I am drowning. Not literally, obviously, but it sure feels like it. I’m sitting on my couch surrounded by papers and notebooks to grade. Why is this? I could point out that it is the end of the school year so I have to calculate final grades. While this is true, I also have students who are terrible procrastinators. Seriously, they are awful. So, I have a lot more grading than I should. Yet, I’m being kind so I’m grading assignments that I should not. Some might even say that I’m a sucker. It is so bad that my parents are grading objective tests for me. Anyway, the reason I am sharing this is simple. As much as I would like to be blogging tonight (as I’m writing this Thursday night), I’m not going to be able to do a whole new blog.
So, I am doing the next best thing. I looked at the blogs that have been published on June 1st and ran across one entitled: “Just a Number on the Metal Fence.” I knew exactly what it was. To summarize, it is one I wrote about what the fan community was like during the Red Carpet Massacre era. I focused on the division between the fans that liked the album and the ones that didn’t. It is a blog that I felt like I did a decent job explaining myself. Likewise, it is one that caused a whole bunch of people to react. On the day the blog originally came out, I was at a political training. My phone buzzed with notifications all day. I couldn’t keep up.
On this date in 2013, Simon performed with Timbaland at the Sound of Change Concert in the UK. This concert’s purpose was to promote education, health and justice for every female on the planet. In the usual Daily Duranie fashion, we addressed this appearance in the blog here. It got quite a bit of attention and a number of people commented, leading to a significant debate on Facebook, in particular. A year later and my opinion hasn’t changed.
Here is the performance:
In my search for the performance, I also found an interview with Simon, which you can see here. Simon’s part starts at about 2:52 minutes in.
What did you think of the performance? The interview?
Sometimes, I think Duran Duran albums talk to each other. Specifically, they talk to their predecessor. I remember the first time I listened to The Wedding Album and hearing the line “You rescued me from liberty” in Love Voodoo, and wondering if I was reading too much into the lyric to wonder if Simon wasn’t taking a shot at the last album. Or the beginning of “Hold Me,” when he starts with “This time…” — somehow I got into my head that “Hold Me” was one of the first songs written for Notorious and that line/ad lib was basically Simon’s way of expressing the uncharted territory the band was in, now down to a trio. Additionally… all the lyrics to “Still Breathing,” which I took as a declaration against the previous lineup of the band. I can’t prove any of this, it’s just in my head when I listen to these songs and albums.
This topic circles in my head for a few reasons. First, we are between albums. Speculation abounds about the sound of DD14. We know the band never does the same thing twice. We also know that, on AYNIN, they finally felt comfortable “reclaiming” some of that old ground/sound. So what will happen on the next album? In what way will it be a reaction to what they did on AYNIN?
Additionally, Notorious, the album, has been in heavy circulation on my iPod for the last few months. I think there are a lot of parallels between Notorious and All You Need Is Now. Both feature very strong title tracks that will likely be a staple of the band’s live set as long as they continue to tour (I don’t think it’s going out on a limb to say that the song AYNIN will continue to be featured, but you never know). Both were heavily anticipated after a pause in the band’s career in which it was uncertain what direction they would take. Both were heavily influenced/co-written by the album’s producer, and both featured a mix of guest musicians on other tracks (and in the case of Notorious, it remains the only Duran album that features the work of both Andy and Warren).
Why do I bring up these parallels? I am trying to draw conclusions about DD14, and I think we might gain insight by understanding the relationship between Notorious and its follow-up, Big Thing.
I’ve always viewed Notorious as being a very solid, “orderly” album, with perfect alignment between the A and B sides, the Hitchcock theme, and the neatly packaged video that tied back to the album artwork. Big Thing is the exact opposite. It’s noisy, disorganized, loud (at least the first half), moody (the second half) and unconventional. Notorious features a virtual all-star cast of guest musicians, including Nile Rodgers, Andy, Warren, and Steve Ferrone, not to mention the album cover featuring super model Christy Turlington. Big Thing boasts no such lineup—it is the truly the first (and ultimately only, as it would turn out) Taylor-Rhodes-LeBon collaboration, with Warren sprinkled in, albeit in a non-writing role. On Notorious, the songs tend to follow the standard verse/chorus/verse/chorus/bridge/chorus/outro format, which the exception of Winter Marches On. On Big Thing, it’s the exception when a song follows that format. Notorious is defined by its title track; the song Big Thing mocks itself and the music industry in general, and is probably one of the more forgettable songs on the record.
When John, Nick, and Simon hosted an hour-long countdown of their favorite Duran videos on MTV in 1988, they commented that on Notorious, they were very polite to each other and trying to figure out how to function as a band. Not so during the Big Thing sessions, where “we were all screaming at each other.” This is not surprising. The trio had weathered the uncertainty of the Notorious era; they had put out an album and toured and had success despite the loss of Andy and Roger (of course, they were no longer the biggest band in the world, but at least they knew there was still an audience for their music, albeit a smaller one than before).
So, with that out of the way, they pushed themselves creatively on Big Thing. What resulted was an album of disparate sides: the first consisting mostly of noisy, dance “house” music, and the second slower, moody ballads. Side one featured the hit single “I Don’t Want Your Love,” that is possibly the band’s most underrated and forgotten hit (and one of my personal favorites), and the follow-up single “All She Wants Is” which didn’t chart as well, but did see a lot of club play. The B-side is built around the lush anthem “Land,” one of the longer Duran songs in the catalogue that clocks in at just over six minutes. Preceding it are the haunting “Do You Believe in Shame?” and airy “Palomino.” I remember first listening to Big Thing and strongly disliking the second side, and then about a week later I had a strange tune stuck in my head…and it turned out to be “Palomino.”
Conversely, I did love “Edge of America” the minute I heard it, and still do to this day. And I always have considered “Edge of America” and “Lake Shore Driving” to be one song, even if they have different titles and are on separate tracks. It’s an unconventional way to end Big Thing but it works, as the Nick’s synths and Warren’s guitar bring the proceedings full circle to how the album started.
There are many other details about Big Thing that we could cover (the two different producers, the controversy over the mixes of “Drug” that highly annoyed John, etc.) but those can be left to another blog. The question is, how can Big Thing’s differences from Notorious inform us as to DD14’s differences from AYNIN?
For starters, I suspect that there will be more of a balance between ballads and dance songs on DD14. AYNIN was heavily skewed toward upbeat music (much like Notorious) with several well-placed slower songs to even out the album’s pacing. I think it’s natural for the band to be inclined to write some more moody material after an album as upbeat as AYNIN.
And speaking of the band…by all accounts, it’s just them, just like it was on Big Thing. Or at least it’s more of “just them” than the AYNIN sessions, which included Mark Ronson, Ana Matronic, Kelis, Owen Pallett, and Nick Hodgson, as well as newscaster Nina Hossain. There was a report that Ronson worked with them initially but every quote I’ve read since indicates that it’s just the five (Rhonda says four…because we certainly don’t hear much of Dom being there lately. Just saying..) of them in the studio.
Is this a good thing or not? I think time will tell. Duran has made some tremendous music when they close ranks and keep it “in house”—see Big Thing and The Wedding Album and Astronaut, at least as originally conceived. But therein lies my concern: Duran Duran also seems to make ill advised decisions when there is no outside producer to referee things. (I’m convinced that Ronson or even Timbaland—yes, Timbaland—or any of us, for that matter—would have told them to keep “Beautiful Colours” and “Salt in the Rainbow” on the Astronaut album. As it was, they went through three producers on that one.)
Do you think I’m reading too much into the relationship between Notorious and Big Thing to infer anything from AYNIN and DD14? And are you worried about the apparent lack of an outside producer tied to this project?
C.K. Shortell is a lifelong Duran Duran fan who lives in the northeast with his wife and two sons, one of whom loves watching concert footage of the band. When he’s not struggling to explain to a two year old why the guitarist always looks different or just what exactly Nick is doing, C.K. is constantly reminding co-workers and friends that the band never broke up.
An outspoken examination and celebration of fandom!