Math is the most universal language in the world. It’s all around us. It binds all living things together. Even Duran Duran uses math….
On their recent Paper Gods Tour, Duran Duran went on record saying they use the mathematical formula of 3:1 for their set lists — for every three classics you get a new song. But what if who ever runs Duran’s numbers didn’t take in account that their past two albums All You Need is Now and Paper Gods were going to be so magical that they created NEW CLASSICS? Imagine that — a band that’s still around after almost forty years is still creating powerful and vibrant new music? This modern material just can’t be locked away forever with no holdovers on future tours. Not ONE song from All You Need is Now was held over on the Paper Gods Tour and I’m still not over it. Fine, I’ll hold a grudge! After all, it’s their fault they did this to me (and others). And this is pretty much what inspired this blog post. With a new album in the works and a prospective tour to follow, I’m here to show you why Duran’s set list “math” could be the way it is and why their common core needs to change.
Maybe I need to get all Stuart Smalley on Duran and give them my own daily affirmation: You’re good enough, you’re smart enough, and dog gone it — people like you. But I understand why you are the way you are. And I understand how you arrived at your 3:1 song ratio. Some “Duranies” aren’t very forgiving when it comes to your band. Often times they can be brutal — especially each time you to push yourselves, push boundaries, and be forwarding thinking with your music. God forbid if your new album doesn’t sound just like Seven and the Ragged Tiger part two there will be hell to pay. I often wonder if some in this fan base cripple your band with their own limitations. It’s as if other artists and bands out there are allowed to grow up, but not you — NOT DURAN. It’s as if some fans have fastened one of those retractable dog leash collars that they put on their kids in the mall around your neck. You will NOT wander off, Simon! Now add in the music media into the mix. Are they any different? When Bon Jovi re-invented themselves with the countrified sing-a-long, “Who Says You Can’t Come Home” and then soon after 2007’s Lost Highway album, it landed them their first ever release to debut on number one on Billboard. But if DURAN were to ever be so bold to be something different (by all means I’m not saying country music here) — we will stand there — arms crossed, until you play one of your greatest hits.
I get the whole Fab Five world domination effect you had, but we’re still here… and you’re still affecting us — 100 million albums sold later (ah — more numbers for you). And I’m NOT sorry to say, but it’s highly unlikely that most casual Duran fans have been shelling out the dollars to fly from all around the world just to see you on your latest mini run of back-to-back sold out shows in New Orleans, Vegas, and others, just to hear you play the Reflex. We aren’t the casual fans. We’re the die-hards. WE sold out those shows. And we love all that YOU are — especially your “new” stuff.
With that said, you have created NEW CLASSICS! NEW MASTERPIECES beyond the greatest hits! You have even said in an interview that the song What are the Chances from Paper Gods is the best ballad you’ve written since 1993’s Ordinary World. That’s a pretty bold statement. But, we’re here to tell you that we agree with you. But what now? Does this song fade away into Duran obscurity? We can’t let this happen.
So here’s my list of (4) NEW DURAN CLASSICS that should be considered and intermixed for future tours:
1. All You Need is Now (AYNIN)
2. The Man Who Stole a Leopard (AYNIN)
3. Pressure Off (Paper Gods)
4. What are the Chances? (Paper Gods)
Maybe factoring in “new” classics into the live-set ratio would create some kind of New Duran Math that could potentially throw this universe alone into some tailspin (see what I did there?). But if any band was going to invent a new formula for rock and roll, Duran Duran would be the band to do it.
I’m curious to see what you — the fans, think some of Duran’s new classics are in your comments!
The other day we posted Jason’s blog about how the track list for Paper Gods is all wrong, in his opinion. As I read it, I found myself shaking my head. While I appreciate that he didn’t like some of the tracks as much as others or that he felt the order was not quite right, I believe strongly that the track list is as it should be. (You can read his original post here.) Now, he was coming at the question from a purely musical standpoint and used previous albums as his guide. I get all that but I tend to look at the Paper Gods album very differently. As Rhonda and I have hinted or stated on here before, we believe that the album is about their career. If that is the case, the order of the songs might be essential and might not fit the traditional method that Duran typically uses. (The same is true for Red Carpet Massacre’s track list being a story but that it the topic for another blog.)
The song, Paper Gods, is a perfect opener to let listeners know or remember about how too much of the public and most critics see/saw Duran Duran. They see them as “paper thin”. Back in the 1980s, they were so easily dismissed as being nothing because of the fact that girls liked them and had posters of them on their walls.
Last Night in the City
I don’t know about the rest of you but this song screams touring to me and I think it does for the band, too. All you have to do is check out a verse like, “I’ve been traveling around now, big world with my brothers, always moving’ to a new town, no time to put the roots down, We can’t stop believing, can’t stop, now we believe in you, Coz when you’re standing in the spotlight, the only thing that matters is tonight.” This track is essential and certainly describes their early years of touring, staying up all night, etc.
You Kill Me With Silence
This one might be harder to place in the band’s career context but it describes someone who keeps in a relationship despite criticism. Couldn’t that all be about Duran Duran with the rock critics? I vote yes.
This track is similar to Last Night in the City in that it could be about live shows since there are lyrics like, “searchlight the crowd.” Could it be about how Duran could let go of all the pressure to be acceptable to the media when they played live? Again, that makes sense to me.
Face for Today
This song’s lyrics lead me to think it is about the band’s acceptance of fame. “You can fight it or invite it.” Couldn’t that it be fame? Then, the idea of “hold on to your time boy,” could be a reference to recognizing that the fame thing might not, probably won’t last forever.
Could this be a song about how they needed to be reminded not to take it all so seriously, especially as the early 80s became the late 80s? Could it be a reminder just to enjoy the music and the dance even if people might judge them? Maybe even that they should be themselves, musically? That it is okay to make dance music?
What Are the Chances?
To me, this is the part of the album that represents the time in which Duran Duran has fallen off the top 40 charts and away from the media spotlight. Fame has ceased to be as all-consuming as it once was. Now, they are looking to change the direction they seem to be heading. “I’m just trying to change my luck.” Part of this process includes remembering to appreciate each other and what they do have, especially since they really lucked out in finding each other in the first place.
Despite this effort to change the direction that they seem to be headed, it isn’t working much. So, they need to remind themselves that it will be okay. “Whatever happens we’re OK – hey we’re still alive.” They reassure each other that they can make it on their own, without the support of record labels, the media, etc. “..if it all goes wrong we’re gonna make it on our own.” I feel like these lyrics represent Duran’s ability to keep going despite the obstacles.
Change the Skyline
By the time the late 1990s roll around, the band members seem to realize that a change needed to be made. They seemed to be realize that it was “time to change the skyline”. This meant that they will have to watch the current version of Duran fade (the Simon, Nick and Warren version) if it means a new one can be born (current line-up), “An empire in a day, Built on hope and burnt by the sun, But I’m happy to watch it fade, What I can raise it up again.”
While the band recognizes that they need to “change the skyline”, they also need to come to grips with where their heads are at. John Taylor is the classic example here as he fought hard to overcome addictions, which I’m reminded of in the lyric, “There’s only one kind of happy in that glass of wine.” I also think of Simon who, from everything I read, was unable to really write a lot of lyrics for Pop Trash. He was in a lyrical hole just like the Butterfly Girl, so to speak.
Only in Dreams
This song always makes me think of the reunion and of our fan community. Wasn’t the reunion in our dreams for years and years and years? We also definitely don’t want to wake up if it means finding out that the reunion and the return of Duran as many of us knew them wasn’t real.
The Universe Alone
For a long time, I think Rhonda and I were convinced that this song was about the end of the line. Could this be why Duran put the album together in such a way that seemed to tell the story of their career with the Universe Alone at the very end? After all lines like, “It’s beautiful the dying sun, The end of everything and everyone” followed up with “I’ll see you in some other lifetime.” Even the very end, musically, with the choir singing left me believing it was the final curtain that was referenced in Paper Gods. Maybe it is them just preparing for the end because they did add bonus tracks, which could be a sign that they are continuing on, especially that first one.
This bonus track seems to summarize how fans still want to see and hear the band live. Maybe, this is why they are still doing what they do as opposed to saying good-bye like they could be doing.
What do the rest of you think? Could this album be about their career? In my opinion, the songs say that it is. Take a hard look at each of the lyrics and think about Duran’s career. Maybe you will see what I see. I might argue that the cover also focuses on their career. (An idea that we have covered already.)
As the curtain (finally) comes down on the Paper Gods era, we turn our attention to what lies ahead. While I saw more Duran Duran shows then ever before during the Paper Gods tour, it was more a matter of geography than passion for the new material. Their booking agent seems to have a thing for Las Vegas! While I’m not terribly sad about Paper Gods being shelved for a bit on the set lists, I did eventually realize that the album is stronger than I give it credit for.
Duran Duran, while incredibly successful in terms of hit singles, are an album band by nature. The balance of pop and art that infuses their best albums creates a journey for the listener that demands proper sequencing. The first three albums were masterclasses in how to sequence an album with a lot of hooks early and then slowly working in the moody, darker aspects of the band’s character. By the time you reached “The Chauffeur” or “The Seventh Stranger”, you had been changed by the songs that brought you there. Paper Gods never found that flow.
Maybe it is the changing ways in which people consume music. Listening to an album might be a lost art as far as a major label is concerned. Warner Brothers might have had Spotify and i-Tunes in mind when assembling Paper Gods. Or maybe it was the band? Regardless, the way Paper Gods unfolds when heard as an album has never felt right to me. Through the magic of computers, I have tried to remedy that, at least digitally. Not much can be done with the slab of wax on my turntable.
Here is one fan’s re-imagining of the album. Let’s call it Paper Gods 2.0.
1. Planet Roaring
2. Change the Skyline
3. Pressure Off
4. Valentine Stones
5. Sunset Garage
6. What Are the Chances?
7. Northern Lights
9. Cinderella RIde
10. You Kill Me With Silence
11. On Evil Beach
12. Paper Gods
I originally loved “Paper Gods” as an opener, and enjoyed it live, but the album never builds upon the themes put forth by it. As a statement of purpose, I’m all onboard especially if it’s a commentary on today’s vapid pop music. But then the album veered into that world with the screeching “Last Night In the City” which I’ve omitted from my 2.0 version. There are some brilliant remixes of it but the album version haunts me.
So, let’s open Paper Gods with “Planet Roaring”, one of the better Duran Duran anthems of the century. Seriously, how did this get relegated to a bonus track? Lyrically, it works as a welcome to the fans who have been with them since “Planet Earth”. The first five songs demand we move our feet especially the Motown-meets-Spice Girls sweetness of “Sunset Garage”. As a vinyl listener, I imagine “What Are The Chances?” ending side one, much like “My Antartica” does on Liberty.
I sense that “Danceophobia” has a lot of detractors but it is senseless fun. “Face For Today” could slide in the spot and the momentum would not be lost. After “Cinderella Ride”, the album gets a little more artsy but the more dedicated fans live for these tracks. As a closer, “Paper Gods” can be seen as a sly commentary on the mainstream critics who love to label the band as “paper thin” and all about the “head shots”. Four decades into their career, the band have proven to be more than just paper gods and, with a little tinkering around on the sequencing, Paper Gods ultimately proves another successful chapter in their evolution.
There are days, and then there are days. Today is the latter. I’ve spent my morning neck deep in the throes of webhosting madness, and now I am rewarded with a new Katy Kafe!
Roger was still in LA for one more day before traveling home, and found time for a chat with Katy to fill us all in on the DD happenings over the summer.
They just finished the mini tour and KAABOO Festival in Del Mar (just north of San Diego). Roger said he loves touring the west, making note of our constant sunny days and the positive energy he felt from all of the audiences. He and Katy also made note of the audience in Tahoe, saying that they were surprised by the amount of people who came out to see the show, saying that it felt more like a festival. They moved Wild Boys to the encore that night and ended up doing four songs for what he thinks may have been the first time.
Roger commented that he was happy to get “Anyone Out There” back out, along with “Astronaut”, and mentioned how lucky they were to do the NASA gig, too. He ended by saying how it “gets to a point in life where you’re really happy to still be in the room”, referring to the hundreds of other bands out there who were just as talented, but for some reason didn’t go the distance.
While in LA, Roger found time to attend a charity show benefitting Above Ground, an organization committed to working with musicians with varying types of mental illness including depression. The show featured many artists, including Billy Idol, whom Roger met that night for the second time.
The first meeting took place many years ago after Billy and his band Generation X played at Barbarella’s in Birmingham. Roger told a story about how he’d gone to see them play (they were his favorite band at the time), and they were booed offstage! During that time in Birmingham, punk was still very much on the scene, and Generation X had begun to slide a bit more mainstream – which did not go over with the crowd. Roger met Billy and had him sign his Generation X album, which remains the only album Roger has ever gotten signed.
When Roger met Billy in Los Angeles, he shared the memory of the show at Barbarella’s, and Billy remembered. I loved the anecdote, simply because it is endearing to hear of my own biggest idol meeting his idol. The only difference is that I’m still shy enough to where if I ran into Roger, I’m not sure what I’d say!
I know everyone chomps at the bit to hear news of what may be on the horizon. I’m happy to say that Roger was pretty forthcoming! He didn’t even need much prodding, and said that they are pretty well advanced on the album, citing Erol Alkan’s influence as producer, “He has given us a good boot up the backside!” Katy asked if there would be other producers on the album, and Roger said they worked a little with Mark (Ronson), and that there has been talk of Giorgio Moroder…but the bulk of the album would be completed with Erol Alkan.
The greatest news is that they’re hoping to have the album out by SPRING…which is amazing. Roger said that they had really only gotten back into the swing of things this past year, which means they’ve worked at a pretty decent speed.
Katy spoke of how it has been five years in between Paper Gods and this one (assuming it is released in 2020). I took pause at that. Has it really been that long?? I suppose so. I know that Amanda and I have tried to talk about just about anything but the album they’re working on – figuring that it will happen when the band is ready. Meanwhile, I guess we’ve all been busy!
Paper Gods was released in 2015, but as Roger explained – they toured the album extensively for a couple of years. So while it will be five years in between albums, it doesn’t seem like it has been that long to me. I would also say that having the band break up that time with the occasional run of shows has also helped!
The touring question
That brought the discussion around to why they haven’t toured in many of the places fans wanted. **Please note the disclaimer here. Do not shoot the messenger. **
If the band was able to tour so much with Paper Gods, why is it they focused on so few regions of the world?
Roger was very clear, explaining that “in America in particular, people do not forget [them] and show the love.” They are able to fill arenas, no matter how long the span of time has been from show to show. Katy continued, saying that she feels bad because she receives emails from fans wondering why the band doesn’t go other places. She says they don’t understand that while “they, and their friends…and even their friends friends will go see them, that just isn’t enough to fill an arena.”
In order to make touring in many places of the world economically viable, they don’t just need to fill an arena once, either. They need to be able to fill more than one, multiple times. Otherwise, the cost to ship and rent equipment along with transportation, housing, food, etc etc means that essentially, the band would be paying to tour, which wouldn’t work for long.
Vegas Residency Revisited
Katy asked Roger if they’d do a Vegas Residency. In my head, they’ve just done one – having played the Chelsea at the Cosmopolitan six times over the past 18 months or so. That seems like enough, doesn’t it? Roger paused, and said that it would have to be something very cool, mentioning the show, Love, the Michael Jackson show, Cirque du Soleil and even Elton John. He mused over how it would be to stay in Vegas for any length of time, suggesting that it is not the same as LA or New York, and he doesn’t know if he’d like that. Katy suggested living in LA and then commuting to Vegas for weekends. While I don’t think a residency is really on their radar, it didn’t sound to me as though Roger was ready to write off the possibility, either. We’ll see!
Katy suggested that maybe there might be new dates prior to the release of the album, saying that maybe the East Coast would get some love this time – although they did do the NASA show in Florida. So, my East Coast people – don’t be surprised if the band suddenly pops dates and pre-sales on you before the holidays!! That’s your warning….
the lasting first impression is what you’re looking for – “First Impression”
The excitement of unwrapping a new cassette, CD, or vinyl record, and settling into a new listening experience retains its sense of excitement no matter how old we get. There is something magical about hearing new music from a favorite band and, often, the first three songs of the album are a strong indication of where you are headed together. The trio of songs that open U2’s The Joshua Tree and Prince’s 1999 are astoundingly good and a huge reason both are considered classic albums. Does Duran Duran have a trio on the same level? Maybe not but it made for a fun Duran Dissection project.
Duran Duran (1981)
The camera shutter of “Girls On Film” is certainly prophetic given Duran’s success in front of it on MTV and countless teen magazines. Then you get “Planet Earth”, a song that encapsulates a moment in time when all the various styles of the 1970s were coalescing into a new sound that would change the world. While “Anyone Out There” might have made it back into recent set lists because of the NASA show, it would be hard to find someone unhappy about it. Not necessarily single-worthy, “Anyone Out There” remains one of the strongest album tracks the band would ever record.
Verdict: A- (I decided to use letter grades since Amanda is a teacher and we need more heroes like her on the front lines of education)
From the dark clubs of the New Romantic movement to the world stage, the more colorful sound of “Rio” is pop perfection and succinctly captures the spirit of the 1980s. The trio gets a little shaky, however, with the album version of “My Own Way”. No matter how much I love this album, there is always a voice in the back of my head telling Roger to speed it up on this song. I much prefer the Carnival remix and the night version to the original album version but maybe that’s just me. I also prefer the longer version of “Lonely In Your Nightmare” on the remixed US version of the album. The mood and atmosphere are allowed more time to capture your imagination.
Seven & the Ragged Tiger (1983)
Nile Rodgers gets the A for his remix of “The Reflex” because the original is pretty flat overall. Given the anticipation for this record, it is a disappointing start. “New Moon On Monday” feels more fully realized but then the album loses momentum again with “(I’m Looking For) Cracks In the Pavement”. While not a horrible song, it isn’t essential to the album. One of the weakest opening runs of any Duran Duran album, it might have frightened casual fans away from the magic that awaits on side two.
A statement of purpose, the title song ring in a new era of Duran Duran that feels a little chippy (at least towards a flaky bandit). Then, “American Science” sways like a palm tree in the dark. Full of sophistication, the new Duran Duran were growing up faster than some fans; including me. The sexy “Skin Trade” should have faired better as a single and rounds out a thrilling opening suite of songs. The overall mood of the album comes through on these songs and all hold their own individually.
Big Thing (1988)
I sense that the title track is a love it or hate it moment in the band’s history. In 1988, I was definitely a little hair metal kid so the punch of it instantly appealed to me. Then, the band delivers two of their finest singles. I’ll argue all day that “I Don’t Want Your Love” and “All She Wants Is” are stronger singles than “The Reflex” and “New Moon On Monday”. OK, maybe I’m stretching it, but this album was criminally ignored by the industry.
I just waxed nostalgic over Libertyhere so I’ll keep this brief. The first two songs are solid introductions to a slightly uncertain time for Duran Duran. That uncertainty turns into a hot mess on “Hothead”. I’ll leave it at that.
Duran Duran (1993)
Please, please let me know. Are we officially calling this The Wedding Album now? Despite the slight hypocrisy of the lyrics in “Too Much Information”, the song practically explodes from the speakers after the timid Liberty. Where would Duran have ended up had “Ordinary World” not turned the tide on their commercial free fall? I’d rather not think too hard about that. Unfortunately, “Love Voodoo” hints at some of the uneven music that follows on The Wedding Album.
Experimental, bold, fresh. There are so many words to describe the mysterious Medazzaland album. The opening three songs are all of the above-mentioned adjectives and more. The album loses its luster the deeper you go but the opening trio lays to rest any concerns about Duran Duran bouncing back strong from the critical mess that was Thank You. It is hard to resist “Electric Barbarella” as a single. The percolating synths and guitars work well together. Its classic Duran Duran even if the video’s stab at humor fails to overcome the sexist premise.
Pop Trash (2000)
A new century of Duran Duran began with “Someone Else Not Me”, a fine song but a difficult album opener. Bordering on 60s psychedelic folk-pop, the song challenged us to open our minds to what Duran Duran could sound like. The opening guitar and drums of “Lava Lamp” could pass for a Matchbox 20 song before Nick and Simon arrive while the swirling “Playing With Uranium” manages a decent chorus. I find that I enjoy Pop Trash in a single listen so any three song run from this album leaves me indifferent.
And then they were back. “(Reach Up For the) Sunrise” has a chorus worthy of a stadium. It is contemporary but without sacrificing the values of early Duran Duran. “Want You More!” is the sort of synth-pop gold that the band used to dispense with ease. LeBon’s voice sounds particularly strong on “What Happens Tomorrow”, a mid-tempo rocker the band seems determined to put on every album since the success of “Ordinary World”. This time, it works out beautifully.
Red Carpet Massacre (2007)
Opener “The Valley” suffers from confusing production. This song should be a distant cousin to The Normal’s “Warm Leatherette” but it ends up trying to be something urban and hip. The title song and “Nite-Runner” are better examples of what the band was aiming for. It might have driven Andy to Ibiza and left me dreaming of what Reportage will someday sound like but this project has grown on me.
All You Need Is Now (2010)
Such an incredible album, the band hasn’t kept any of the songs in the set list since the tour ended supporting it. I’m not bitter. Yet. The title song is the best Duran Duran single since “All She Wants Is” and introduces an album that holds its own with the band’s best work during their imperial phase. “Blame the Machines” and “Being Followed” get the adrenaline racing with the perfect balance of synths and guitars. This is Duran playing to their strengths in every respect.
Paper Gods (2015)
One of the most instantly intriguing opening tracks the band has ever done. When the instruments come in, you can hear a little of M’s “Pop Muzik” buried in the DNA of the track. It’s an instantly likable blend of the band’s pop aspirations and art-school fixations. Of all the band’s albums, this one suffers the most from the sequencing. “Last Night In the City” is the sound of a screeching car crashing into a wall with some EDM blasting through the stereo. It feels out of place after the moody opener. “You Kill Me With Silence” feels like the appropriate follow-up to “Paper Gods” and doesn’t create such a disjointed listen. I could write an entire Daily Duranie piece on restructuring Paper Gods. Maybe, I will.
I think it has taken me a full 36 hours or so to completely reign in my thoughts on the show at the Kennedy Space Center. I don’t think Katy was wrong when she said the set and show would be “out of this world”. The band added “Anyone Out There”, “Astronaut” and even “Walking on the Moon” by The Police to an already fantastic set list that included a lengthy intro to “The Universe Alone”. If the ethereal, delicate beauty of drones hovering overhead didn’t send chills down your spine, then surely combining the choir and orchestra to Duran Duran’s already near-perfect sound gave you goosebumps and made your hair stand up on end. At least they did for me, and I was at home watching a pixelated stream with far-less-than-adequate audio!
That evening began with a series of clicking links that didn’t work for me. I didn’t even think I’d be able to see video, but then Studio Drift streamed their drone performance. Granted, they only showed their pertinent portion of the evening, and after that I was desperate. I’d tune in to one stream only to find it wasn’t working properly, then try another. There might be sound, but no video…or vice-versa. Where could I see more? Thankfully, social media never disappoints! Duranies in the know were pointing everyone else in the proper directions. I was sent a link to another kind soul who decided to live stream the entire gig. I was thrilled, even with her apology that there might only be sound because the view from where she was standing wasn’t that great (her words). I couldn’t have cared less, I was overjoyed to be able to even see a tiny bit of the show – and I had no trouble hearing what the band was playing, even if the quality wasn’t perfect. That certainly didn’t stop me from tweeting in awe over what was happening in Florida.
I tried to phone last night
For me, that was the best part of the evening – even from home. Of course the show was stunning! I loved seeing the overall view of the rockets, the stage, and the crowd, combined with the music I know and love. Simon really made the show special by talking about the astronauts and the space program. The ambience was just about perfect from my seat. What topped it all off, was that even here at home as I sat by myself in a barstool at my kitchen island, I wasn’t alone. My friends and I tweeted back and forth. Amanda and I texted. There was laughter, and yes – even giggly joy. You can’t really beat that! I mean, if I can be here at home, about 5,000 miles from the gig itself, and still feel like I’m amongst friends in the audience, that’s what it’s all about.
I’m still a little stunned, or in awe…or something like that. I’m not one to sit down and watch video after video clip from a show. I have friends who have sent me videos from concerts I’ve attended over the years (and a lot I have not), and while I might watch a clip or two, I don’t spend a lot of time doing it. normally. Since the KSC show on Wednesday, I’ve SCOURED the internet, looking for any and all videos I can find, particularly of The Universe Alone – a song that I have had a love/I’m-really-afraid sort of relationship with since it came out. That changed on Wednesday.
Here’s a link to some amazing footage. I can’t stop watching it. I might need help.
You didn’t answer
I will never again listen to “The Universe Alone” without thinking of those gorgeous drones in the sky. It was like watching the stars, or a sea of fireflies, dancing in the heavens. I loved it, and hearing Simon’s voice – perfect and clear – singing the verses to “The Universe Alone” nearly brought tears to my eyes right along with all the chills I’ve come to appreciate in response to an outstanding performance. I know there’s some outstanding, multi-camera video footage out there, and I know I’m not alone when I cheer loudly in hopes of a video of the full performance to be released!
Seeing the show that night made me all the more excited for what is to come – and I don’t just mean the September shows.
(Although, I would like to reiterate the formal request I made on Twitter that Duran Duran put “Anyone Out There” in the setlist for the September shows and beyond. Pleasethankyougoodbye).
It makes ya kind of wonder when we might hear new music from the band, doesn’t it?
Look out of the window maybe you can call by my name
It does me too….which is why I nearly fell out of my chair when I read a recent article published on Playlist, a magazine website from Mexico. The short piece is in Spanish, which remains the one language I read pretty well outside of English (speaking it is another story. Conjugating verbs on the fly is not one of my gifts…) But even so, I thought I was misreading things, so I sent it through good old google translate. Turns out, I wasn’t.
According to the article, the band already has a song in mind as a lead single. Lead what?!? Here’s the translation for those who want the short “executive” version of the full article: “So far, there is a song that is the main one to be the first single. It’s so different from anything you’ve heard from us before, or really from anyone else. There is a dancing element. The construction, the melodic content, the lyrics, some of the sounds … are very different for us”
I’ll give you a minute to absorb that. Meanwhile, here’s the link, read it yourself:
Anybody else have the feeling that this band has been working on the album more than they’ve kind of let on??? I honestly thought they must still be at the stage where they’re just jamming in the studio every few weeks, hoping for something to gel.
(ok, I was going to write “months” in that sentence, but that seemed too negative. Typing “weeks” seemed more optimistic and hopeful!)
This kind of talk regarding singles makes me wonder if I’m just going to wake up one morning and the band is going to be like “Surprise, we’ve released our new album and we’re going on tour starting tomorrow!! Pre-sales started at midnight and you’re already too LATE!!”
New album – ok.
Tour – that’s fine….I guess? I mean, it just seems a bit rushed!
Presales starting without notice….while I’m sleeping?? That’s stuff right out of my nightmares. Some might say that this is the obvious next step for a band who likes to give less than 48 hours notice for presales.
A crack in the ocean, which does not align
I also have to wonder if this story about singles is even true. Not that I think Nick told a big fat fib, but that perhaps the magazine misquoted him. I mean, it’s the only place I’ve seen anything mentioned about actually having songs written! Can it really be?
If it’s true, then I’m still thinking about the description. I’m not surprised it sounds nothing like anything they’ve done before. After all – this is not a band that likes to revisit. It’s all new, all the time. I’m still shocked that they think they’ve already got the lead single. I say “already” because in my head – this album process just started! I can’t seem to wrap my brain around anything else.
I think back to pre-Paper Gods. For me, those days were torture, and I wasn’t in the band or even on their team. I was just a bystander. A blogging bystander. Every month felt like another year. (I’m exaggerating here because I have a flair for the dramatic, you see…) I wanted them to hurry, hurry, hurry, and then get back on the road so we could have more fun! This time, I’ve been pretty damn patient, I must say. I was busy. There were boxes being packed, and unpacked. I moved. I raised chickens, built a chicken coop, and apparently became a bit of a farmer. What???
I sound like I’ve retired, which I have not.
I’ve caught your dreaming
There were shows, which honestly – kept me going even during some really dark days. I couldn’t tell you how long the band has actually been working on this album because – news flash – I don’t even know! Interesting. Well-played, Nicholas… and of course the rest of you. You got me this time. I did see comments on Twitter in reaction to another interview posted somewhere, and apparently Nick said they’re shooting for late spring of 2020 for new music to be released. To be completely honest, I discounted that information.
On one hand, it *was* Nick who was giving a target release timeframe. If it had been Roger…I’d have laughed quietly and said, “add on another 12-18 months on that!” Sorry Roger…I kid, I kid!!! In all seriousness though, I read the tweets about it and thought, “Yeah, we’ll see. Late spring of next year? Yeah…..I’ll believe it when I see it!”
Not that I don’t trust this band. I do. I believe they will eventually release new music. I just suspect I’ve got all kinds of time to wait and be patient, maybe build an animal paddock, and begin raising goats and sheep along with my chickens.
What happens when there’s a power outage and I’m still sleeping?
Basically, I slept in far too late, and now I’ve got a blog to write and publish in record time before a meeting with Amanda.
They get me
Many fans responded to my question about fandom. What keeps you interested as a Duran Duran fan? Handfuls of fans responded, from incredulous sounding “The music, of course!” to the slightly more introspective, “Because they get me.” Several others feel that it is a combination of the music and the friendships they’ve made along the way.
I feel as though I need to clarify that Amanda and I weren’t fishing for specific answers. There’s no one “right” answer that we were hoping someone would type and send. Our creative juices needed a jump start. I think we needed reminding as to why we’rehere to begin with. I call this, “getting stuck in our own head(s)”.
That said, of course we assumed that most were still here because of the music. I think though, I was hoping to gain a better understanding of what about their music it really IS that keeps us all anxious and waiting for whatever project comes next. When I think about why I’m still a fan, it all feels fairly overwhelming. Where do I even start?!? I suspect many of you might feel the same.
The push and pull
Does anyone think that their feelings about Duran Duran have changed since they first became a fan? Maybe their videos intrigued you, initially. Perhaps like me, you loved the idea of a synths paired with a rocking electric guitar. As the decades flew by, you can see that your interests in them have changed.
So in my case as I became a fan back in the 80s, I felt that other bands that relied more heavily on keyboards and synthesizers. While I can name many I liked, it always felt a bit shallow, or thin in sound to me. Duran Duran had this push and pull of balance, the sound was layered and deep, and I liked that. As the years have gone by, though, I feel as though the band has changed a little in that regard. I don’t think there’s that same constant struggle for equilibrium, although the depth of sound has always been there.
No fast food
I’m not going to rehash the band’s career because that’s not really my point – but I’ve found that my interests in their music have evolved a bit. I find myself listening to the words, recognizing how the music may drive the lyrics (or vice-versa). I love the way each one of their songs is a full-package. No two are the same, just as no two albums are the same. Speaking of albums, the one thing I appreciate most about Duran Duran is that their albums are typically meant to be listened to from start to finish. It is a full, complete story. There’s no “fast food music” delivery here, where you can buy a song or two on iTunes and feel like you’ve gotten the complete meal. No, with Duran Duran – sitting down and committing the full-45 minutes to an hour to really absorb the entire message is key. I felt that with Paper Gods, with All You Need is Now, and yes, even with Red Carpet Massacre, believe it or not!
If anyone has more to add on this subject, I am always ready and willing to share ideas. I love reading what everyone has to say about what continues driving their fandom. So much has changed during the four decades the band has been in existence – I want to hear from you. What keeps you going?
I butted into a Twitter conversation this morning about “getting it”. How many times do you need to listen to an album before you connect, or “get it”? Is it a case of, “If at first you don’t succeed, try and try again?” Or, do you figure that if the ears don’t like it, you’re done?
Naturally, we brought the topic right around to the band at hand. I will confess that there have been a few albums where it’s taken me plenty more than one listen to really get there. Paper Gods is one of them.
When I first listened to Paper Gods, I really don’t know what I was hoping to hear. I’d already heard several songs by the time I’d had the full album in my hands. My love for “Pressure Off” began with the first listen. I still contend it to be the best hook the band has written in years. That feeling still stands and one needs to look no further than their live show to see how the entire audience comes alive when they play it. (Sure, the confetti helps.) That said, much of the album was still a mystery. So, when I finally played the entire thing from start to finish, I came away with it not sure of how I felt.
Blow the rules away
On one hand, it sounded similar to Red Carpet Massacre, with the beats and slightly electronic feel. I didn’t hate it, but I also wasn’t sure I loved it. Amanda and I called it RCM-lite for a while, because it did feel very much like the halfway point between the urban sounds of Red Carpet Massacre and the more mainstream, slightly retro-sound of All You Need is Now. Even so, I have to be honest and admit that I really had a hard time deciding that I liked the sound.
Anyone can go back and read my blogs on Paper Gods to see what I mean. I’m not exactly proud of the fact that I didn’t jump in with both feet and say I loved it. It just took me a long time to come to terms with Paper Gods I had friends – patient, kind and very well-meaning friends – come to me and explain that I reviewed it way too early after far too few listens, and that my feelings about the album may have tainted other fans from supporting it. I felt terrible because A. the last thing I want to do is ruin someone else’s listening experience; and B. I didn’t want to upset the band, either. They’d worked hard on the album, and here I was – a long time fan with a fairly big mouthpiece, even if at the time I didn’t realize. I was souring the water without really meaning to do so. I did what any other fan might do (in silence!) – I kept listening.
Working up to something
I can remember the day when my feelings began to turn around. Mop in hand, I’d been cleaning my house. I had the album on, earbuds in, listening to each and every word and note. I noticed the lyrics during “Last Night in the City” were things with which I could directly identify. In fact, I was pretty sure Amanda and I had actually said some of those lines in the song ourselves! “Pressure Off” was and is (to us, anyway) the story of Amanda and I. We feel every note of that song and then some. “Butterfly Girl”, “What are the Chances”, and even :Only in Dreams” all had lyrics that meant something to me personally.
Musically, the album started to work for me too. I enjoy the depth and meaning of the lyrics. Yet the music is light and fun. I use the word “juxtapose” fairly often when I describe DD’s music – but it works here. Even that though, there is music depth on that album. “The Universe Alone” uses a multitude of electronic effects, but it is also one of the toughest songs I’ve ever had to come to terms with as far as content.
Can you handle it?
So how many times did it really take for me to get it? I don’t know for sure, but it took many listens. I just knew in my heart that I wasn’t a “one time” fan of Duran Duran, and that I was probably going to have to work for it in order to really feel the album get under my skin. Some people will tell you that if you really love an album or really love an artist that it doesn’t work that way. Love should be instantaneous. Is there really a point where you should just give up? How many times do you listen before you shelve it and move on?
Today, I’m taking a self-imposed break. I saw that DDHQ had asked fans for their favorite tour book, and remembered how much I loved the one for Paper Gods. As you can see below, it is far more than just your average picture book commemorating a tour!
Have a wonderful Monday and I’ll be back tomorrow!
So, I cracked opened the Paper Gods book that my ever-fearless partner-in-crime-and-everything-Duran-Duran sent me for Christmas!
When I opened this particular present, I was delighted because I’d heard it was well-worth the £20, and I hadn’t ordered it myself because I just wasn’t sure I needed it. I own a few of their tour books from the past, and while they’ve always been a sort of “Oh, that’s really nice to have”, I wasn’t positive about this one. All I could think of was that it was 120-pages of photos, and did I really need a book of photos in my collection? I wasn’t sure. I wanted to see more of it in person before making a decision and I didn’t know when or how that might happen. Sometimes, a book like this needs a little previewing, you know? (It’s too bad DDHQ doesn’t know a fan website that could do that kind of thing for them every once in a while…..) So when I opened the gift and marveled at how big the book really is…and then began thumbing through it, I realized just how much I needed a book like this in my collection!
And…it’s not really so much of a tour book, although there are certainly a plethora of pictures in there (even some of Dom, Anna, Jessie & Simon W!). I would describe this book as being sort of the Encyclopedia-of-Anything-You-Wanted-to-Know-About-Paper-Gods-But-Figured-You’d-Never-Be-Able-to-Ask.
First off, the book is big. It’s not your basic 30-page tour book that’s mostly pictures (although yes, there are plenty and I mean that). At 120 large format pages (13.25″H x 9.5″W), it’s a bit of a monster…and I mean that in a fantastic way!
There’s actual writing in this one, and not just a welcome note from the band or anything like that. There are interviews, thoughts, feelings…lists of words or phrases I can’t quite figure out yet (but trust me I am enjoying the process of trying!), and I’m not even halfway through it yet! Each of the band members gives a full-length interview about the book (and believe me, these are not short answers to questions), and they also interviewed Nile, Ben Hudson and Josh Blair. They even talked creative with Nick and Alex Israel, the artist who did the front cover of the album!! I AM IN HEAVEN AND I’M NOT COMING BACK!!
I love that they took the process of recording this album and thought to have a book made for people like me. People who basically dreamt of being a fly on the wall during the entire painstaking process: everything from those first jamming sessions at Dom’s studio down to seeing their reactions to the art for the cover. The book is really something very special, indeed.
If the interviews and writing doesn’t grab you, the photos certainly will. This book is art…and if you needed to have large format photos of each of the band members, here they are for you to gander at will. I really love how each of the band members has a black and white full-page headshot, along with what I can only describe is a sort of silver “giclée” shadowing overlay printed on a heavier, plastic-like sheet. Way cool. And if you like stickers – they’re included too!
As I said, I haven’t even read through it all yet. I had to stop myself at 11:15 last night because I needed to get some sleep, and even after I put it down I kept thinking about what I’d read. In many ways that Amanda and I will get into later as we dissect this book from cover to cover on the blog (oh yes – it’s happening), I think the book makes me see the album with a completely different set of eyes, and I’m curious if my ears will pick up anything different too.
My only problem with this book is simply that they really should have marketed it differently. It’s such a great piece of Duran-memorabilia, you’d think they would have gone to more trouble to alert the fan base to it, you know? Seems like they could have used a resource…such as this very website, thankyouverymuch…to get some enthusiastic words out to the fan base and beyond. Amanda and I have a certain knack for grabbing the attention of the fan base when it comes to things like this, and let’s face it..the book is also a freaking steal at £20. (That is $28.91 USD as of this morning)
Let’s just talk about that price for a second before I settle back into my chair and read a bit more: for less than $30.00 US, you can have a large format, coffee table-sized book on Duran Duran (It is paperback). Everything from what some might describe as “lickable” photos (I certainly wouldn’t say that..,coughs…but hey… I may have heard the term used before somewhere…) to in-depth discussions of the music and process. For the more abstract-minded amongst us, there are poems and lyrics and lists to read and ponder, as well as the aforementioned photos, both posed and from live shows (from the last year). I can’t really get over the value on this one – it’s the best bang for your buck I’ve seen in quite a while.
Like nearly everyone reading, I own a lot of Duran Duran books. I’ll go one further and say I own a lot of books period, but particularly within the realm of fandom and music history of this particular band – I own a lot. This is a book that any fan of Duran Duran should have in their collection, and I’m thrilled (and shocked!) that they’re not charging the $50 or $60 that the book is really worth, even as a paperback.
Run out and grab a copy while you can! As I said, in coming weeks Amanda and I plan to do several blogs about the interviews and other writing within the book, but I don’t want to spoil it for anyone who is running off to order their own copy right now…so go get it!
Meanwhile, I’m going to settle back in my chair and read Nile’s thoughts on Paper Gods…
When I don’t have real news to report, admittedly I fall back to historical dates. They tend to either jar my memory, or get my creative juices flowing. Or, it remains as dry as the Sahara, and I struggle a lot to get something written. You just never know!
Today though, there’s a lot to get my brain going. I really don’t know what it is about March 27th, but this seems to be a day for label deals. Perhaps that is because many of their albums (or so it seems) have been released during autumn, so give or take six months prior brings us to March? I really don’t know. I’m not an expert, but I do know that in 2009, Simon blogged on duranduran.com that the band had left Sony Records.
There’s a fine line drawing my senses together
Much has been written about that time. The band had recorded and self-produced Reportage. Sony wasn’t sold on it, and had given the band a list of names to choose from to produce their album. We all know that during that time, Andy had also left the band for the second time, and of course – Timbaland entered the picture for Red Carpet Massacre. I still believe to this day that Sony felt that anything Timbaland touched would turn to gold (or platinum), and when that didn’t happen – they were convinced it was the band that was the problem.
I still smile nearly every year when I think back on it. It was probably the best move imaginable for the band – regardless of whether the band left Sony or if Sony left them. I cheered when I read the news that day, and when I posted the update on a message board (DDF), a mysterious visitor commented that they could not be happier. This was of course, AFTER handing me my backside on a platter for nearly crucifying the album. I still chuckle about that. I can honestly say it was the only time I’ve ever really laughed at myself after being publicly flogged. Perhaps I deserved it…but maybe the person doing the flogging needed to understand that it’s OK to still be proud of something that the general public didn’t fully embrace at the time, too.
Give me strength at least give me a light
On the same date in 2015, Duran Duran announced that Warner Bros. Records (Part of Warner Music Group) signed a global “recording contract” for Paper Gods. Many fans argue whether or not the band is still signed by Warner Bros. I cannot confirm one way or another, as I do not know. However, Duran Duran is not included on their current artist roster. I just checked the website again today, but I don’t know how up to date that really is. Then again, they signed with Warner Bros. in 2015. Seems like they might update that roster every once in a while?
The truth is, they could have had any one of a number of different deals with Warner. Production deals are common, although unlikely since the album was already written and recorded when Warner Bros. signed them. A distribution deal is also possible, even globally. That means the label would have been responsible for getting the product out into the world, and maybe even marketing. Standard deals are another option, which are what most people think of when they hear of a label “signing” a band. A deal like that usually includes development, recording, pressing, distribution and marketing. Lastly, there is the 360 deal, which is common these days. This means the label has their hands in everything from touring to brand development and everything in between, and the band would lose a lot of control and autonomy. Each type of deal has it’s benefits and detractions (like money, or lack thereof!).
Or, it could be some clever wording from DDHQ and PR people so that fans don’t really know what type of deal it is – because it’s really none of our business anyway.
There’s a chance you could be right
Many people have commented that since John said Warner Bros. suggested the record store day offering of As The Lights Go Down on vinyl, that must mean they’re still with Warner Bros. Again, I’m not an expert, but that’s possible. Another possibility is that the band is still on good terms with Warner Bros, and asked them to press and distribute the album. PR “spin” would be that Warner came to the band with this bright idea because it makes it sound as though the band is in demand. Which isn’t wrong. We fans are kind of demanding, aren’t we? That sort of spin happens frequently! According to John, the entire catalog is under “one umbrella” these days, so I can see this scenario as a possibility.
There’s no reason that I can find at this point, to assume anything more or less drastic. Paper Gods did well for Duran Duran – it was the first top ten for them since 1993, and it would not be a surprise if the band stayed with Warner Bros. for future albums. It also wouldn’t shock me if they didn’t – but by all means feel free to enlighten me otherwise!
In any case, March 27th seems to be the day of deals for this band. Makes you kind of wonder what the next year or two could bring!
An outspoken examination and celebration of fandom!