DURAN DURAN

Released nearly a decade after their commercial breakthrough, Duran Duran’s second self-titled album (known commonly as The Wedding Album) found the band shedding much of their throwaway, teen idol past by embracing the then-modern pop and dance sounds of adult contemporary and alternative rock.

With Missing Persons guitarist Warren Cuccurullo having completely replaced original axe-man Andy Taylor, Duran found themselves with their first hit album in years thanks to the chart success of singles “Ordinary World” and “Come Undone”. It would not be the band’s first commercial resurgence following their ‘80s heyday, but The Wedding Album proved definitively that unlike their Where Are They Now? peers, Duran Duran were here to stay.


“Too Much Information”

A bold indictment of their music video-friendly past (“Destroyed by MTV | I hate to bite the hand that feeds…”), this snarling opening cut announces loud and clear that this isn’t your older sister’s Duran Duran. Warren Cuccurullo’s guitars interweave with Nick Rhodes’s subtle keyboard shading and Simon Le Bon’s railing lead vocal.

“Ordinary World”

One of the band’s favorite tunes to this day, this soaring power ballad sounds just as endearing almost two decades later—Nick’s lush, gorgeous keyboard chords and Warren’s acoustic guitar lines set the stage for one of Simon’s most emotionally devastating vocals to date. “I won’t cry for yesterday,” he promises, yearning for an end to his real or imagined heartbreak. Favorite moments: Cuccurullo’s balls to the wall guitar solo and Simon’s wailing outro vocals.

“Love Voodoo”

A steamy, sensual groove piece lead by Mr. John Taylor’s liquid bass lines and some dated but fun ‘90s pop drum loops. Duran would try this type of thing again on future albums (I’m looking at you, “Bedroom Toys”), but ranks pretty high on a list of the group’s bedroom ready jams.

“Drowning Man”

The early ‘90s house piano chords and mock-choral keyboard tones anchor this tune very firmly in its era, but the Big Thing-esque samples and quick on its feet Simon Le Bon vocals save it from laughability.

“Shotgun”

Short, sound collage-ish interlude with a light spattering of Simon’s vocals. Warren’s harmonic-heavy guitar riff shows up later in “Sin Of The City”.

“Come Undone”

The album’s second hit single, this slithery R&B/pop ballad is a driving at night mix of Warren’s dripping wet electric guitar chords, Tessa Niles’s memorable vocal, and Simon’s shivering falsetto. “Chill-- is it something real?” Simon wonders, “Or the magic I’m feeding off your fingers.”

“Breath After Breath”

This luscious Brazilian pop style gem features a memorable duet between Simon and native singer Milton Nascimento. One of the more criminally underrated tracks in Duran’s history, Nick’s cascading piano lines and percussion by guests Bosco and Vinnie Colaiuta make for one of the band’s most unique, wonderful album tracks to date.

“UMF”

Punchy and slick, here’s another piece of dated but fun ‘90s alternative pop. Simon’s lyrics border on cheese, but the band’s loose arrangement keeps the track bouncing.

“Femme Fatale”

A warm and faithful cover of The Velvet Underground’s signature ballad. Simon is no Nico (thank goodness), but Nick’s heaven bound keyboard textures make this a better cover version than anything on Thank You. Extra points for Le Bon’s “She’s a femme fataaaaaale!” over the outro.

“None Of The Above”

This anti-dogmatic, club ready dance rocker is the first of two punchy four on the floor numbers demonstrating the band’s new embrace of modern pop sounds while maintaining their early art pop roots. Warren’s guitar solo seals the deal around the 3:40 mark.

“Shelter”

Another pulsating, crushing dance track that screamed to be released a single. Simon’s vocals tip-toe seductively during the verses before exploding on the wham-bam choruses. Nick’s larger than life keyboard banging and John’s funk as all hell bass lines make this another overlooked Duran favorite.

“To Whom It May Concern”

Simon goes a little off the deep end lyrically (“You can try to pull us down with your pinstripe weasel stuff, but word travels in this town”), but this is a swaggering, fun dance rock stomp that provides the perfect segue into the album’s epic finale…

“Sin Of The City”

A sprawling array of urban violence and dense paranoia pervades through the album’s soaring albeit self-serious final track. Warren’s guitar lines smash and grind over John’s punchy walking bass lines, while Simon paints an evocative portrait of death of and confusion. A long ways from “Rio” or “All She Wants Is”, here Duran Duran set out to shed their teeny-bopping chains once and for all. While perhaps not as timeless as their 1983 breakthrough, The Wedding Album represents Duran Duran at a crucial creative crossroads and is rightly remembered as one of their best records to date.