In the early 80s, music started going through a period of disconcerting changes, with a lack of boundaries, and the presence of a persistent feeling that everything seemed to be possible.
After a magic and prolific preceding decade in which rock music had laid its foundations, new melodies began to sneak into television and the most popular nightclubs: when video killed the radio star. Leading a frenetic, hugely successful British invasion on the United States, five fabulous young dandies skillfully managed to steal every shot by placing themselves right in front of a universal lens by taking their identity from a movie where a half-naked Jane Fonda fought against space warriors. There, among planets and asteroids she found her greatest rival – Duran Duran.
From the beginning, this promising band from Birmingham managed to shake off the dust of an an industrial city that also produced bands as opposing as Black Sabbath or Judas Priest. From the city streets, Simon Le Bon, Nick Rhodes and the Taylor trilogy – Roger, Andy and John – along with various random members, gave life to a fresh concept named New Romantic: a new style primarily influenced by glam rock and characterised by killer synthesizers and sophisticated looks.
Standing under the heat of the spotlight, they were both loved and criticized. Their catchy melodies and poisonous youth turned them into the undisputed kings of MTV. Despite coming under the critical eye of media scrutiny, it is not absurd to admit they owned an original sound and demeanor, an overpowering magnetism, and had both the age and sex appeal to develop into the ultimate pop icons.
Now, Duran Duran release the physical version of ‘All You Need Is Now‘, marking the 30th anniversary of the self-titled debut album which first launched them into the mainstream. Going through these tracks at first glance, one thing’s for sure: being met by songs like ‘Blame The Machines‘, ‘Girl Panic!‘ and the title track is no surprise; representing as they do the spirit of a decade which witnessed their rise to stardom.
The album presents soft melodies on tracks such as ‘Leave a Light On‘, a ballad that bears a subtle resemblance to Bernard Sumner‘s recent side-project Bad Lieutenant. The effective slushy dose is completed with ‘Before The Sea‘ and ‘Mediterranea‘, delivering an up-to-date sound, slightly different to the majority of the record.
Elsewhere, vivacious, classic sounds emerge in ‘Safe (In The Heat Of The Moment)‘, ‘Runway Runaway‘ and ‘Other People’s Lives‘ – shooting up an enjoyable disco/pop amalgam where the fabulous bass-lines of the talented John Taylor bounce along with an exciting synthesizer mood.
Every track keeps an ace up its sleeve, a new set of sounds that stands out from the rest and creates a feeling of complicity between the artist and listener. Magically and without any license, ‘The Man Who Stole a Leopard‘ emerges, featuring American singer/songwriter Kelis and with the collaboration of British newscaster Nina Hossain. A disconcerting headline and the subsequent story of a man who held a leopard captive intertwines effectively with the intriguing lyrics which tell the story of an obsessive hunter who would catch his prey whatever the cost.
After the release of their previous album ‘Red Carpet Massacre‘ in 2007, whose controversial production generated an atmosphere of intense tension within the band due to the lack of confidence regarding their ideas and musical expertise, this new record presents a neat set of songs not too surprising given what Duran Duran represents as a successful and ruthless hit-making machine.
After the glory days they are still craving an important place in the music scene, with the ambitious launch of the ‘Girl Panic!’ video, being proof in itself that their original glamour and V.I.P. style has not been lost. Duran Duran remain those five old new romantics in all its forms.
