![]() ![]() Amongst the singles ‘ Hungry Like The Wolf’ opens with a glammy guitar riff that’s indebted to Marc Bolan. ![]() However, it’s the sleekness of late Roxy’s ‘Flesh and Blood’ that imbues the musical maturity of ‘Lonely in Your Nightmare’, which alongside the soulful intentions of ‘Last Chance on The Stairway’ point to how far they had moved from the futuristic also-ran status of their first album. The title track is by far the least enduring number on the album. He doesn’t have the Ferry-like charisma, a realisation made clear in the ludicrous video (antics on a yacht in Antigua, the band all wearing Anthony Price suits). Vocalist Simon Le Bon’s lyrics feel like a stab at the tantalizing trash of early Roxy Music and it just falls a little short of its intentions. And then the music starts.after the scraping metallic noise that introduces the title track, there’s a galloping, slightly disorientating, interplay between Andy Taylor's guitar, Rhodes keys, and Roger Taylor's drums. Everything about 'Rio' screams their new status - starting with the arresting cover image, designed by Playboy favourite Patrick Nagel, announcing that this is a brand new adventure. However, it was clear by the string-driven disco of the interim single 'My Own Way' (Winter 2021), that the band remained unruffled by the slurs ( I'm never bothered what you say'), It was this defiance that wound feed into their next album: ‘Rio.’ġ982 - The band was keen to prove that they weren't just a manufactured product and in doing so, set about making the most self-assured and confident record to date. Their early videos (directed by Russell Mulcahy who had just made the oh-so-serious ‘Vienna’ for Ultravox), gave off a similar vibe. Then there was the image, they dressed as if they were queuing to be let into the Blitz nightclub in Covent Garden. rock guitars of 'Systems of Romance’ the final album by the John Foxx era-Ultravox. Their debut album also had the whiff of the s ynths vs. Their debut single 'Planet Earth' with its futuristic washes of synths and dominant bass lines suggested that they had not just listened to, but studied Japan's 'Quiet Life'. Something about Duran Duran rankled with the critics. "Duran Duran are going to be huge, the sad thing is, they don't deserve any of it" Surely, with all of their knowing reference points, they were going to be welcomed with open arms, surely. Meanwhile, when deejaying at the city's Rum Runner nightclub, keyboardist Nick Rhodes had treated the crowds to the most revered post-punk, electro and disco records. a cross between Chic and the Sex Pistols'. According to bass player John Taylor, their musical vision was to be '. The moment when bands that had toiled away on the margins, scratching out manifestos, building up their audiences, gaining favourable write-ups in the weekly music press were making their assaults on the pop charts.Īlthough the bands that '.fulfilled the New Pop dream of chart-busting music that combined pop's flash with post-punk perplexity.' * were adored and could be heard on both daytime and night time radio, there were others that were still deemed to be fake, faddish, and fame-hungry.īirmingham-based Duran Duran were a doggedly persistent bunch, despite losing three lead singers and almost as many guitarists since forming in 1978, they just kept soldiering on. is this the same Duran Duran that received such scorn so many years ago?ġ981: It was the dawn of the 'New Pop' era. ![]()
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