Review Summary: An excellent, overlooked debut album of the 1980's.
The early output of Duran Duran was steady and surprisingly consistent. Mislabelled as a "teenage band" for their successful early singles and unique aesthetic - Duran Duran never appealed to the average music lover of the early 80's. Duran Duran seemed to be too 'commercial' for the average Smiths lover and ‘too poppy’ for the average Japan admirer. They were instead dismissed as a 'fad' - a band so average and regular for a decade dominated by synthesiser and big hair that they their early efforts are largely ignored by the current generation of music listeners. What is particularly perplexing is the band's lack of recognition and influence during the recent 80's revival movement. This review will not convince the ignorant but it will prove that 'Duran Duran' is an excellent, overlooked debut album of the 1980's.
Duran Duran's debut album was not successful in the USA but produced a number of hit singles from the polished "Planet Earth" to the aggressive "Careless Memories". However, what is overlooked amongst the popularity of their early image and hit singles is Duran Duran's darker and more intricate moments. The entire second half of Duran Duran is darker, even brooding on occasions. Earlier music that should have been praised for its innovation and peculiarity remain forgotten amongst the pop-radio filler of today’s generation. From the almost progressive "Sound of Thunder" to the upbeat "Friends of Mine": the second half of 'Duran Duran' produces the same vibe as "The Chauffeur" from their sophomore effort - Rio. Duran Duran is an album that presents itself via more shrouded and subtle energies – enjoyed through repeated listening and general perseverance.
While chart-topping hits like 'Girls on Film' and 'Planet Earth' prove that Duran Duran can produce stunning pop melodies, 'Night Boat' and 'Sound of Thunder' prove that Duran Duran are excellent musicians. Although Simon Le Bon’s lyrics are not flawless – revolving mainly around relationships and lost opportunities (“I tried to phone last night, but you never answered. Just leave me hanging on the line”), his pop sensibilities remain consistent throughout the album. From his repetitive falsetto in ‘Girl On Film’ to the surprisingly baritone tracks like ‘Sound of Thunder’ – Simon Le Bon and the Taylor’s display an obvious knack for instrumentation and conventional song structures that remain memorable. More often overlooked however, is the excellent keyboard work of Nick Rhodes.
The synthesiser work in Duran Duran’s debut album is not too obvious and forward in the mix but centred and listenable. Nick Rhodes fills the musical spectrum transforming good pop songs into unique soundscapes. Although simple, the keyboard work is an integral part of ‘Duran Duran’. The album would sound empty and generic without it. These soundscapes are particularly obvious during “Tel Aviv” and “Friends of Mine”. Intricate arpeggios and sustained notes only add more to the already excellent pop sensibilities of ‘Duran Duran’.
It is important to consider Duran Duran – a band of evolution and timelessness, rather than a band driven by image and marketing. Their later efforts (after Rio) pale in comparison. If Duran Duran is not quite your cup of tea – respect the album for the almost flawless production values. There is no denying, however, that ‘Duran Duran’ is an excellent debut album of the 1980’s: overlooked and misinterpreted by today’s musical community.
