Happy Duran Duran Appreciation Day!—Celebrating my fave songs

To mark DDAD 2019, I decided to showcase ten of my favourite songs. One of the many reasons I’ve been a Duranie for almost eight and a half years is because of the wonderful lyrics. So many of their songs are like poetry.

1: “The Seventh Stranger,” last track on Seven and the Ragged Tiger (1983). Where to start! Every line is like pure poetry. I’ve used the line “like splinters of ice” in my own writing, and titled a chapter “Trading in His Shelter for Danger.”

2: “Secret Oktober,” B-side of “Union of the Snake” (1983). It’s like an avant-garde, surrealistic poem. I really want to use some of the lines as part of chapter titles.

3: “My Antarctica,” sixth track on Liberty (1991). While Liberty is one of the worst albums I’ve ever heard (even worse than Extra Texture), this is one of two standout gems. So romantic! I titled one chapter “Heat Beneath His Winter.”

4: “Lonely in Your Nightmare,” third track on Rio (1982). It’s so beautiful and romantic. I have a chapter entitled “Lonely in Their Nightmares,” and called the first part of a book “Angry in His Nightmare.”

5: “Perfect Day,” third track on Thank You (1995), an album of covers. This was originally a Lou Reed song, and one of the album’s standouts. It reached #28 in the U.K. Lou said, “I think Duran Duran’s version of ‘Perfect Day’ is possibly the best rerecording of a song of mine. I’m not sure that I sang it as well as Simon sang it. I think he sings it better than I. If I could’ve sung it the way he did, I would’ve. It wasn’t from lack of trying.”

6: “To the Shore,” fourth track on their eponymous début (1981). More beautiful surrealistic poetry! It’s a shame this lovely song was left off the U.S. repackaging of their first album, replaced with the single “Is There Something I Should Know?”

7: “Out of My Mind,” fourth track on Medazzaland (1997). The video is so deliciously macabre, making the lyrics even better and taking them in such a wonderfully dark direction. It reached #21 in the U.K. and #14 in Italy.

8: “Beautiful Colours,” recorded 2005 but not officially released on an album or as a single. I love the line “Life isn’t standard-issue, it’s customised.” I’ve used riffs on that line a number of times in my writing.

9: “Palomino,” seventh track on Big Thing (1988). Absolutely gorgeous, lush poetry!

10: “Come Undone,” sixth track on The Wedding Album (1993). Officially, it’s their second eponymous album, but just about everyone calls it The Wedding Album because of the cover art with photos of the bandmembers’ parents’ weddings. The song reached #2 in Canada, #6 in Italy, #7 in the U.S., #9 in Ireland, #13 in the U.K., #16 in New Zealand, #19 in Finland and Australia, and #42 in Belgium and Germany.

This was the song that flipped the switch and made me a Duranie on Valentine’s Day 2011. Someone named it as one of their most romantic songs, and I looked up the video and ended up watching it over and over. This song made me come undone!

Happy 50th birthday to Tommy, Part III (What it means to me)

Tommy was my first Who album, bought at the original location of Mystery Train Records in Amherst, Massachusetts on 7 September 2000. At the time, I had no idea that was Keith Moon’s 22nd Jahrzeit. It was truly one of those times where I knew, even before I knew.

I became interested in The Who at age thirteen, in ’93, and liked them from the time I was fourteen. At age twenty, in early 2000, I finally began graduating to serious fandom. Long story short, I chickened out on buying an album several times before deciding it was now or never.

That was the only Who CD in stock, though they had a bunch of their LPs. For almost all my succeeding trips to the various music stores in Amherst, this was my default modus operandi. I bought the sole CD, or sometimes two CDs, available. As I got more albums, I had to buy the one(s) I didn’t have yet.

I’d been so reticent about taking the plunge already because I was afraid of not liking an entire album of unfamiliar songs. I only knew the massively overplayed “Pinball Wizard” and “See Me, Feel Me.”

I played the first three songs on 8 September, but didn’t have the time to play it all the way through till 9 September, a Saturday night. Until pretty far into my junior year, I obediently went home to Pittsfield every weekend instead of staying on campus like a normal person. Learnt helplessness, but I digress.

I didn’t know what to do with this album at first. It was so unlike The Beatles’ albums which I was so familiar with. At one point, I almost thought about returning it, since this kind of music was so different.

The more I listened to it, the more it grew on me, though I didn’t understand what all was going on for awhile. Some things definitely aren’t directly stated in the songs, but the listener can fill in the blanks based on context clues and one’s own imagination.

As Charles Chaplin said, “While watching a silent picture, each individual supplies the unspoken words according to his own understanding of the action. The dullard sees the story in his own way as does the intelligent, the wise, and so on–each one, as I said before, supplying his own understanding, and everyone is pleased…”

At this early stage of the game, I didn’t even know who was whom, except Roger, the only blonde and lead singer. I correctly guessed straightaway Pete was the one with the higher-pitched voice, and John had the thicker, lower voice. It was obvious which one Keith was. Then I learnt to distinguish the three dark-haired ones.

As a child, I had a character named Carmel Allison Jaywalker, who loses all her senses on the eve of her third birthday. In my juvenile mind, the culprit was “the killer pimples,” giant pimples growing over her eyes, ears, nose, mouth, tongue, and skin as she slept. Tommy’s surname is Walker. It’s another of those uncanny experiences of knowing, even before one knows.

From an early age, I’ve been fascinated by the blind-deaf. What must it be like to be cut off from the two most major senses, living so deeply in one’s own mind, processing everything through sensations, communicating without speech or sign language? I did a paper on the blind-deaf in a class I took on special education in 2005. Someday I’d like to resurrect Carmel.

It’s such a powerful, intense journey, both for the character of Tommy and one’s own emotional feelings listening to the story. Every time feels like the first time all over again. Tommy isn’t what I’d personally recommend as an ideal first album for a new fan, but it was my first Who album, and as such is so, so, so special to me.

Once I began understanding it and was firmly in love, there was no turning back. My amazing journey had begun, and I’ve never regretted it. This band has had my heart, soul, and mind since I was twenty years old. All these years, they’ve never been unseated as my #1.

And it all started with the story of a blind-deaf-mute boy which saved The Who from bankruptcy and breakup. If Tommy hadn’t succeeded, they might never have gone on to become such legends, and I never would’ve fallen so deeply in love with them and been interested in buying any of their albums.

Happy 50th birthday to Tommy, Part II (Behind the scenes)

Note: All images are used solely to illustrate the subject for the purposes of an album review, and thus consistent with Fair Use Doctrine.

Tommy was recorded from 19 September 1968–7 March 1969, and inspired by Pete’s guru Meher Baba (25 February 1894–31 January 1969). This is particularly meaningful in the context of Tommy because Meher Baba voluntarily went silent on 10 July 1925 and remained so till his death. He communicated with an alphabet board and hand signals. To this day, many of his followers observe Silence Day on 10 July.

From the early days of The Who, Pete wanted to break out of the box of three-minute pop singles, and to explore deeper themes even within said short songs. Traces of his magnum opus Lifehouse can be heard as early as 1966’s “I’m a Boy.”

Pete’s musical evolution continued full-force with the very uncharacteristic (for the era) nine-minute title closing track on A Quick One. This song has six different movements, telling one continuous story.

The Who’s 1967 album closes with another mini-opera, “Rael,” which continues with the brief “Rael 2” on the CD remaster. The roots of “Sparks” and “Underture” are heard here. “Glow Girl,” the closing bonus track (which also appears on 1974’s Odds and Sods), is about a plane crash ending in reincarnation and the refrain “It’s a girl, Mrs. Walker, it’s a girl.”

This became “It’s a Boy,” only “Of course, Tommy was a dear little boy,” as Pete wrote in the liner notes to O&S.

A number of Tommy‘s songs were originally written for other projects or about other subjects, but Pete repurposed them. In August 1968, he gave an interview to Rolling Stone in which he went into great detail about this album in progress. He described the storyline better than the final product!

Pete later regretted spilling so many details, since he felt compelled to follow them precisely instead of editing and revising his story as he felt necessary. The other three bandmembers loved his ideas, however, and gave him complete creative control.

Working titles included Journey into Space, The Brain Opera, Amazing Journey, Omnibus, and Deaf, Dumb and Blind Boy. In that era, “dumb” was the standard word for “mute,” though of course we know today that mutism doesn’t mean one is stupid. It wasn’t used to be deliberately offensive and hurtful. Context and intent are so important in looking at things from bygone eras.

Pete settled on Tommy because it was a nickname for soldiers in WWI, and a common British name of the time. Being the self-admitted pretentious guy he is, Pete prefers to call this album Thomas.

John wrote and sang “Cousin Kevin” and “Fiddle About” because Pete couldn’t bring himself to handle such dark subjects as bullying and child molestation. Contrary to what certain people are still convinced of, Pete has long campaigned against child abuse, and was molested himself.

All evidence has cleared Pete and the thousands of others wrongly accused during the mishandled Operation Ore. Real fans know this, and Pete himself admits he did something really stupid and dangerous to try to take down the real abusers. Unlike a certain other person (coughmichaeljacksoncough), he doesn’t have a decades-long history of huge red flags and creepy behaviour with kids.

Unusual for the band at the time, many songs were more vocally-driven than instrumental. Tommy has a less hard rock sound in its studio version, though it absolutely cooks live.

Though Keith probably didn’t write “Tommy’s Holiday Camp,” he got songwriting credit for suggesting the idea.

After rock journalist Nik Cohn (born 1946) poorly reviewed a working version, Pete suggested Tommy might become a pinball champion. Mr. Cohn, a huge pinball fan, immediately changed his tune. And thus was born one of the most overplayed songs in the history of classic rock radio.

Co-manager Kit Lambert wanted an orchestra, but Pete was firmly against it. That was too pretentious even for him, and their budget and schedule wouldn’t allow it anyway.

Like 1973’s QuadropheniaTommy had Sides 1 and 4 on one LP and 2 and 3 on the other, to accommodate record changers. These devices played multiple LPs in sequence without a human flipping them.

Tommy was #2 in the U.K. and #4 in the U.S., and reached gold status in the U.S. on 18 August. It had mixed critical reviews, but saved The Who from breakup and bankruptcy. Final track “Listening to You” was a genuine song of thanks to their loyal fans who stood by them for so many years, in lean times as well as prosperous.

Over the years, Tommy has been adapted by several opera and dance companies, and became a movie in 1975 and a Broadway musical in 1992. The Who played the album live until 20 December 1970, and used shorter portions throughout the decade. They revived it in its entirety during their 1989 reunion tour, often called The Who on Ice because of all the extra musicians and backup singers.

Tommy is truly the miracle that turned The Who’s entire career around forever.

Happy 50th birthday to Tommy, Part I (General overview)

Image used solely to illustrate subject for the purposes of an album review, and consistent with Fair Use Doctrine

Tommy, released 17 May 1969, was The Who’s fourth studio album, and the album that saved them. While they’d had a bunch of hit songs in their native England and played at Monterey Pop in 1967, they still weren’t giant superstars. They desperately needed a hit, both for the sake of their finances and their personal reputations.

Enter their glorious Hail Mary pass.

Tommy not only pulled them back from threatened bankruptcy and irrelevance, it also did wonders beyond wonders for Roger’s voice and self-confidence. Classic rock fans are well familiar with Roger’s powerful pipes on songs like “Won’t Get Fooled Again,” “Slip Kid,” “Who Are You,” and “The Real Me,” but before the experience of touring Tommy all over the world and singing the powerful role of this character who goes through such an intense journey, Roger’s voice was rather unrefined.

Just look at 1967’s The Who Sell Out for proof. Roger only sings lead on five of the thirteen original tracks. Pete sings five more, and John sings the rest. One of those songs features Pete and Roger sharing lead vocals. Roger just wasn’t a vocal powerhouse yet, and lacked ample range.

The storyline on the album (versus the slightly different one in the movie):

Captain Walker goes missing and is believed dead. His widow presently gives birth to a boy named Thomas, whom she raises with a new lover. In 1921, Captain Walker returns home and discovers his replacement. In a violent rage, he murders the lover, and Mrs. Walker tells Tommy, who witnessed the murder, that he didn’t see or hear anything. He can never tell anyone what he knows is the truth.

Tommy becomes a psychosomatic blind-deaf-mute due to this traumatic experience, similar to how the unnamed narrator of The Painted Bird becomes a psychosomatic mute after cruel, suspicious villagers horrifically attack him on the holiday of Corpus Christi.

Tommy can now only experience the world through vibrations, all of which he interprets as beautiful music, even horrible things like getting molested by his Uncle Ernie and tortured by his sadistic cousin Kevin. However, Tommy can see his own reflection in the mirror.

LP One closes with Tommy’s sexual awakening with the Acid Queen, who also gives him LSD. The ten-minute instrumental “Underture” has always sounded exactly like I’d imagine an acid trip to be.

As he gets older, Tommy becomes a pinball champion, thanks to Pete wanting to butter up music critic Nik Cohn for a good review. Mr. Cohn was a big pinball fan.

Captain and Mrs. Walker take Tommy to a doctor who cures him, but he’s still mentally blocked from engaging with his senses until his mother realises he can see his reflection in the mirror. After she smashes it, Tommy wakes up as if from a dream, and begins to see, hear, and speak again.

Tommy becomes a Messiah figure, everyone’s hero, but ultimately grows very uncomfortable with his idol status. His disciples also reject him, displeased with his teachings, and leave the holiday camp where he’s preaching. Tommy reverts back to being a psychosomatic blind-deaf-mute and plaintively cries out for healing.

Track listing:

“Overture” (mostly instrumental)
“It’s a Boy” (hearkening back to the bittersweet, haunting ending of “Glow Girl,” but for the change of the baby’s sex) (sung by Pete)
“1921” (sung by Pete)
“Amazing Journey”
“Sparks” (instrumental)
“The Hawker” (a.k.a. “Eyesight to the Blind”) (written by Sonny Boy Williamson)
“Christmas”
“Cousin Kevin” (written and sung by John)
“The Acid Queen” (sung by Pete)
“Underture” (instrumental)
“Do You Think It’s Alright?”
“Fiddle About” (written and sung by John)
“Pinball Wizard” (#4 in the U.K.; #6 in South Africa and Canada; #8 in New Zealand; #12 in The Netherlands; #14 in Ireland; #15 in Switzerland and the U.S. Cash Box chart; #19 on U.S. Billboard; #25 in Germany; #45 in Australia; #89 in France) (one of the most overplayed songs ever!)
“There’s a Doctor”
“Go to the Mirror!”
“Tommy Can You Hear Me?”
“Smash the Mirror”
“Sensation” (sung by Pete)
“Miracle Cure”
“Sally Simpson”
“I’m Free”
“Welcome” (total throwaway garbage)
“Tommy’s Holiday Camp” (sung by Keith)
“We’re Not Gonna Take It/See Me, Feel Me/Listening to You”

A botched swan song

Image used solely to illustrate subject for the purposes of an album review, and consistent with Fair Use Doctrine

Released September 1992 by Curb Records, Hope + Glory was The Four Seasons’ final studio album, and unfortunately failed on every level. Just to start with, the cover makes it look like a New Age record!

As always, songwriter Bob Gaudio’s strategy was to keenly listen to popular sounds of the day and translate that into a winning album full of hits for his band. This was a winning strategy for most of the Sixties, and while it was hit-or-miss during the Seventies, it nevertheless resulted in possibly the band’s best work.

It missed the mark in 1985, but there were still enough touches of the band’s established voice and style to pull it off somewhat decently. (I also admit my nostalgic bias for that trademark Eighties sound!)

In spite of a string of commercial failures, Bob was determined to try yet again to mount a successful comeback and prove his band could still sit comfortably on the Top 100 with a bunch of young whippersnappers who hadn’t even been born when The Four Seasons had their first hit.

What was all the rage in ’92? Hip-hop, new jack swing, soft rock, and adult contemporary. Many of those songs were also full of synths and electronic beats. A far cry from their familiar hits of the Sixties, but they’d constantly proven they weren’t afraid to try new things.

Yet Hope + Glory was also a commercial bomb, with no singles. Why might that have been, beyond the band being long past their heyday and a time when a new generation would’ve eagerly given them a third wind of popularity?

Remember my analogy about the historical fantasy writer who moves into subgenres related to fantasy and historical with a fair bit of success, then tries sci-fi because it’s trendy? Many of her fans eagerly bought her steampunk, alternative history, and contemporary urban fantasy novels, and while her sci-fi attempt was far less successful, it still had enough touches of her established voice and style, albeit buried under copycatting of the latest trends.

Now imagine she hitches her star to YA contemporary. Not only that, her POV and tense are completely different, and she’s trying to sound like someone she’s never been. Every page is full of quickly-dated language like “So I may or may not be doing all the things and having all the feels.”

Longtime fans, by and large, are going to cringe in horror. It’s not that no one can write a popular book like that, but it won’t age well. In fact, it already sounds dated upon its release! Age doesn’t improve it either. It still sounds like a sad attempt to be someone she’s not decades later, with no emotional connection to the story.

Not only did she fail to read the strongest examples of this subgenre and understand what made them stand above the pack, she mindlessly copied instead of translating anything into her long-established unique voice and style. Neither her most devoted fans nor a new generation were having it.

There are some great lyrics on Hope + Glory, but they’re so buried under awful production! This also sounds more like Frankie with any old backing band, not a true Four Seasons record. He even sings two songs with a female vocalist.

Compare this to The Wedding Album, released February ’93. They came out only months apart, yet whereas Hope + Glory sounds super-dated and like a mindless copycat of popular songs anyone in that era could’ve done, The Wedding Album has aged so well and shines with timelessness. One band was true to themselves and earned a huge comeback, while the other cared more about chasing the next big trend and in so doing forgot what made them special.

I also feel really uncomfortable listening to Frankie singing about sex! It’s nowhere near Prince-level explicit, but that’s never been his style! His prior songs with sexual subtexts weren’t that up-front or disturbing.

Track listing:

“Love Has a Mind of Its Own”
“Learn How to Say Goodbye”
“Hope and Glory” (a duet with Frankie and Bob, possibly the standout)
“This Time”
“You and Your Heart So Blue”
“Run for Your Life”
“Help Me to Believe in You” (everything about this song makes me cringe, even the title!)
“State of My Heart”
“The Girl of My Dreams”
“Even Now”
“Just the Way You Make Love”
“The Naked I”