rhodes's keyboards can create. The drums and bass blend in perfectly with the synthesizer layering, adding tone and backbone. Similar in effect to "To the Shore", it is not as rich, but more delicate, sounding like a piece of exquisite crystal. Also, unlike other collaborations, the ethereal quality here is not haunting but metallic and slightly futuristic -- a journey for the mind rather than spirit. The lyrics are from le Bon's poetry stock and are well set. The melody finds it best expression in the trills, droplets and tiptoeing of the keyboards, Artistic, and adding some shade to the optimism and lightness of the album, it is a fine closer -- right down to the car keys.
31) The Chauffeur (Acoustic Version): A rare release, this song could have been beautiful, but apart from le Bon's ever fine harmonic renderings at the end it simply sounds uneven. The best effect of this track is to demonstrate the hardiness of the song's melody, which sounds good in any rendition. But for its full effect, le Bon's lyrics merit Rhodes's keyboard visions.

32) Is There Something I Should Know [1983 Independent Single]: This song boasts an excellent mix, which creates a strong but accessible wall of sound. The instrumentals all stand out. The vocal arrangements are probably the best of any of their songs, playing a crucial part in the song's success. The melody is strong, but simple, just like the instrumentals. This number is dynamic, and the heavy bass accentuation towards the end is an effective touch. The lyrics, too, are well crafted. An excellent single.
33) Is There Something I Should Know[Monster Mix]: Like "Girls On Film" the 7 inch version of this song is almost unbreakably cohesive in its mix. Everything is perfectly balanced in the song, providing a substantial melody line while displaying a fine set of instrumentals. In creating this extended version they took the opposite tack from "Girls". Rather than add to the song, they broke it apart. This track works because it plays on the single's strongest point -- the distinguished set of instrumentals. Some good jam lines allow the individual instrumentals to show themselves off. On its own this song is only mildly interesting, but as said in its title it is not a separate song, but a different mix, and as such it succeeds well. The decision to absent the vocals was a necessity for this number.
34) Faith in This Colour[1983 flip to "Is There.."]: Apparently two recordings of this song exist, one at an alternate tempo and a slightly different mix. Assuming this review is of the improved version the first must be even more worthy of dismissal. The most self indulgent track the group has yet made, it is a flaring danger signal for the next album's upcoming sessions. The usually commendable rhythm section is almost nonexistent and excessive synthesizer use is hardly the way to make up for it. If the instrumentals had been more inventive and the mix more lively, the poor melody might have been made presentable. But it seems doubtful that even a good set of lyrics and vocals could have saved it from its own banality. For this group "Faith" is a total failure.
Seven and the Ragged Tiger was either very good or very bad timing, depending on how you look at it. Another complete turnaround sound wise, it was, quite simply, a poor album. Several things contributed to this. One was that the group was already finding itself pigeonholed by the very success of Rio . They wanted to take on a new image, but couldn't seem to decide quite what it should be. It was certainly not the image of serious musicians. The second was that they were under a great deal of pressure to come out with a strong album to cement their imminent popularity in the coveted American market. It is possible that the ideas were simply not there at the right time. Certainly the mood and tone of the album reflect a malaise that seemed to be taking hold of the group's internal workings. The third problem was that, while the style of the album is very cohesive, its thrust is weak and non-distinctive and this may have come from the continued reworkings and inordinately long time of its production. A few in the group stated that they were returning to their roots with this LP, a strange policy after only two albums.
In a way they were correct, because if their first album was dark and removed and Rio was light and upfront, Seven was merely moody. Compared to the wholeness and quality of Rio and the appeal of its sunshine dalliances, Seven's fragmented sound is a step back. As such, it was their worst effort presented at the peak of their breakthrough and thus a possible fiasco. As it happened, however, the audience reaction was so effusive that it hardly mattered if their musical product wasn't up to their own exacting levels. The critics, likely as not, would have panned their best work due to industry snobbery, so it may have been just as well. Bootleg copies of songs such as "Seven and the Ragged Tiger" indicate earlier versions had a distinct calypso feel. Had they gone with their first instincts they would have introduced a novel approach for the times.
34) The Reflex: This album track suffers from being upstaged by its later releases. Except for the strong chorus, the song does not hold the melody line that past hits had had. The scurrying guitar work is overlooked and the less notable bass put to the front. The drums are also left in the background to the song's detriment for it could use the drive "Union of the Snake" benefits from. Neither lyrics nor vocals are particularly effective in giving the song the interest that it lacks.
35) The Reflex [7 inch Re-Mix 1984]: In its second incarnation, this song becomes an acceptable hit and a great example of how a mix can make or break a song regardless of its original attributes. More upbeat all around, this version keeps the original song intact while adding energy and drive and adding interest to the break, which suffers when le Bon is not throwing all his enthusiasm into the pot.
36) The Reflex [Dance Mix and Edited Dance-Mix 1984]: The edited version will be reviewed only to say that it was an unnecessary release as it was merely a shorter version of a fine dance mix. Not only a smashing success in turning a blasé song around, it corrects all the problems of the album version. Scrambling their original track, this release is exciting in its showcase of the song's best points. Thrusting just about everything but the synthesizers to the front it displays the vocals extensively (something no other dance mix had done so far). The guitar is given more deserved attention and the special effects are strategically placed for greater interest. This song is rather shrill, but its wall of sound is flexible, not flat. A complete turnaround, and a great dance tune.
37) Make Me Smile (Steve Harley)[British flip to "The Reflex"]: Although their innumerable live material is not going to be reviewed here for reasons of space, this song was never studio recorded. As a cover version, it also merits attention. The song's arrangement is powerful. Starting with simple piano chords and a haunting synthesizer strain, le Bon's soulful vocals are given a good chance to stand out. The background vocals are too harsh and distracting and le Bon's voice later gets buried in the instrumentals, but this is a live version. The song bursts with crackling energy as the live wire guitar parts kick in and a good bass leads the drums. Curiously a harder Duran song than most, it could have been toned down in the studio. It does prove, like "Fame", that the group is easily capable of adding their mark to any material like any group who started in clubs. If a good mix could better define the sound without robbing the performance's energy, this would be a fine track, worthy of being in the band's repertoire.
38) New Moon on Monday: A sleeper hit in more senses than one, this song doesn't strike on the first listen. The victorious and rousing chorus though creates an interest that has listeners hooked by the song's end. A good mix allows for a strong bass and drumming that help the song rather than stand out. From its first hum to the sparkling break touches, the synthesizer accompanies the listener on a journey through the song. The vocals and lyrics are uneven but a poorer mix might have made the song le Bon's all the way through. A pleasant tune and a nice surprise.
39) New Moon on Monday(Dance Mix): For a song that derived its success from the smoothness of its mix, this version is a telling point about the song's strengths and weaknesses. The synthesizer carries it all the way through to the basic 7 inch format. The trouble is that, unlike the first LP's dance tracks, little is done to the song to make it distinctive. With le Bon's enthusiastic chorus coming only late in the number, only the significant synthesizer work saves it from a dreary fate. The mix's highlight comes at the very end when le Bon's choral harmonies are particularly well presented -- but it's only a final grace note.
40) Cracks in the Pavement: The closest thing Seven has to a "Lonely In Your Nightmare" track, it begins with a beautiful synthesizer effect and the keyboards manage to inject a dreamy surrealism to the setting le Bon's lyrics describe. His vocals are too dramatically emphasized but this song needs it. The chorus is, just the opposite from "New Moon", the song's weakest melodic point. The guitar solo in the break clashes with the rest of the song and a more complete synthesizer sweep a la "To the Shore" would have been more effective. The rhythm section is well understated in this mix, and properly so since it is the vocals that carry the entire tune. A potentially superlative work due to its sound and mood but too weakly rendered.
41) I Take the Dice: Another fine le Bon track, the enthusiastic and expressive vocals to a decent set of lyrics deserve a better background. While the synthesizers attempt to pull the song along as they did in "New Moon" this song's melody is dead in the water. The chorus is a little harsh, although the bass and drum work is good. The break is the song's best part, but not distinctive enough to really make the number. What le Bon needs is better instrumental support lines.
42) Of Crime and Passion: An appropriately passionate, violent song, it is a mistake to let the synthesizer make the most noise on this track as it distracts from the menacing bass. A heavier drum track with a less shrill keyboard and prominent back-up vocals in the mix would be better. While the melody line is good and instrumentals well thought out, the break, vocals and lyrics can't make it in the end. The melody line fluctuates too much, and the song's enormous potential falls short . This should have been in more capable hands.
43) Union of the Snake: A curious choice for their first single. This song's one strong point is the unshakable power of its rhythm section, wisely allowed to dominate the song. The melody line is faint and gives le Bon little to work with in the vocal department. To his credit, he keeps the energy up but even he sounds weary of the song's banal lyrics by the end. The guitar work is almost out of place, making the high ranges of the song too shrill -- only redeeming itself in the break. The synthesizer adds some needed interest by its unexpected dubs and trills but without the good bass line and accentuated drum track this song might fail altogether. It lacks too much to make it on drive alone.
44) Union of the Snake(Monkey Mix): In this remixed version there is a distinction that the "Is There" mix did not have. The song can almost stand by itself but it disseminates from the original too much to be a really separate piece. Fortunately, it does not allow the problems of "Faith in This Colour" to take over by failing to build on a weak melody. By a shrewd placement of instrumental fills and dubs, this mix saves the track from being their, potentially, worst mix. Unlike previous songs it does not have an already strong number to build on. The synthesizers track is useful in this case, although the vocals could have been worked on to further complement them. Not a bad effort, but it stands room for improvement.
45) Secret Oktober: [1983 flip to "Union of the Snake"]: It is understandable that le Bon claimed this song did not go with the other music on the LP. It's too good to be ignored, but has a tone almost all its own. The quiet simplicity makes it ingratiating. The vocals are a little too prominent and harsh on the chorus, but they succeed well elsewhere. Le Bon makes it a gentle and simple rendition with his usual dramatic emphasis. His greatest musical asset is his fine ear for harmony, which is usually good enough to overcome any deficiencies in his style, and this song is a good example of his talent. There is a heavy reliance on the synthesizer for its special qualities and dampening of the rhythm section. The guitar is inaudible and the mixing generally good. Subtle synthesizer layering gives this melody a mantra touch. A less majestic song than "Save a Prayer", it still has a quiet power special to itself and should not be overlooked.
46) Shadows On Your Side: The beginning drum beats and crackling bass demonstrate what could have been a strong piece save for the distracting guitar line. Le Bon's vocals are fine and his lyrics perceptive and apt, but they clash with the guitar as well. Either an entirely different guitar track or a substantially different mix is needed here. Though the break uses Taylor well, the song suffers from too many problems, and for once the synthesizer work makes little difference either way. This song provides the energy that, like "Union", does not seem to lead anywhere. Good drive, poor arrangement.
47) Tiger, Tiger: Duran's best instrumental, it also happens to be one of their most special works that later accomplishments never rob from. Beautifully mixed, the instrumental blends give the song a cohesive harmony and distinctiveness from the start. The synthesizer work is superb and each instrument's introduction is excellent as they move from opening chords to harmony. The melody line is memorable and recognizable -- a classy display of the group's talents. This song's only failing is in the weak closing that seems irresolute. It works as an introduction to "Seventh Stranger", but standing on it's own it is a flaw. Nevertheless this is not only a mood piece, but a truly artistic creation.
48) Tiger, Tiger(Dance Mix): A disco mix of an already instrumental track seems superfluous and this one is. Not written as a jazzy number, the heavy drumbeats and overemphatic bass destroy the song's delicate lines and make the synthesizer fight for survival. While this mix makes some parts of the whole more apparent, it doesn't have the aesthetic aspect of the "Is There" mix in its favor. This song is so hard to ruin that even this assault doesn't sound bad, but something the band should know is when to leave well enough alone.
49) Seventh Stranger: A song that should, and probably will, compete as Duran Duran's classic ballad. Evocative, it starts out strong with the first chords. Le Bon's vocals are somewhat pushed but they don't rob from the song's graces and his lyrics are among his best. Coming after the superb "Tiger, Tiger" this track closes the album off on such a high note you could forget everything that came before it. The mix holds the song together so well one could believe the instrumentals a part of le Bon's voice. The beat is strong, but only as a backbone. The bass works like glue and the guitar solo gives it a quiet dignity. The synthesizer adds its ethereal, mental element making this complex, introspective and mature number show up the more wistful "Save a Prayer". Less accessible, and suffering from the fact that "Prayer" is both majestic and simple, it does more for the group in a tougher spot.
Duran Duran's next album would be Arena, a live compilation that won't be reviewed here. In brief, however, it was a disappointment for a group whose live performances were usually strong despite the weak album they were promoting. Mixed to the point of aridity, the album presented le Bon's shaky live vocals at their best and was a variation as a greatest hits package. But the addition of the studio recorded "Wild Boys" only showed up the mild presentation of the other offerings.
50) Wild Boys: This eagerly awaited follow up single after their much advertised "successful" world tour makes one wonder what it would have sounded like without Nile Rodgers' magic touch. Considering the miracles he worked with "The Reflex", a mildly interesting song at best, his influence is obvious here and a strong melody line isn't. What it is, is an improved "Union of the Snake". Featuring punching, forceful bass and drums and emphatic backing vocals one almost misses the absence of any lyrical sense or melodic twists. Vocally however, le Bon delivers the best he can. The guitar is given more prominence than usual, but while it is a harder sound than anything previously done, a harder sound with none of their usual inventive pop catches is no achievement. They would succeed better later.
51) Wild Boys(Dance Mix): This song, essentially a mix number anyway, works better in this format than as a 7 inch. The special effects, distortions and accentuated elements are snappy and work well in distinguishing this tune. Le Bon's vocals are also merited some more attention. Still, to be a classic, there must be substance to the style.

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Items other than copying, distributing, and modifying the Content with which this license was distributed (such as using, etc.) are outside the scope of this license.

1. You may copy and distribute exact replicas of the OpenContent (OC) as you receive it, in any medium, provided that you conspicuously and appropriately publish on each copy an appropriate copyright notice and disclaimer of warranty; keep intact all the notices that refer to this License and to the absence of any warranty; and give any other recipients of the OC a copy of this License along with the OC. You may at your option charge a fee for the media and/or handling involved in creating a unique copy of the OC for use offline, you may at your option offer instructional support for the OC in exchange for a fee, or you may at your option offer warranty in exchange for a fee. You may not charge a fee for the OC itself. You may not charge a fee for the sole service of providing access to and/or use of the OC via a network (e.g. the Internet), whether it be via the world wide web, FTP, or any other method.

2. You may modify your copy or copies of the OpenContent or any portion of it, thus forming works based on the Content, and distribute such modifications or work under the terms of Section 1 above, provided that you also meet all of these conditions:

a) You must cause the modified content to carry prominent notices stating that you changed it, the exact nature and content of the changes, and the date of any change.

b) You must cause any work that you distribute or publish, that in whole or in part contains or is derived from the OC or any part thereof, to be licensed as a whole at no charge to all third parties under the terms of this License, unless otherwise permitted under applicable Fair Use law.

These requirements apply to the modified work as a whole. If identifiable sections of that work are not derived from the OC, and can be reasonably considered independent and separate works in themselves, then this License, and its terms, do not apply to those sections when you distribute them as separate works. But when you distribute the same sections as part of a whole which is a work based on the OC, the distribution of the whole must be on the terms of this License, whose permissions for other licensees extend to the entire whole, and thus to each and every part regardless of who wrote it. Exceptions are made to this requirement to release modified works free of charge under this license only in compliance with Fair Use law where applicable.

3. You are not required to accept this License, since you have not signed it. However, nothing else grants you permission to copy, distribute or modify the OC. These actions are prohibited by law if you do not accept this License. Therefore, by distributing or translating the OC, or by deriving works herefrom, you indicate your acceptance of this License to do so, and all its terms and conditions for copying, distributing or translating the OC.

NO WARRANTY

4. BECAUSE THE OPENCONTENT (OC) IS LICENSED FREE OF CHARGE, THERE IS NO WARRANTY FOR THE OC, TO THE EXTENT PERMITTED BY APPLICABLE LAW. EXCEPT WHEN OTHERWISE STATED IN WRITING THE COPYRIGHT HOLDERS AND/OR OTHER PARTIES PROVIDE THE OC "AS IS" WITHOUT WARRANTY OF ANY KIND, EITHER EXPRESSED OR IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. THE ENTIRE RISK OF USE OF THE OC IS WITH YOU. SHOULD THE OC PROVE FAULTY, INACCURATE, OR OTHERWISE UNACCEPTABLE YOU ASSUME THE COST OF ALL NECESSARY REPAIR OR CORRECTION.

5. IN NO EVENT UNLESS REQUIRED BY APPLICABLE LAW OR AGREED TO IN WRITING WILL ANY COPYRIGHT HOLDER, OR ANY OTHER PARTY WHO MAY MIRROR AND/OR REDISTRIBUTE THE OC AS PERMITTED ABOVE, BE LIABLE TO YOU FOR DAMAGES, INCLUDING ANY GENERAL, SPECIAL, INCIDENTAL OR CONSEQUENTIAL DAMAGES ARISING OUT OF THE USE OR INABILITY TO USE THE OC, EVEN IF SUCH HOLDER OR OTHER PARTY HAS BEEN ADVISED OF THE POSSIBILITY OF SUCH DAMAGES.