Elemental Duran Duran: Songwriting and Style, Pt. II

By Claudia Rebaza

(c) 1984, 1987, 1989, 1991, 1997, 1999
After Seven and the Ragged Tiger and the much publicized world tour, malaise became too mild a word to describe what began happening to Duran Duran. The album had some distinguishing characteristics that became apparent in the band's subsequent solo work. Apparently most supervised by Nick Rhodes, his and Simon le Bon's Arcadia album would show traces of stylistic touches begun on Seven. "Wild Boys" showed more of what John and Andy Taylor were interested in -- a hard, but stylish sound. With a bigger audience for their image, their video work became even more ambitious. With their separate personalities increasingly in the public eye, their musical contributions were becoming more individualistic and diverse and thus more apparent in the group's work. As John Taylor said to Record magazine while recording Seven , "The time is fast approaching when each of us will have to prove ourselves alone outside the group". What would have been interesting to see is how the band would have dealt with a commercial bomb rather than success from Seven . By feeding the band's individual egos with the sweet taste of success, their general split was delayed. Curiously, one of their better works would brilliantly combine both sides of their forces to give them a number one single just before the group dissolved.

The release of 33 1/3 from the Power Station was redeeming for John Taylor and a stepping stone for both Andy Taylor and Robert Palmer. Commercially successful, it revealed in clear form Taylor's much spoken-of vision -- a blend of Chic and the Sex Pistols. It also revealed something he may not have realized at the time, which is that Duran Duran never was or would be the group he had planned. Rather, it had and would become greater than the sum of its parts. But his vision itself was not to be faulted. The Power Station had a debut album that broke new audience territory and was great at what it did. Hard hitting pop/rock, Palmer's marvelous vocals gave them style, and the instrumentals gave out perfectly crafted right hooks. The rhythm section that had always given Duran Duran its strength could have its own melodic ideas emerge in the Taylors' writing collaborations. Palmer's very different vocals could hardly be compared to le Bon's, and explored new territory. Arcadia wouldn't hold as many surprises, despite its own success, and the possibilities for the Power Station's new sound undoubtedly intrigued John Taylor to no end.

Arcadia's debut album was less dramatic than the Power Station's, but this is understandable when you consider the divergent musical styles. Moreover, Arcadia had less outside input on the shape and direction of its album than Taylor & Taylor did (as is evident by Robert Palmer's Riptide, also produced by Bernard Edwards with the aid of Tony Thompson and Andy Taylor). Le Bon made an apt observation on the different styles, saying "The Power Station album is great to get up to in the morning, but when you want to wind down at night you put on Arcadia."

While perhaps not as different as night and day, the two groups did have different aims and means. The absence of internal friction on this project could be noted without benefit of Roger Taylor saying so. There are still some spots on So Red the Rose that might have been reworked had other heads prevailed. But despite carrying over the rich mix and tone of Seven , (particularly in the intro to "Keep Me in the Dark", which harks back to "Seventh Stranger") the music expands and develops into some truly remarkable work.

1985 was not a good year for this group. Aside from presenting two artistically successful but more commercially disappointing albums that drove a wedge into the natural separation of the group's musical forces, the group's personal forces were also scattered. With Andy Taylor moving to California and immersing himself in solo projects and the local music scene; John Taylor moving to New York and going into partnership with Jonathan Elias for the appealing and promising "I Do What I Do"; Simon le Bon taking off on a much publicized leg of the Whitbread Cup yacht race; Roger Taylor retiring from the group and music business; and Nick Rhodes moving to Paris, increasingly in pursuit of artistic interests, it was not for nothing that people believed the group defunct. In reality the group's future teetered precariously. Despite the symbolic reunion for Super Concert One in the fall of '85 (a failed project due, ostensibly, to monetary difficulties) the two factions were embroiled in a cold war. It was already a fact that Roger Taylor, weary of the industry's pressures and publicity, would not be returning. With their neutral ground and stabilizing influence removed, their reasons for reuniting seemed few.

Andy Taylor, had in fact, already decided to cut free of the group's restrictions and launch his own version of rock and roll. Similarly restless, John Taylor was indecisive. Whatever the reasons for their eventual reunion, the rebanded group presented a new sound, look and direction with the much awaited Notorious. In October of 1986 le Bon, Rhodes and Taylor went about proving that they were, as Rhodes once said, "the essential members of Duran Duran". Certainly their separate projects had honed their skills. John Taylor's bass laid down funk influenced lines more skillfully interwoven in the music than in his Power Station days. Le Bon's vocals had become more adaptable to stylistic changes and his writing matured. Unfortunately, while showing competent musicianship, Notorious does little more than show these three can turn out a good LP. This album is nice to listen to, but unremarkable.

Despite the unevenness of the Notorious album, the 1987 Strange Behaviour tour was an artistic success. Giving the album's numbers life, the true surprises and successes were in their reworking of old numbers such as "Save a Prayer", "The Chauffeur", "New Religion", "The Reflex" and, notably, "Hungry Like the Wolf". Performances such as these served notice that rumors of their musical death were greatly exaggerated. The differences are notable enough to be given mention here.

The set opened with a dramatic "View to a Kill", a rising heartbeat heralding the first synthesizer crash. Le Bon frequently sounded in danger of having his voice crack, however, as it did so mortifyingly during Live Aid. "Save a Prayer" was stripped down acoustically and sounded even more beautiful with just guitar and drums than with the whole band. "New Religion" got a good workup with a rappy middle break and good backing vocals. "The Chauffeur" had a lengthy new-age flavored synthesizer introduction that was a nice contribution by Nick Rhodes. "Some Like It Hot" should have been left off the playlist as this band didn't do it justice and le Bon suffered from vocal comparisons. Similarly, "Election Day" did not translate well, the worst part coming when Sybil Scoby substituted for Grace Jones and sounded out of tune and flat. The live rendition lacked the sensual aura that emanated so well from the turntable. It would have been more interesting to see "Missing" attempted. "Wild Boys", on the other hand, sounded magnificent. From the tantalizing offstage opening of the bass line to the different break, it was one of the show's high points. "The Reflex" had a stateside addition of a pre-song calypso ditty done by le Bon which was unexpected and appreciated.

It was the reworking of "Hungry Like the Wolf", however, which gave the critics their best reason to see the streamlined Duran Duran. Aside from the lack of pomp and the drive of the brass section, this humdrum melody exploded on stage, sure to catch any bored reviewer off guard. Starting off unrecognizably with a rocking guitar reminiscent of Power Station crunches, "Hungry" was punctuated with choo-choo choruses and a funky beat flashing out in le Bon's vocals. The background vocal accompaniment and guitar explorations out-wilded the "Wild Boys" at its explosive break. Who could have guessed this shimmering, synthesizer-stolen piece would have the crowds dancing in the aisles?

It is a pity these performances did not get the attention of the Arena -memorialized 1984 tour, which was professionally executed but musically unsurprising. The emphasis of the 1987 tour was definitely on musicianship. Played without any distracting video attention, a solid touring group was set on a basic stage set, and the brass addition was beat-inspiring. Remade hits often fail to suit public tastes. The Police's recent reversion of "Don't Stand So Close to Me" disappointed many, though it was a good toned down arrangement of a more rocking track. Duran Duran set their own hits on fire. Their musical building blocks were sound, but, as "The Reflex " proved, it also takes someone with the right arrangement skills to show them at their best. And at their best, this band soars.

One last note from Notorious concerns their twelve inch releases. This album seems to have spawned an unprecedented number of remixed versions with at least two of each single as well as two remixes of "Vertigo (Do the Demolition)". Perhaps it was originally intended for "Vertigo" to be a fourth single. The band should have stuck to one good solid remix of each. Although the general U.S. 12 inch releases served to amplify the original arrangements, others such as the Latin Rascals remix of "Notorious" took the expansion one step farther and really jazzed up the more comercially sedate releases. On the other hand releases such as the "Chemical Reaction" remix of "Skin Trade" merely prolonged the song with interminable beat spacing and would work only on an already jumping dance floor.

The advent of the "Big Thing" was curious. Following the non-failure of Notorious (the album did, after all, yield a #1 US single and the international tour was a redemptive success) the music industry had to admit that Duran Duran not only hadn't graciously folded out of sight, but it was engaging in a renewed attack on music listeners. So, either it was expecting "I Don't Want Your Love" to be a big hit or the song was simply so unexpectedly good that it got enhanced airplay. Big Thing was well on its way to being a musical landmark for the group.

Big Thing was everything that Notorious didn't quite achieve. Unabashedly danceable, this should have been dubbed John Taylor Makes It Big . Almost the entire album is made by his bass lines and performance. While featuring an overall banal lyrical showing by le Bon, his usual spiral interaction with Rhodes's synthesizers was kept to a minimum on the LP's first side. The effect was superb, forcing the two to come to the rhythm line rather than digressing from it. Moreover their showpieces on side two featured masterly vocal and keyboard collaboration with fine assistance from an obedient rhythm section. At last Big Thing resolved the question Notorious brought disturbingly to the fore -- the group can keep a focus, it can properly harness its divergent talents into a solid collaboration and the result is excellence.

81) Big Thing: From the first track this album shouts out its differences. "Big Thing"'s gutsy urban beat and basso backing vocals almost obscures its banality. While the lyrics make little sense in this track they match the music well in this respect. The guitar lines swoop and dip above and below the song's small range melody. This song's best effect is as an opener for the album. More distinctive in its sexual accent, up-front rhythm section and contemporary touch it is the album's shortest song and serves merely to prepare the listener for what comes next.

82) I Don't Want Your Love: Starting with its tangible rhythm, this track burns from the start. Insinuating, urgent vocals are punctuated with a prominent and excellently used bass line. Exploding in the middle break Warren Cuccurullo's guitar shows what makes this album different from any other, with choral rhythms reminiscent of Andy Taylor's guitar work on "The Reflex". The submerged synthesizer hardly appears even for frills and the tight mix makes you listen and move to the beat alone.

83) I Don't Want Your Love: (Extended) Although the dance version of this song follows the style used for Notorious 's dance mixes, this release wasn't needed to make a dance tune out of the original single. Therefore a solid cut was assured as long as long as it wasn't overproduced. This track isn't. A+.

84) All She Wants Is: Beginning much like "Big Thing" with a lighter percussive touch and a fuzz-bass sound, the song is perfectly contained -- promising but never delivering a real dance explosion. The guitar is probably best used on this track, adding a sparse highlight to the melding bass and vocals. The absence of imagery as opposed to innuendo by le Bon adds to the song's even danceability by emphasizing rather than distracting from the rhythm line . The result is gritty and effective.

85) All She Wants Is (European Hothouse Remix): Unusual but unsuccessful, this remix is a rarity in that it is not at all the same song as the single. This is also its failing. Set to an almost completely different backing track, the vocals and original rhythm never quite get fit in to their new setting. Songs like "Planet Earth"'s Night Version were original in that they added new music to the original song, but here the idea was taken one step too far. Had they either redone the vocals or written a new song this track could have been quite good. After all, it sounds very much like Chic.

86) I Believe/All I Need to Know :[1988 Flip to "All She Wants Is"] It's easy to understand why this tune was chosen as a B side. While it might have been more distinctive on Seven and the Ragged Tiger or even Notorious , Big Thing is too strong an album to be anything but weakened by this offering. It's a shame that it does not distinguish itself melodically, because the lyrics are intriguing. As in the similarly flawed "We Need You" the song's best point is le Bon's harmonic layering at the close. But where "We Need You" had lyrical flaws and was simply arranged, "I Believe" had real power in the musical performances, such as the piano and harmonica fills. But the tune is only pleasant and good enough as it is.

87) All She Wants Is (U.S. Master Mix): Despite the similarity to a porn soundtrack that some see partway through this song, it is superior to the Eurohouse Mix. For one, it is a good reworking of the original song. The second point is that it succeeds at narrowing the song's focus. It could indeed fit into "Body Heat" if not your average porn flick. But it is an inherently steamy song, and the dance mix is not only danceable, but equally condusive to more horizontal activities. If the original single was weak, one could be disapointed with the result, but with no punches pulled, this mix is good stuff.

88) Too Late Marlene: The return of keyboards to this piece creates its gently pained and nostalgic mood. Le Bon's lyrics suit this tune's tone well and once again the bass carries the song. Well balanced, pretty and possibly classic, this song fits into the fine tradition of spots held previously by "Lonely In Your Nightmare" and "Anyone Out There".

89) Drug Is Just a State of Mind: One of their best dance tracks this Latin flavored tune is an improvement in lyrical compromise over the title track and "All She Wants Is". Mixing, rather than synthesizer drop-ins, give this song a rhythmical immediacy. Although the bass line is less obvious on this number it is at its best and certainly as fine as anything Chic turned out -- a tribute to the continually improving musical skill of John Taylor.

90) Do You Believe In Shame: A curious synergism of love and shame in le Bon's lyrics don't keep this tune from being one of the most affecting they've done. Le Bon's showcase for the album, his sincere and emphatic vocals really keep this song fresh. The synthesizer is used to great effect (sounding rather Beatlesque actually) and combines its fine lines to the ever admirable bass work in this album.This is probably the best collaboration of the group's talents ever done. However the melody's none too subtle resemblance to "Susie Q" makes one wonder why it was chosen as a single. "Too Late Marlene" would have been better.

91) Palomino: The lyrics follow suit from the perfectly unintelligible title, but le Bon's meaningful vocals keep your attention and the chorus unaccountably catches in your mind in a mantra-like fashion. "Secret Oktober" did it better but the attractive sweep and flow of the synthesizers make you forget such details. Appropriately quiet, the rhythm section goes along for the ride and lets le Bon and Rhodes do what they do best as we see a return of le Bon's self harmony.

92) Interlude 1: This is distracting and would be better on another album -- like Paul McCartney's.

93) Land: Although the opening vocals are far too sappy the quick segue into the seawashed synthesizer lines can almost make you forget any fault. A gorgeously rich song it is also le Bon's best lyrical work in too many years, a clear and drawing story with obvious roots. Perfunctory bass and rhythm rock along with the compelling melody. It is a pity a single of this song could not be backed with Rhodes and le Bon's "Grey Lady and the Sea" for a perfectly hedonistic, sensuous delight. The middle guitar work is beautiful. The only thing that can disrupt this magic are the backing vocals that should have been better thought out. If "A Matter of Feeling" was a mature answer to "Save a Prayer", "Land" is the final stop on the path to reality.

94) Interlude #2: At least this self-indulgence is briefer than "Faith in This Colour"'s.

95) Edge of America/Lake Shore Driving: Although U2's "Bullet the Blue Sky" and just about any of Bruce Springsteen's songs give a better picture of America than this attempt le Bon still comes up with some good imagery, particularly in the chorus. The music wraps well around his observations and the sparse production really makes much more of a statement on the desolation and despair of the song's title than the lyrics. The vocals are appropriate but the fine segue into the harsh guitar and returning urban rhythm creates a puzzle. Why title a separate song on what is such a fitting finish to "Edge of America"? Curiosities like this can make you believe the group achieves good things by accident, especially when the music cuts off abruptly, urging you outside to explore for yourself.

By the time 1990 rolled around it could be wondered whether Duran Duran as an entity, had a death wish. Whenever its best accomplishments were required, the group failed to deliver.

Although Duran Duran could be said to be a glaring exception to this rule it is not always necessary to make a big splash with your debut recording. Similarly, Rio could have increased their success less dramatically. But Seven was very closely observed, and Notorious was very definitely a make or break album. Yet the completely ignored Big Thing was a fine example of what Duran Duran could do at its best.

Unfortunately, while doing ok abroad, the all-important American market turned its back on the LP and Rolling Stone, for example, did not even deign to review it. Their American tour was a major disappointment with the band unable to sell out even small venues and downsizing even in former strongholds such as Los Angeles. Perhaps most revealing of all, MTV, the band's former ally (it was never true that MTV "made" the band -- it was, rather, a marriage of convenience) gave very little heed to the new album and hardly touched the video for "Do You Believe in Shame".

The band's response was to become less visible. No press was done on the 1989 tour, and their appearances were limited. They decided, early on, to forgo the expenses of a tour in support of the next album. Most alarming of all, perhaps, was the idea of putting out a greatest hits LP.

Who, exactly, had the idea for Decade is uncertain. With the band's fortunes in definite decline it was a wise move for Capitol Records, and couldn't help but push the band's catalogue sales. It was also a move of bravado on the part of the band (who must be one of the few requiring a greatest hits LP -- witness Arena -- after every two to three albums). Decade did make the point that the band had been around for ten years and was planning to continue onwards. But although the record company begged for a new song or at least revamped version of one of their hits, the band stubbornly refused to add anything to Decade's playlist. A compromise of sorts was reached in the single "Burning the Ground", which, along with their contributions to Jonathan Elias's Requiem for the Americas , was the only material from them in another long year and a half.

97) Follow in My Footsteps [Requiem for the Americas -- Simon on vocals]: Somehow, Simon's performance on these, albeit catchy lyrics, lacks conviction. It's also unfortunate that Suzannah Hoffs' (almost non-present) effortless backing vocals create such a contrast to his more forced ones. Then again, these lyrics are clunky within the flow of the melody and Simon does do his best with them. The entire album consists of fairly unstructured music, and the track that Taylor and Rhodes contribute material to is so unrevealing of their work it will not be mentioned here. The melody of this track would not, however, be amiss in a work by Arcadia.

98) Burning the Ground (Single affiliated with, but not found on, the Decade album): This was an ingenious piece of work. Released on a 12 inch with the longer but less remarkable version, "Decadance", this track was a master-mix of songs found on the Decade album, yet so mixed and matched that it has a melody and shape almost its own (most of the base for the song comes, perhaps intentionally, from "Save a Prayer", a song so accepted as to have cover versions). This is certainly a tribute to sampling and it would be enjoyable for any Duran afficionado to recognize the different sound bites composing this record. In addition the title was a timely reminder about the state of the rain forests and global warming. It even works on the dance floor. Clever.

For other material, visit http://www.geocities.com/mrebaza/duranfic.html
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