Poor fellas, they really went through the wringer didn't they? Astonishing achievement from Nick and Simon though. This is a really jarring, abrasive listening experience first time around, but the more I listened, the gentler it became it's a matter of peeling back that hard outer shell to find the vulnerability beneath. I’m guessing it was to sort out his alcohol and drug addiction? Turns out I wasn’t far wrong! Why did John leave? Wikipedia doesn’t elaborate. First thing I thought: sounds like a Simon/Nick collab. I had a long commute today and listened to Medazzaland 4 times in a row. He really deserves more credit than he gets. Simon is more direct on this album than the ones I’ve listened to so far.
No weak tracks at all.if pushed.maybe Electric Barberella. Favourite tracks: Out of My Mind, Buried in the Sand, Midnight Sun, So Long Suicide, Undergoing Treatment. Wow! Medazzaland is a tremendous album fascinating, brutal, unflinching. I'm curious as to what their later period gigs sound like. I’ve been listening to live versions of the early songs as much as the studio versions, probably more so. Thank for the recommendation, I'll look out for that. I was actually annoyed that such a ‘blissful’ sequence was interrupted by 'More Joy!', a song I happen to adore, but it kinda spoils the mood.
The last three go together beautifully as if they are one song. The missing tracks are the ones I don’t care for. The Promise - įor Future Past, that’s my preferred running order. I have yet to check out the rest of the album though. For example, I came across 'Downtown' only yesterday, thanks to this thread! Good track that. Bear in mind it’s a work-in-progress since I’m still making my way through the discography, and the list changes as I discover new tracks. As far as reservations, the once bold, sometimes shameless Simon Le Bon sounds a bit tentative in this post- Killers world, and when compared to the tight, original, nine-track version of the album previously made available via digital download, this final, fatter version borders on "too much of a good thing." Fortunately, the emphasis will be on "good thing" for longtime Duran fans or anyone with a taste for melodic, synth-driven pop/rock.Click to expand.Thank for the recommendation, I'll look out for that. Some tracks sway and glide, like the new romantic hit “Planet Earth” (the great “Too Bad You’re So Beautiful,” or the sci-fi club track “Blame the Machines”), while others bring reminders of the percussive studio creation “Wild Boys” (the pounding title track), or those early, melancholy numbers like “The Chauffer” (the flowing and wistful “Mediterranea”).
The band is close enough to top form to use Ronson’s work as a springboard, letting the singalong tales of models, paranoia, and men who steal leopards flow naturally.
DURAN DURAN DISCOGRAPHY PLUS
For Duran Duran, it’s clean and slick landscapes of synths, plus a dash of trendy gimmicks (representing the band’s love of fame and fashion) with just a touch of weird (representing the band’s love of art rock, particularly Roxy Music). To his credit, Ronson was pretty near the top at the time of the album’s release, but his inspired work on All You Need is driven by both hero worship and a previously underappreciated talent to do what’s right by the artist. Follow their analogy, and this should sound like a band that just created a new wave icon, but here there’s an enthusiasm and sense of purpose that can only come from an act less cocksure than one that is on top. Duran Duran and producer Mark Ronson envisioned the 2011 release All You Need Is Now as a sequel to the band’s 1982 effort Rio, but fans are better off approaching it as the imaginary effort that came after 1983’s Seven and the Ragged Tiger.
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