Happy Duran Duran Appreciation Day! (Rio at 35, Part II [Behind the scenes])


“My Own Way” was the very first Rio single to be written and recorded, in October ’81. It was released as a single the next month, in a very different style from the album version. The other eight tracks were recorded in early ’82, produced and engineered by Colin Thurston, at London’s Air Studios.

The massively overplayed “HLTW” was the second single, released 4 May 1982. “Save a Prayer” became the third single on 9 August 1982, and the title track was released as a single on 1 November.

In September 1982, record label EMI released the EP Carnival, featuring the Night Versions (extended dance remixes) of some of the band’s hit singles. The Dutch and Spanish version contained “HLTW,” “Rio,” “Planet Earth,” and “Girls on Film,” while the Canadian and U.S. version had “HLTW,” “Girls on Film,” “Hold Back the Rain,” and “My Own Way.” The Japanese version had “Rio (Part II),” “Hold Back the Rain,” “My Own Way,” “HLTW,” and “New Religion.”

Carnival was very successful, leading Capitol Records to start marketing them as a dance band instead of New Romantics. Seizing the moment, the band compelled Capitol to re-release Rio in the U.S. In November, they got their wishes, and this new version (with the first five tracks re-mixed by David Kershenbaum) went to #6.

The international success of the album and its four singles was due in huge part to the newly-mainstreamed artform of the music video. While music videos had been around for quite a long time, they were typically done only as promotion prior to MTV. They weren’t a carefully-considered artform in the old days.

Who could imagine any Eighties band, artist, or song without the music videos? They’re such a quintessential aspect of my childhood decade. While music videos are still being made (shocking as it is to discover), the modern ones are nothing like the classics from the Eighties.

Music videos were made for the title track, “HLTW,” “Lonely in Your Nightmare,” and “Save a Prayer” in Antigua and Sri Lanka. Also filmed was a very weird music video for “Nightboat,” from their first album.


Warning: Video NSFW or under 18!

A video album was released in 1983, featuring the four singles from Rio, plus album tracks “Lonely in Your Nightmare” and “The Chauffeur.” Also included were four songs from their début album and the March 1983 single “Is There Something I Should Know?”

The album cover was designed by Malcolm Garrett and famously painted by American artist Patrick Nagel, and went on to become one of Nagel’s best-known images. His alternate version of the cover was finally used in 2001 for a limited edition remaster. Most of his works were female figures in a style inspired by Art Déco and initially based off photographs.

Copyright EMI or Patrick Nagel’s estate; used solely to illustrate the subject and consistent with Fair Use doctrine

Rio frequently makes those incessant “best-of” albums lists, for British albums, Eighties albums, and greatest albums of all time. The album has not only remained popular and relevant over the last 35 years, but also influential on many other musicians. It’s not an album anyone could go wrong buying.

Rio at 35, Part I (General overview)

Released 10 May 1982, Rio was Duran Duran’s sophomore album and reached #2 in the U.K. and #1 in Australia. Initially, it didn’t do well in the U.S. (far from the first time a British band has been much more successful in their native land than across the pond). Only in 1983, after Durandemonium broke in the U.S., did it reach #6 on Billboard.

This is one of those quintessentially perfect albums, the album by which all other releases from an artist or band are judged. While I personally have grown to prefer their eponymous 1981 début, there’s no denying Rio is an absolutely perfect album from start to finish.

This is also my cold weather album for the car stereo. When I hear Eighties songs, I automatically picture the music videos. Thinking of the music videos in warm climates like Sri Lanka and the Caribbean makes me feel at least psychosomatically warmed up.

Track listing, with stars by the bonus tracks on the 2009 two-disc CD version:

“Rio” (#9 in the U.K. and Ireland, #3 in Canada, #14 in Finland, #36 in New Zealand, #14 on U.S. Billboard, #5 on U.S. Billboard Mainstream Rock, #14 on U.S. Cash Box Top 100)
“My Own Way” (#14 in the U.K., #10 in Australia, #20 in Ireland, #1 in Portugal)
“Lonely in Your Nightmare” (my favourite track)
“Hungry Like the Wolf” (#1 in Canada and on the U.S. Billboard Top Rock Tracks; #3 on the U.S. Billboard Hot 100; #4 in Ireland, South Africa, and New Zealand; #5 in the U.K. and Australia; #25 in Poland; #32 in Italy; #36 on the U.S. Billboard Hot Dance Club Play; #50 in The Netherlands)
“Hold Back the Rain”
“New Religion” (another favourite)
“Last Chance on the Stairway” (also love this one)
“Save a Prayer” (final line on the album version shorter than the music video version) (#1 in France, #2 in Ireland, #2 in the U.K., #56 in Australia, belatedly #16 in the U.S. in 1985)
“The Chauffeur” (such a sexy, sensual song and music video, back when “sexy” wasn’t synonymous with, pardon the misogynistic expression. “video hos” bumping and grinding in next to no clothes, accompanied by lyrics about horniness and cheap, tawdry sexual exploits)

“Rio” (U.S. album remix)*
“My Own Way” (Carnival remix)*
“Lonely in Your Nightmare” (U.S. album remix)*
“Hungry Like the Wolf” (U.S. album remix)*
“Hold Back the Rain” (U.S. album remix)*
“Last Chance on the Stairway” (Manchester Square Demo)*
“My Own Way” (Manchester Square Demo)*
“New Religion” (Manchester Square Demo)*
“Like an Angel” (Manchester Square Demo)*
“My Own Way” (original 7-inch version)*
“The Chauffeur” (Blue Silver) (early version)*
“My Own Way” (Night version; i.e., an extended dance remix)*
“Hungry Like the Wolf” (Night version)*
“Rio” (Night version)*
“New Religion” (Carnival remix)*
“Hold Back the Rain” (Carnival remix)*
“My Own Way” (instrumental version)*
“Hold Back the Rain” (alternate remix)*

I absolutely love this album, as obscenely overplayed as the title track and “HLTW” are. Everything holds up unbelievably well after 35 years, both the songs themselves and the incredible music videos.

I got it on vinyl in 2007 because it was only $2 and I wanted to indulge my Eighties nostalgia. It didn’t do much for me at first, which wasn’t helped by how I thought they were just a bunch of prettyboys who were only around in the Eighties, a boygroup like NKOTB or Backstreet Boys.

The respective sparks created by both my Eighties childhood and listening to this album a few times finally burst into a beautiful flame when I became a Duranie in early 2011. I can’t believe it’s already been six and a half years since I fell in love with this band!

Happy 50th birthday, Revolver!

Revolver

Used solely to illustrate the subject for the purpose of critique, and consistent with Fair Use doctrine

Revolver, one of my favoritest albums and one of the greatest albums of all time, turned 50 on 5 August. This album has been in my personal Top 5 for years and years, and I can’t see it ever not having one of those most coveted top spots. It’s just absolute perfection, a timeless classic.

The album spent seven weeks at #1 on the U.K. Albums Chart, and 34 weeks on the chart altogether. In the U.S., it spent six weeks at #1 on the Billboard Top LPs chart. This was the last proper album to be repackaged by Capitol, and like its predecessor Rubber Soul, the name and cover were left alone.

Whereas RS has been called The Beatles’ pot album, Revolver was their acid album. Trippy sounds are all over the album, like backwards tape loops, sitars, and varispeeding. So many of the songs are lightyears away from their early offerings, with such mature, complex, surrealistic, and, yes, drug-induced themes. They’d moved beyond only doing simple love songs.

Track listing:

“Taxman”
“Eleanor Rigby” (one of only two songs, the other being “In My Life,” which John and Paul significantly disagreed on the authorship credits of)
“I’m Only Sleeping”
“Love You To”
“Here, There, and Everywhere”
“Yellow Submarine”
“She Said She Said”
“Good Day Sunshine”
“And Your Bird Can Sing” (the throwaway)
“For No One”
“Doctor Robert” (about the dentist who gave John and George their first acid trip)
“I Want to Tell You”
“Got to Get You into My Life”
“Tomorrow Never Knows”

Unusually, George got three songs (“Taxman,” “Love You To,” and “I Want to Tell You”). He’d really begun coming into his own as a songwriter by this point.

Also by this point, the four Beatles’ personalities were showing through most loud and clear in their songs. Even if you haven’t heard the songs but just read the lyrics, it’s pretty obvious which is which, and that each had distinctive interests and themes.

The album met with huge critical acclaim, and has continuously been praised over the ensuing decades. Many folks, myself included, consider it The Beatles’ very best. It holds up incredibly well over time, and doesn’t sound dated like a certain other Beatles’ album surrounded by massive hype. Revolver has more than enough substance underneath the acclaim. It’s not just a bunch of trippy noises with a classic album cover, more famous for being famous than for timeless, outstanding musical merit.

I absolutely adore this album! Even the throwaway, “And Your Bird Can Sing,” is listenable.

One of my ultimate summer albums

61Ab-td5fbL

Used to illustrate the subject; use consistent with fair use doctrine

Released 14 August 1971 (and now 45 years old), Who’s Next is widely considered The Who’s most quintessential album. It’s one of the most ideal starting places for a new fan or someone interested in getting to know the band beyond the 5–10 tracks in rotation on most classic rock stations. This is one of those things which deserves the massive amounts of hype, instead of being more hype than substance.

WN started life as Pete’s very ambitious magnum opus Lifehouse, a rock opera which he’s kept coming back to over all these years. So many songs and themes from Lifehouse have been recycled or resurrected in both his solo and band albums. Though Lifehouse itself has never properly been completed, its story is familiar to longtime fans thanks to songs and dialogues Pete used in other projects.

WN came into my life on Halloween 2000 (the same day I bought The White Album), at an Amherst music store which I don’t think is in business anymore (or else moved). I only went to that store every so often, since they had a lot more CDs than vinyl, and typically charged more than Newbury Comics and Mystery Train Records.

Though The Who were always best as a live band, this album shows they could be just as good in the studio. It’s awesome hard rock, showcasing them at their prime. There’s a reason so many folks recommend this album above all others to potential new fans, because it contains everything awesome about The Who. It’s that quintessentially perfect album against which all others in their catalogue are judged, for better or worse.

Track listing, with stars by bonus tracks:

“Baba O’Riley”
“Bargain”
“Love Ain’t for Keeping”
“My Wife” (one of John’s signature songs)
“The Song Is Over” (so lush and beautiful)
“Getting in Tune”
“Going Mobile” (a song I didn’t really like or appreciate till I finally had a car and knew how to drive!)
“Behind Blue Eyes” (super overplayed!)
“Won’t Get Fooled Again” (also very overplayed, but never gets old)
“Pure and Easy”*
“Baby Don’t You Do It”*
“Naked Eye”* (live at the Young Vic Theatre)
“Water”* (Live at Young Vic)
“Too Much of Anything”*
“I Don’t Even Know Myself”*
“Behind Blue Eyes”* (original version)

In 2003, a 2-disc deluxe edition was released, though I haven’t bought it yet. The first disc contains the original first nine tracks, plus six outtakes. The second disc is a 26 April 1971 show from the Young Vic.

I love playing this album in the car stereo when it’s boiling hot outside. It’s such a perfect hot weather album, just like Live at Leeds, and begging to be cranked up. It’s also one of those albums where every time is like the first time all over again, taking me back to those special moments when I first heard each of the songs.

How to create a knockout début album

Duran1st

Copyright EMI; used solely to illustrate the subject in the context of an album review, and consistent with Fair Use Doctrine. I unfortunately only have the 1983 American repackaging of this LP (which doesn’t have the same cover art), and thus can’t take a picture of my own album to showcase the cover art.

Some of my readers might remember 10 August is Duran Duran Appreciation Day (a totally real holiday). This year, I decided to review the band’s incredible début album (which is now 35 years old) on Monday, and on the actual holiday, I’ll finally be sharing my story of how this proud classic rock and pop fan ended up becoming a Duranie at the age of 31. I can’t believe this year makes it five years I’ve been a fan already!

Released 15 June 1981, this eponymous début was initially only a success in the U.K. It was released in the U.S. with some modifications (“To the Shore” got the chop, and the Night Version of “Planet Earth” was used instead of the single version), but it wasn’t a success. Meanwhile, back in the U.K., the album reached #3, and spent 117 weeks in the Top 100.

Following the band’s U.S. success with their awesome sophomore album Rio, their début was released again in 1983, with the current single “Is There Something I Should Know?” substituted for “To the Shore.” This time, it reached #10, and stayed on the Billboard 200 for 87 weeks.

IMG_0206

Thanks to Spotify, I now have access to the deluxe 2010 reissue, with tons of awesome bonus tracks. I’ll always be a vinyl person, but I can’t complain about MP3 music when it’s free and it has so much extra content!

 Track listing, with stars by the bonus tracks:

“Girls on Film” (their Top 10 breakthrough in the U.K., and a #5)
“Planet Earth” (their début single, reaching #12)
“Anyone Out There” (kind of reminds me, thematically, of The Beatles’ “No Reply”)
“To the Shore” (such a gorgeous, underrated song!)
“Careless Memories” (their second U.K. single, released 20 April 1981, but a relative flop at #37)
“Night Boat” (a song I hated at first, since the video is really weird even by my standards)
“Sound of Thunder”
“Friends of Mine”
“Tel Aviv” (instrumental)
“Late Bar”* (the B-side of “Planet Earth”)
“Khanada”* (The B-side of “Careless Memories,” and the name of my current journal. It’s pronounced Ka-NAY-da, not like the name of the country.)
“Fame”* (originally done by David Bowie)
“Faster Than Light”* (the B-side of “Girls on Film”)
“Girls on Film” (Air Studio version)*
“Tel Aviv” (Air Studio version, with lyrics. It’s a completely different song from the instrumental, not just because this one has lyrics.)*
“Anyone Out There” (Manchester Square Demo version)*
“Planet Earth” (Manchester Square Demo version)*
“Friends of Mine” (Manchester Square Demo version)*
“Late Bar” (Manchester Square Demo version)*
“Night Boat” (BBC Radio 1 Peter Powell session)*
“Like an Angel” (BBC Radio 1 Peter Powell session)*
“Planet Earth” (Night Version)*
“Girls on Film” (extended Night Version)*
“Planet Earth” (Night Mix)*
“Girls on Film” (Night Mix)*

A Night Version is an extended dance remix, intended to be played in a nightclub. They’re basically longer versions of the songs with more instrumental breaks.

The album was recorded in December 1980. It was difficult to keep recording after getting the news of John Lennon’s murder, but they pressed on to complete the album.

It’s been said women tend to prefer Rio, while men tend to prefer the début album. Originally, I preferred the poppier Rio, but now I’ve switched and prefer the rockier sound of their début. I also like the darker tone to Simon’s voice on this album; as it was pointed out in a blog post on The Daily Duranie awhile ago, most of the rest of the band’s songs were written in a higher register than his natural key. Those songs are awesome and make his voice very recognisable, but I wish he would’ve stayed with this key for more songs.

I’ve lost count of how many times I’ve listened to this album as a writing soundtrack! It’s just so atmospheric and insistent. It’s a 5-star album, no question.