Although the album was visibly uneven, Duran Duran could be seen as a milestone for the group. It not only heralded a return in visibility to the group and a well-attended concert tour, but it was better to have critics examine an unusual effort from the band than to have them come up as empty handed as they did with Seven. It also would seem that the band was deliberately abandoning any effort to write the solid pop songs that brought them well deserved attention in the early 80s. With the exception of "Ordinary World", “Come Undone,” and the unreleased "Love Voodoo" none of their new compositions were really standard pop. Since that was Duran's forte, their future seemed a bit perilous.
The release and non-reaction to Thank You seemed to bear that out. As Annie Lennox made clear in her own album of covers, not much earlier than Thank You, a terrific performer can have pitfalls doing a cover album. The band could not have chosen a worse time to do some reminiscing. Coming off of the declining success of the Wedding Album, they still would have had sufficient pull to get a new single some decent airplay. Although the first single, "White Lines" was a stunning surprise in concert, the LP version lacked the crispness of their live renditions. Still, one would have expected it to get major airplay. It didn't, and the unfathomable choice of "Perfect Day" as the follow-up single seemed to consign the album to obscurity.
It's possible Duran didn't have any solid new material to release, but a good original single might have had a better chance than a club cover. The album as a whole was well done by the band, but unexciting. Its mix of American and British tunes seemed to guarantee a slow response from the American market. For one, most of the American tracks are still frequently played on the radio (especially with the oldies format spreading to multiple stations in the same market). The British ones are generally tracks Americans aren't even familiar with, and to make matters worse, are quirkier tunes that aren't easily latched on to (which is why they weren't hits here the first time around). It's a pity because the band has done a nice job with the songs, and the album seemed to be a labour of sentimental affection.
Sentiment can be costly, though, and while the band may have satisfied many desires by covering these inspirational songs, a concerted effort to meet market expectations might have continued their momentum. The other problem with cover songs is that songs that appeal to the band may be too eclectic to fill an album, styles may be too different to create a consistent product, and there is the inevitable comparison to the original which detracts from the song's impact. The band has good musical taste, and for the fans, the album can be a treat, giving them an insight into how certain artists contributed to the band's own style. Duran has succeeded with past covers such as "Fame" and "Make Me Smile," but these were one-off B sides. Their rarity and isolation made them a treat. As a whole LP it proved to be an indulgence the band couldn't afford.126) "Perfect Day": Although this song is well positioned on the album and has a nice, lazy tone to balance the beat of the previous tracks, it can come across as a dirge on radio. Le Bon's vocals are nice, and the closing with the backing vocals is particularly pretty but "Lay Lady Lay" would been a much better single choice.
127) "Watching the Detectives": Listening to the first part of this track can make one flash back to the band's debut album. It's been a long time since we've heard le Bon as well matched by a melody's lilt. His performance is excellent, and the song goes well with his vocal range. Le Bon does moody and dark well, giving a nice undertone to the song's lyrics, and it's a particular pleasure for him to remind us why we all found Duran Duran to be so insinuating and irrisistible. The album's best track.
128) "Lay Lady Lay": I approached this song with particular prejudice. I've always loathed Dylan's original. His absence of any vocal capability, and his ability to emphasize the sexist undertone of the lyrics never allowed me to actually judge the melody. So it is a particular tribute to Duran's arrangement that I found this song to be the prettiest on the album. Le Bon's much superior vocal abilities, and his rendition of the lyrics give it an appealing entreaty. Unfortunately, the closing could have been better. Rather than soar off at the end, the song would have been perfect had le Bon used some his whispering/layered-track-style used insinuatingly in other Duran tracks such as "Palomino" and "Secret Oktober." Even spoken word such as he often ad libs in concert would have gone well. The played up ending makes the song sound like a vehicle rather than heartfelt.
129) "911 Is a Joke": This track opens nicely and the filter for le Bon's voice was a wise choice. He's not bad rapping with someone else's lyrics, as he proved with the live "White Lines." Of course, it's hard for him to be credible singing this song. There's little doubt that any neighborhood le Bon has ever lived in is a far cry from any referred to here. It's a nice serviceable version, easy to listen to and giving Duran the sort of beat they've never had themselves. But the problem is that rap is not supposed to be an easy listening style. It's meant to challenge the listener and this rendition is unsurprising and smooth. Ear candy.
130) "Success": Whatever the appeal of this tune in its original version, Duran appears to have removed it. Neither live, nor on disc does this version shine. One can vaguely hear the freshness and raw edge this song would have had at the time of Iggy Pop's original release but despite Le Bon's spirited efforts, this only sounds warmed over now. It was another time and place and it can't be recaptured.
131) "Crystal Ship": Of all of Jim Morrison's richly vocaled writings, this may have been the prettiest. The band stays true to the original style, but le Bon's vocals sound very passable in that setting. (In fact, it's not hard to picture him throwing himself into this tune since adolescence). Though he can't compete with Morrison doing Morrison, it's probably a decent cover . This is the sort of song that would have been a dynamite B side that sent fans goose pimply. It also shows that a writer's own material is often the best showcase for his style. Hint, hint guys.
132) "Ball of Confusion": Le Bon doesn't have the edge to make this song soar. He also doesn't have the wealth of several strong singers enriching the track. The reason is rather obvious -- his own vocals wouldn't have stood out . Whether because of ego, budget, or scheduling, the song suffers for it. The arrangement does nothing for the song which just goes to show that less is often more.
133) "Thank You": I've never heard Led Zeppelin's original, but I could hear it in some of le Bon's efforts. I can even hear how it fell short. See the above hint in "Crystal Ship." This title track is probably the weakest one. Had it been an original Duran track it would have been fascinating. As redone Led Zeppelin, it bores.
134) "Drive By": Several scenes can be pictured while hearing this track. In the first one, some insistent Capital marketing employee demands a new Duran track on this album. (In this instance I would agree with them -- this album needs the time capsule opened). The band refuses, since they are already preparing a new original album. This argument went around once before on "Decade," where the band had a point, but should have taken their label's advice anyway for their own good. "Burning the Ground" was an ideal compromise. This was a joke. "Drive By" is new only if one hadn't attended a live show or seen a broadcast of it. Duran has previously turned out inexplicable, inferior knock-offs of their own material under new titles such as the horrid "YoBadAzisi," which, like this track, was often used as an extended opening to its original, "Is There..." Here we are all prepped for the "Chauffeur" when the track cuts off. Le Bon also overdoes the drama. The band may feel they stuck it to their record company by delivering this track but it's really the listeners they insulted. It also reminds one of what the band should have done if they weren't ready for an original studio album. Why not a live album (a real one, not an arid greatest hits like "Arena") of various original tracks and new renditions of previous hits from their 1987-1993 tours? Items like the 1987 "Hungry", "Reflex" and "Save a Prayer," 1989 medleys, and this whole tune would have been great on it.
135) "Wanna Take You Higher Pt. II": Why put a remix on the album? This one reminds one of the European Mix of "All She Wants Is" -- a sophisticated gloss that sounds like another band's take of the same song. It's enjoyable -- but why not put this on a CD single or 12 inch where it belongs? Why not give us another cover track? We've heard Duran do Bowie, and so much of their material is like Chic and Japan to start with that maybe those covers would be too close to the truth. But how about a Roxy Music track ("Same Old Scene" and "Prarie Road" spring to mind?) Or maybe that cover of "I Feel Love" that Nick long again mentioned they botched?
The one thing that Thank You conclusively proved is that Duran can not handle success. No sooner do they achieve it than they begin making stupid decisions that land them in worse positions than ever before. Failing to hang to the coattails of their previous album, they made poor single choices, failed to adequately promote the album and seem to have fallen into such complete disarray that it's debatable whether the group exists as anything but a concept. Despite talk of a nearly completed Medazzaland , the group splintered into solo projects not two years after le Bon said (while promoting the Wedding Album) "beware of solo projects."
Struggling with a failing marriage, drug addiction, as well as (it would seem) a lifelong problem of mood swings, Taylor recorded "Feelings Are Good, and Other Lies" with L.A. cronies. The result was surprising. While hardly a musical milestone, as a Duran-related project it was nothing short of stunning. Turned out quickly, his packaging certainly wants to put across a certain rawness. The writing certainly demonstrates it. The tunes definitely do -- in the sense that half of them seem badly unfinished. But the interesting thing is that the album is much more a tribute album than the over-fussed Thank You was. Sounding like a flashback to the 80s club scene (with a few other influences thrown in), there are some seductively deja vu tracks on it. What he could have used was a Nick or Warren in the studio insisting on more work where it was needed. Still, with a few solid tracks, and a few somewhat passable ones, the result was better than, say, Andy Taylor's Thunder .1)"Feelings Are Good": A good title song. Although the lyrics are stark and could fall flat, it's Taylor's rendition that saves them. The melody is very reminiscent of mid-80s alternative rock, so much so I can almost put my finger on who it makes me think of. What makes this song pleasing is the time warp it creates. It takes you straight to a Southern Californa club scene or pirate radio, much like that pictured in the Christian Slater film, "Pump Up the Volume." Of course, Taylor's use of these riffs and voice effects at least ten years after the fact make this less than progressive, but it is enjoyable and a pleasant surprise.
2) "Don't Talk Much": The writing is revealing and poignant. How couldn't anyone be struck by the opening lines? The melody goes along great but one wishes they had killed the speaker effect. It detracts from the song ,and robs the track of some of the emotional singing that gives it the best punch. It's a good mate to the opening track. Too bad the rest of the album couldn't have been this good.
3) "2:03": The lyrics are about as flat as one can get without veering right into stupidity, but the KROQ flavor is strong. Unfortunately, the drive in the song could use something more to make it anything but a punctuation mark on the album.
4) "Everyone is Getting It But Me": Although the title seems obvious, you do wonder if he means that the world in general baffles him. David Bowie anyone? Nothing Duran had ever done sounded quite as much like Bowie as this one, particularly in its chorus. It's also the jauntiest and most likable of Taylor's tunes. Maybe that's because this song actually has a good melody line. Of the various nostalgia trips this album inspires, this one is the most fun. Maybe that's because JT himself is being nostalgic in it, and can pull himself out of his deep funk for a while. Was he more fun as a teenager?
5) "Always Wrong": He's said more than once that women are always right in an argument, but one could see why with this song! It's not one of the better tunes, and his lyrics repeat the desperate theme of holding things together while seeing the alternative as death.
6) "Look Homeward Angel": This song sounds rather like Tom Petty, especially in the third verse. The melody is particularly badly thought out. About halfway through the song it starts to sound like a really bad teenage composition.
7) "Losing You": About the only song that could be called a ballad, this song is refreshing for that reason alone. It's not bad, either in melody or lyrics. There's some familiarity here, too, but I can't pick it out. There's a hint of the Riviera somewhere.
8) "See You Again": This has a very early 80s KROQ sound. It has some good melodic points such as the chorus line but it's not rounded out.
9) "Down Again": One of the better tracks. It has a definite late 70s feel, on the melodic side of punk. What also gives it some kick are the lyrics. The second verse is particularly revealing, showing a man stumbling through his 30s still completely unaware of why he feels so unsatisfied. Coming from someone who has had so many more opportunities and experiences in life than the average person this seems particularly tragic. The "I can not be of much use to you" line reminds one of the Waitresses's "I Know What Boys Like."
10) "Girl Raw": The lyrics are interesting, showing what seems to be a pattern in his relationships, but the melody doesn't contribute anything. One wonders if he realizes his own undeserving feelings are what leads to the spiraling destruction of the very thing he craves.
11) "Hole in the Mud": The melody is awful. The beginning sounds as if he's singing through mud. Only John Lennon could pull off lyrics this dumb.
12) Trust the Process": What is it with death? For someone in his mid-30s, Taylor seems to find death a looming alternative and a near companion. Perhaps for someone who lives to such excess, that's what it is. Unfortunately, this song is also dying. There's much melody, which is too bad. The lyrics are ok and Taylor manages to give them meaning the way he sings them, but songs need both music AND lyrics.
13) "Moon Over Atlanta.": With such a long stretch of silence, this song could be completely overlooked. It wouldn't be a loss. Although a cute idea, this song is too harsh to really be a child's ballad, but it isn't mature enough to really appeal to adults. The lyrics are ok, and with some work it might even be nice but Taylor's vocals are pretty poor.
With a Power Station album recorded but unreleased, a Warren and Nick studio project due and leBon apparently AWOL, Taylor headed out on club dates. The best thing that could be said about Duran's future is that it was impossible to predict at this point. The revival that many fans had hoped and worked for had come and gone, and it seemed beside the point to make any further effort on its behalf.
But careers tend to continue unless death, retirement, or a change of profession step in. The Power Station album was finally released overseas and supported by a tour. Abandoned by John Taylor before completion, it is ironic that the band never once played a concert date together. While Palmer, Andy Taylor and Tony Thompson continued on, the shows were heavy on album one and Robert Palmer's solo hits. The new tracks, with one exception, were not much of a standout, and Andy Taylor looked rather the worse for wear and the band toured with an additional guitarist. Still, the lure of hearing what Power Station would sound like after a very full ten years, was Simply Irresistible.
1) "Notoriety" : Is a great song, at least as good as anything the band did on album one. Of course, this is probably because it sounds like a Robert Palmer tune. Palmer's vocals are so distinctive that just about any song he does makes it a 'Robert Palmer tune', which is very obvious if you look back at the back-to-back releases of 33 1/3 and Riptide. But the melodic style is similar to "Remember to Remember" and would easily fit into any greatest hits package of his. Uptempo, smooth and soaring, the song was a concert standout that got the room swinging.
2) "Scared": Palmer's opening vocals sound amazingly like George Harrisson. Of course, the similarity soon vanishes. Lyrically ok, the song's title line has a nice drawl to it but it wanders and drones otherwise. Palmer's considerable vocal talents fail to get it anywhere.
3) "She Can Rock It": Palmer is good at doing songs that show off an aggressive libido. His lyrics here can rank right beside tunes such as "Simply Irresistible", "You're Gonna Get What's Coming" and "You're Mine." If you're in that sort of mood this song might go over well but the melody doesn't have much to recommend it, unlike the other tunes mentioned.
4) "Power Trippin": This song starts well with the intro hook, but goes downhill from there. They should have stuck with more horns, as they are the best part of this song. The lyrics are fun, but the song is inconsistent. Vaguely reminiscent of the upbeat style of Sly and the Family Stone in its best moment, it then veers off into guitar solo moments that don't blend well. In fact, it can be said without doubt that the need to give Andy Taylor his spotlight ruins the tracks more than anything else.
5) "Life Forces": This song picks up some of the latin rythms that Palmer is so fond of and which are one of the hallmarks of his musical releases. It's the album's most boring lyrical effort, but having a song that doesn't scream at you in its guitar parts or jump around from grunge harshness to melodic flow is a plus.
6) "Fancy That": The album gives writing credit to the whole Power Station team, but John Taylor apparently bowed out before actually laying down any tracks. It's understandable why he said that going to Power Station after leaving Duran was like returning to an old girlfriend when what you really need is a life overhaul. (Considering his actions in 1985 that was true in more ways than one). But musically it wasn't apt. The music on this album is diverse and certainly different than in 1985. Considering where his own solo inclinations were headed, you can see why this might have failed to snare him. The smooth line of this song is very Chic inspired and has a late 70s appeal.
7) "Living in Fear": Fast forwarding in time to 90s grunge, this song is like a change of radio stations after the last track. Saying it doesn't have a melody would be untrue, but the song is so blaring and hard-edged it's difficult to appreciate. The lyrics, Palmer did not have to explain, are the only "real" ones on the album. You can tell they're heartfelt, and in that respect the music matches, but it's unpleasant.
8) "Shut Up": Driving, but less deep-in-your-eardrum, this song varies enough and moves quickly enough that it's more listenable than its predecessor, but it doesn't offer a lot to the listener, especially lyricwise.
9) "Dope": Although one assumes Palmer wrote these lyrics, it's interesting that such a song appears on the album. Hard drinkers and night lifers, the members of this band seem an odd bunch to be making drug commentary, but the writing of the album would have coincided with John Taylor's ending drug spiral. The song's lyrics are great but the melody doesn't offer much more than the great hook line, "Dope is what dopers do."
10) "Love Conquers All": One also wonders if this song had anything to do with Taylor. But other than that, it's uninteresting lyrically. It's a blues club song for sure. Like any Palmer album, the songs hit one musical style after another, when they're not blending together. But they run all over the place in this album. On the first Power Station album, there was a coherent sound to the band. On this one, that thread is absent. While you could say there's something for everyone here, that also makes it a weak album. The best ones have a musical theme that takes you from one song to the next and tell you things at the same time. This album certainly has no lyrical theme, and the musical style jumps make it totally incoherent.
11) "Taxman": From the eastern trill at the start (homage to Harrisson?) this song has a little playful lilt. It's a nice cover, updated with names to give it a personal stab. It's a good placement, too, so that the album opens and closes with its strongest songs. Starting with Palmer and ending with the Beatles, one thing can be said about its incoherent musical styles. Much more so than in 1985, this 1995-97 Power Station is truly a group of guys getting together for the sheer pleasure of playing clubs with anything that appeals to them. Like Duran's Thank You that preceded it, this was yet another nostalgic farewell for Taylor. He moved on, it remained to see how the rest of the band set out fresh.
Medazzaland made its appearance at long last in October of 1997 with just le Bon, Rhodes, and Cuccurullo remaining. The split was said to be amicable. Perhaps after reconciling over the original split years earlier, the band members saw little point to hostilities at the latest departure. It also had a sense of inevitability to it -- Taylor's previous near departure in 1985 might truly have put an end to the group. But Cucurullo's growing role during the eleven following years, (which he had to keep reminding interviewers had really been that long), made a dissolution in '97 seem less likely. If anything, he had stepped into John's role of motivator years before, far more immersed in the band's music than any of the other trio had ever been.
The long delays between albums (something only seen after Big Thing) and stories of the band members wandering off on different interests gave a real sense of decline to the band's unity. One could say getting together with the Neurotic Boy Outsiders was following Andy Taylor's previous moves, but after personal and professional divorces and a stint in rehab it was as far outside the boundaries as John Taylor could go. There was no doubt the music was radically different.
Accompanied by some good promotional efforts and even some positive reviews, "Electric Barbarella" started to get picked up by radio stations across the country. With a video apparently liked even less than "Girls on Film" by MTV (the music wasn't the only rerun being pushed) the band started getting a little attention. It was, though, the height of irony when le Bon was faced with an interviewer's suggestion that the band was jumping on the techno-funk bandwagon with "EB." "We invented that sound," le Bon testily replied, with good reason. While it was true that the 80s were coming back, (witness the Foo Fighters' hit single sounding very much like English Beat/General Public) that the press would put such an absurd label on the band was a demonstration of how useless the press has become. What the band was guilty of , was surviving long enough to sound like itself.
136) "Medazzaland": Neat little tune. Of course, it helps to know what Nick Rhodes was thinking of when he wrote it. (It would help to know that about a number of tunes.) But the sensation of being put under anaesthesia comes through fairly clearly. It is a novel thing to hear Rhodes speak the voice over, but his voice has that flat mechanical quality le Bon would probably have been unable to duplicate. It suits the song well. The tune's Eastern - disco flavor is interesting and probably among the best melodies on the album. While it makes for an unusual opener, it is still one of the album's stronger tracks. There is a wonderful heavy bass line up front that gets you right in the mood.
137)"Big Bang Generation": The song's opening musical line isn't very good but once le Bon slips into the chorus, the song gets its hook in and sticks. There is an early Bowie-"Space Oddity" feel to this for some reason, but there's no doubt Bowie would have done it differently. The "Big Bang Generation" is also a little early for this group, although it was, in fact, rather recently that the theory was agreed upon in the cosmology community. This is one of the album's standout tracks, a good follow-up to the title track, and as part of the opening trilogy, moves us up in time.
138)"Electric Barbarella": If the opening track seemed sixtieish in its eeriness and Eastern overtones, and “Big Bang” seemed 70s Bowie, this song's opening synthesizer line is SO 1981 Duran that it would fit right into their debut album alongside the similar "Planet Earth." (Hmm, do we see a similarity in "Big Bang"'s title?) Of course, the topic of the song is something le Bon would never have sung about so openly 22 years ago, although Bryan Ferry and Roxy Music had beat him to it anyway. It's also worth saying that their debut album showed a strength they haven't equaled since those early days and as such this was a perfect song to pick for a first single. This is a solid song, vocally, lyrically, and especially melody/rhythmwise. The unfortunate thing is that it can't rank among their top songs because it is so derivative. The other songs were great because they were either new for the time or a departure for the band.
139)"Out of My Mind": First released on "The Saint" soundtrack, it's a good song but you can't help thinking that this is what they'd write if they had to do a Bond theme all over again. Sensuous, a touch mysterious, it has Bond written all over it. It does show le Bon's growth as a writer, making much more sense than he ever used to. His vocals are much the same though, even "oy"ing a bit for old time's sake. Smooth and easy, it's a good track but you can't help thinking that "The Saint" is all Duran is likely to be asked to write for these days.
140)"Who Do You Think You Are?": Dull and ponderous, this song sounds like it could have been an "also ran" for "Thank You." In fact, one wonders if this was one of the first "Medazzaland" tracks since it was said the album was written concurrently with the recording of the cover album. It's hard to pay attention to le Bon's writing when the music swerves between putting you to sleep and annoying you with its bombast. Also, with all that space on the CD's booklet pages, couldn't we have had some lyrics -- even if they were handwritten and crossed out like John Taylor's? Le Bon gives a nice punch line at the end of the song, but how many people are listening by then?
141)"Silva Halo.": In past days this might have stayed an instrumental. It has that feel -- something of a "Tel Aviv" -- music with mood vocals. It has nothing redeeming about it, though. A bit of synthesizer fluff, and some aimless le Bon lyrics to go with it.
142) "Be My Icon.": The lyrics start out somewhat interesting. You think for a bit that le Bon is really going to give some insight into some of their fans' more extreme behavior. But neither his lyrics nor the melody deliver. His vocals are interesting and go with the tune but there's no hook to the melody and its harshness grates. Nevertheless the writing and vocals give the song at least a minimal interest that save it from being a toss-it track.
143)"Buried in the Sand." : This song has the same Eastern tone to it that “Medazzaland” shows (whose influence was this?) Apparently the lyrics were written by Nick for the departed John. Perhaps it's the droning tone or the absence of any real feelings, but we don't learn a lot about what must have been a very complicated relationship after some 20+ years of friendship and business. It's a far cry from, say, John Lennon's "How Do You Sleep?" or even Paul McCartney's overly simple but at least connecting tribute back after Lennon's death “Here Today”. The song's melody isn't bad given the right lyrics and vocals, but the two don't add up. The writing needed to be bolder, and the melody stronger. This might have been a really dramatic piece. After all, with Taylor's departure this band is not the same in a way that can't be said of any previous lineup shuffle. Insights like those in "Three to Get Ready" show that Taylor was in many ways the driving force of the band. He was the one who went out and created new projects. Whatever the failings of his current efforts, he is continuing to take real chances in a way this band is obviously not. Perhaps the very dry tone of this song compared to Taylor's clumsy but palpable angst in tracks like "Feelings Are Good" demonstrates just what the band has really lost.
144)"Michael, You've Got a Lot to Answer For.": If anything could make up for the previous tracks, this is it. Duran has never failed to turn out one lovely ballad per album and this is a strong track for "Medazzaland". The odd part is that this song sounds very much like a Crosby, Stills & Nash track. But for a Duran album this is such a departure for them that it sounds almost fresh. It is also just plain pretty. A smooth, lilting melody that le Bon sings in a plain, plaintive manner. If his voice is starting to show its age, it makes the song sound better, giving it the character a rich overdone tone would have glossed over. Well written, well performed, the song is just right.
145) "Midnight Sun.": This song starts out well with a pretty trill at the start of the line. Unfortunately it is hard to understand le Bon for all the voice effects and blending of the vocal track with the melody line. The melody doesn't have a lot to it, and the overly somnolent sound doesn't help it. What this song needed was a slightly sharper sound. As it is, it kind of fades into the background. It's too bad because the melody in and of itself is fine, and an effort proves rewarding in some of le Bon's better lyrics. Because of some of the high notes one suspects all the voice effects were to mask le Bon's faint range, which doesn't do the song any favors. His first verse has a reality to it you don't often get treated to in le Bon lyrics. For a moment, he actually says something many of us can relate to. Because of that and the some of the lovely hooks, this song grows on you in a way that makes it a standout on the album.
146) "So Long Suicide.": The album wouldn't have suffered for being a little shorter if this song had been left off. The raucous cries of "Hello, I'm alive" certainly wake the song up but the bobbing between vacuous and grating does nothing for the tune. The song has too uncertain a melody line and isn't gripping enough to really make the listen worthwhile.
147) "Undergoing Treatment.": It only takes two listens to have the lilting "Weeee are undergoing treatment" riff to hook you. Sounding vaguely like a children's chant, the bobbing melody draws you in and keeps you going. While le Bon's lyrics don't reveal a whole lot, the ending is clever and sharp, with the slamming door following "delusions of grandeur." Bracketing the album with "Medazzaland" and this track was a good move.
What this album has that's new isn't all that good, and what is strong makes you think of days gone by. As a whole that makes this their weakest album ever, even more so than the generally dismal Seven and the Ragged Tiger, which was at the least a departure from albums 1 and 2. Sad as it is to say, it is almost as if after covering others in Thank You the band resorted to covering itself. It's ironic that a true Duran cover album was released at the same time as this one. Duran Duran has never yet put out an album without at least some redeeming tracks, and "Medazzaland" is no exception. But its pleasurable points seem to be fewer than ever. Tracks like "Be My Icon", "Midnight Sun" and "Undergoing" give you hope that the band may yet continue to develop interesting music. But when you glide between "Electric Barbarella" (a title so ironic that the band must have intended to acknowledge the song's stolen aspects) to "Out of My Mind" it's almost as if we are gliding through memory lane, our hosts the sole remnants of a once great band.
To Be Continued...