Duran Duran – Paper Gods | 2015 – 2
[continued from previous post]
The Target Edition of the album that I had contained two extra bonus tracks that were different from the standard Deluxe Version of the album widely available. The latter had three songs not on this edition, and this edition had two songs not available elsewhere. It’s true that “On Evil Beach” can be found on the Japanese CD but “Cinderella Ride” is, for the time being, only on the Target CD anywhere in the world.
The first bonus track was a good example of the reason why B-sides existed for so long. Some songs were just too odd to sit in a coherent program. Then there are those like “On Evil Beach” that almost defy description. But I’ll try anyway. Imagine Black Lace gone dubstep. This was the strangest sound I’d ever heard from a Duran Duran song. I could easily imagine it accompanying the afternoon drinking binges by lobster-red Brits at the beachside bars of all-inclusive resorts, somewhere in the Dominican Republic. Don’t ask me how I know this. I’d rather not say. The song sounds brutally mastered; fully in the red to the point of distortion. Thankfully, the brief song ends shortly after two minutes with a shock cold ending which was much kinder than I was anticipating.
“Cinderella Ride” made me scratch my head for other reasons. Namely, why on earth was this fine song not sitting on the album proper while [shudder] the likes of “Danceophobia” or “Change The Skyline” were deemed hot prospects? I love the New Order guitar line and the presence of real drums and bass here goes a long way towards sounding like a real song instead of a impoverished simulation of it. Simon sings a great melody here and Nick’s synths on the coda sound like a fine 1983 deep cut. I’d urge fans to seek out the Target Edition for this track alone. Like their peers [Simple Minds, I’m talking to you] their latest album finds Duran Duran shuffling off their stronger as well as weaker material to bonus track status.
Let us now review the new graph:
Wow. Look at that 14 year arc from 1997 to 2011. Four albums of slow, methodical progress. A rarity for this band, who wildly zig when perhaps they should have zagged. It figures that following their late-in-the-game triumph of “All You Need Is Now,” the follow up would be another Duran Disaster®. That it is not quite the debacle that “Thank You” was, is perhaps some small solace. Still, “Paper Gods” does join the middleweight chaff of DD albums best forgotten. The small triumphs that it offers overshadowed by the type of gaffes that would take down any other band. Not these guys though. They’re a resilient as cockroaches.
The switch from releasing their AYNIN album as an indie by themselves, to signing with Warner Brothers probably made for a bigger budget. The strings on “Paper Gods” were appreciated. Any real instrument there was to be appreciated. In terms of its chart action, the new album debuted in the Billboard Top 10; quite a feat for this veteran band. That was seriously undercut by it plummeting out of the Billboard Top 200 within four weeks though. When all is said and done, I would imagine that Warner Brothers will cut the band free as did Epic following “Red Carpet Massacre.”
That album bears mentioning in that I was one of the few Duran Duran fans who actually liked their 2007 album; made by Timbaland and Justin Timberlake wherein Duran Duran were reduced to guest star roles on their own album. Everything that I have heard fans say about that album I would instead direct towards this new one. Like that one, I think that DD were willing to sell themselves out as much as possible for the notion of a chart hit. As it was, I loved “Red Carpet Massacre” partially due to the material, which I felt was of a more memorable caliber than on “Paper Gods.” Primarily, I loved that album for Simon LeBon’s singing, which I have never loved. His performance there had an integrity that I felt was absolutely missing from this new album. I feel that “Paper Gods” achieves what little integrity it does have strictly by accident.
Duran fans were just fortunate that on their last outing that Mark Ronson had massive sales [and the resultant prestige] of his productions of Amy Winehouse on his side coming to his production role on “All You Need Is Now.” I’m guessing those numbers were the only reason why they deigned to work with him at all. That he was a real fan with a laser like focus on their strengths, which he made them stick to for once, was to everyone’s benefit. That Ronson had almost no involvement with “Paper Gods” due to his own solo project at the time, was a small tragedy. The larger one was that AYNIN only managed to reach #29 on the Billboard Hot 200 LP chart at the time. If ever there was a Duran Duran album post-1993 to go top 10, that should have been the one! Still, they worked that album theirselves, and should have reaped a bigger financial reward than they would have had a major footed the bill. But I don’t think Duran Duran focus on money. I think their eye is on their fame and “relevancy.”
I suppose five years from now DD [at 60+] will crawl back on a stage somewhere to offer a new album, and with their checkered history, it could be surprisingly good, or just as easily a new low. Never have I seen a career arc as random as theirs looks. In his comments on this thread, Echorich sounds a bit angry at this album. I can’t allow myself to get too worked up over Duran Duran. I just don’t hold them to the same standard of artistry that I expect from bands that mean much more to me from that era. It’s just not worth the effort after 34 years of seeing and hearing it all. The best songs here have a few threads of continuity running through them.
- Their rhythm section actually play bass guitar and drums on them. Nick Rhodes considers them one of the best rhythm sections ever. Remember that the next time you’re assistant is wrapped up in Pro Tools, Nick!
- The best songs were written by the four members of the band and guitarist Dom Brown. Allowing “hot names” to co-write waters down the DD sauce and erodes band revenue!
- Any song with a guest star credited in the song title [in brackets] was usually poor. Anna Ross outsung them all easily on “Butterfly Girl” with no legally mandated title credit. Lesson: get guest vocalists with talent, not hype. If you have to count on Jonas Bjerre fans for first week sales, it’s time to hang up the DD shoes.
Join us in ten years for more of the Duran Duran Rock G.P.A.
– 30 –