Duran Duran (1993 album)

Template:Use British English Template:Use dmy datesTemplate:Infobox album Duran Duran, commonly referred to as The Wedding Album, is the seventh studio album and the second self-titled album by the English pop rock band Duran Duran, released on 15 February 1993 through Parlophone.

Background

By the early 1990s, Duran Duran's career appeared to be in decline.Template:Sfn Their 1990 album Liberty, despite debuting at number eight in the UK Albums Chart, quickly fell out of favour, struggling commercially and critically in both the UK and the US.Template:Sfn Singles such as "Violence of Summer (Love's Taking Over)" and "Serious" failed to make significant chart impacts, while much of the album's material was met with indifference or outright criticism from the press.Template:Sfn Reflecting on this period, band members Nick Rhodes and Simon Le Bon admitted to a lack of focus during the creation of Liberty, with Le Bon noting, "There were times when everyone in the band felt like giving up."Template:Sfn

After the commercial disappointment of Liberty, Duran Duran entered a period of uncertainty.Template:Sfn Drummer Sterling Campbell departed the band quietly, later joining Soul Asylum.Template:Sfn The remaining members faced personal and professional challenges: John Taylor struggled with his mental health, Rhodes was navigating a difficult marital breakup while caring for a young child, and Le Bon expressed a desire to escape to a quieter life by the sea.Template:Sfn In contrast, guitarist Warren Cuccurullo emerged as the driving force behind the band during this period.Template:Sfn Reflecting on his determination, Cuccurullo stated, "I was the hungriest. I wanted success. I wanted to go beyond where I had gone. All I had was my music."Template:Sfn He converted the living room of his house in Battersea, London, into a makeshift studio, which became the primary workspace for the band's next project.Template:Sfn Rhodes supported the idea, commenting that the space had a more inviting atmosphere compared to traditional studios.Template:Sfn

Development and recording

In January 1991, Duran Duran began work on their next album at Privacy Studios.<ref name="Buskin">Template:Cite magazine</ref> The home studio offered freedom from both the high costs of traditional facilities and the pressure of deadlines.<ref name="Lindores">Template:Cite web</ref> "We'd never recorded in a home studio before," recalled Taylor, noting that while the songwriting process remained largely the same as on previous projects, the relaxed setting meant they no longer had to "keep looking at the clock".<ref name="Buskin" /> Still, Taylor admitted that the lack of deadlines came with drawbacks. "Artists don't do well with time on their hands," he wrote, adding that without a fixed schedule, creative energy could wane.Template:Sfn Initial working titles for the project included Here Comes the Band and Four on the Floor,<ref name="Buskin" /><ref name="Lindores" /> the latter referencing their habit of sleeping at the studio after late-night sessions.<ref name="Lindores" />

At this stage, the band worked without a producer. Using sequencers, drum machines, synthesisers, and Cuccurullo's guitar rig, they began writing and jamming.<ref name="Buskin" /> Rhodes later recalled that they wrote continuously, sometimes producing interesting material, other times struggling to make progress. Le Bon noted that for the first time in the band's career, lyrics were entered into a PSION Organiser handheld computer and printed for studio use. Recordings were also made directly onto a hard drive, marking a shift toward digital production techniques.<ref name="Duran Duran Reflection">Template:Cite web</ref> EMI, the band's label, remained involved but adopted a more cautious approach. Rather than provide a large upfront advance, the label, under the new A&R head Nick Gatfield, opted to release funding incrementally, evaluating the band's songwriting progress on a monthly basis. According to Taylor, this marked the first time Duran Duran had been "tightly A&R'd".Template:SfnTemplate:SfnTemplate:Quotebox

After several months of initial writing, the producer and engineer John Jones was brought in to help shape the project and demo the band's ideas.<ref name="Buskin" /><ref name="Duran Duran Reflection" /> Jones had a prior history with the band, having first collaborated with them on the B-side "This Is How a Road Gets Made", released with the Big Thing (1988) single "Do You Believe in Shame?". He also contributed programming to the 1989 single "Burning the Ground" and Liberty.<ref name="Chiu">Template:Cite web</ref> Jones recalled that the band wanted both creative freedom and a way to avoid the expense of a traditional studio. They asked if recording in a living room was possible, and Jones replied that it was, and that they could at least begin with demos to see how far the approach would take them.<ref name="Buskin" />

Recording for Duran Duran began with a makeshift setup centered around an Akai MG1214 console with its built-in 12-track recorder. Studio monitors included AR Red Boxes and an Auratone, while each member worked from their own station: Cuccurullo's guitars and sequencers, Rhodes' keyboards, and Taylor's bass, all feeding into the system through Yamaha DMP7 mixers. Jones worked with an Atari computer running Notator sequencing software, using Akai S1000 and S900 samplers alongside a Roland D-50 synthesizer. For initial takes, the band recorded live together, each member equipped with a Shure SM58 microphone to communicate and capture rough vocals.<ref name="Buskin" />

The band's first goal was to demo about 15 songs, and although they had total creative control, it was felt the album should be made with input from the record company. After tracking "Ordinary World" and three other songs on the analogue 12-track, they transitioned to a more advanced system, bringing in two Akai ADAM digital 12-track recorders and a DDA DMR12 console.<ref name="Buskin" /> According to the album's liner notes, all songs were recorded on the Akai ADAM system through the DDA DMR12 desk.<ref name="Liner" /> According to Jones, the experience of playing together in a shared room was essential: the musicians often gathered around a single microphone in the center of the room, singing or clapping spontaneously, with Le Bon recording lead vocals in the same informal manner. Many of these early takes were retained for the final album, reflecting the group's desire to preserve the immediacy of their demos rather than polish away imperfections. Le Bon later explained that this approach marked a shift from the band's earlier preference for highly polished production: "We never used to like leaving rough edges on, but now that's changed."<ref name="Buskin" />

Between January and April 1991, the group wrote extensively, generating much of the material that would comprise the album. Le Bon later reflected that they had finally found "a rhythm of working and an attitude we have been aiming for since 1985". By July of that year, they had composed songs such as "Love Voodoo", "Sin of the City", "Too Much Information", "UMF", and "Ordinary World".Template:Sfn Taylor's idea to make the album dance music based resulted in "Drowning Man".<ref name="Duran Duran Reflection" /> "Sin of the City", reflects the band's decision to embrace rougher, less polished elements in their music. The song ends with an extended jam section that arose spontaneously during recording. According to Taylor, a drum machine pattern slipped out of sync while he and Cuccurullo were playing, prompting them to change key and continue improvising until they gradually stopped and set down their instruments. Rather than edit the passage, the band chose to keep the entire take, allowing the track to run until the drum program finished.<ref name="Buskin" />

"Breath After Breath" was a collaboration with the Brazilian singer Milton Nascimento. According to Jones, the track began as an instrumental demo created by himself and Cuccurullo. A cassette of the demo was sent to Nascimento, and after a period of silence, the band eventually received a tape in return containing his vocal ideas. Nascimento's contributions, which included melodies and vocal lines, impressed the band immediately. Without having heard Nascimento's recording, Le Bon had also written his own vocal parts. When Nascimento arrived in London, both artists recorded their sections on the same day. As Jones described it, the session captured "unbelievable magic".<ref name="Chiu" />

After a week's break in mid-1991Template:Sfn and some attempts to mix a couple of tracks on the newly acquired console, the band decided to move part of the process to a professional studio.<ref name="Buskin" /> Live drums, commissioned for "Ordinary World" and "Too Much Information", were recorded within a few hours at Maison Rouge Studios in South-West London by the drummer Steve Ferrone and the engineer Tony Taverner.<ref name="Buskin" /> In addition to the drum work, Rhodes and Jones finalised the string and keyboard arrangements for "Ordinary World" during sessions at Maison Rouge. Further refinements were made using the Akai DD1000 digital recorder, including amendments to the drums and acoustic guitar parts.<ref name="Buskin" /> A personal milestone near the end of 1991 would later influence the album's commonly used nickname. On Christmas Eve 1991, Taylor married Amanda de Cadenet. Jones referred to their wedding as a "shotgun wedding", a remark Taylor disliked. As a response, he named one of the instrumental tracks they were working on "Shotgun" saying it was "as if to say, 'And proud of it, you fucker.'" That indirectly led to the band naming the album The Wedding Album.Template:Sfn

In May 1992, Le Bon sustained an injury in a motorcycle accident in Dyfed, Wales. Rhodes recalled being horrified by the incident. During this time, the band explored additional recording ideas, including a cover of the Velvet Underground's "Femme Fatale", reportedly suggested by Frank Zappa through his friendship with Cuccurullo. The song was recorded in a grand, echoey style and was ultimately included on the album.Template:Sfn "Come Undone" was another late addition, conceived and recorded after Duran Duran was already complete in mid-1992. The song stands out as the only track on the album to which Taylor didn't contribute bass, as he already went home to Los Angeles.<ref name="Chiu" />Template:Sfn

Mixing

After the final additions made by Jones and Rhodes, mixing for "Ordinary World" was attempted by Steve MacMillion in the United States, by Jones and Dee Long in the United Kingdom, and by David Richards in Switzerland, but the results were not considered satisfactory. David Leonard was then brought in, and Jones later recalled that he did "a fantastic job". Leonard's mix was cut at London's Townhouse Studios, though the final release took an unexpected turn. While in London for The Freddie Mercury Tribute Concert, Richards revisited the track on his own initiative, producing a new mix that the band ultimately preferred and issued commercially.<ref name="Buskin" /> Richards' involvement extended beyond "Ordinary World". He mixed the majority of the album from Mountain Studios, a process Cuccurullo remembered as transformative, praising Richards for creating sonics that felt "like you'd taken drugs before having a listen".<ref name="Duran Duran Reflection" /><ref name="Liner" /> According to Cuccurullo, Richards was suggested by Taylor to do some mixing.<ref name="Duran Duran Reflection" /> Leonard's contributions also remained part of the album: he mixed "Drowning Man" and "Femme Fatale".<ref name="Liner" />

Composition

Musically, Duran Duran is a pop rock<ref name="Elliott" /> and dance-pop<ref name="Erlewine">Template:Cite web</ref><ref name="Wood" /> album that incorporates elements of rock, electronica, and experimental music.<ref name="Chiu" /> It was also widely noted for presenting a more mature and confident version of the band.Template:Sfn<ref name="Erlewine" /><ref name="Gerard">Template:Cite web</ref> Stephen Thomas Erlewine of AllMusic noted that although the group sounded "more relaxed and mature" than during its early-1980s peak, "not all that much has changed". Instead of the synth-driven dance-pop, the band delivered what he called "smooth dance pop for the '90s", which he considered as effective as their first three studio albums. The Independent described it as "an album of maturity and confidence",Template:Sfn a view echoed by Chris Gerard of Metro Weekly, who contrasted it with the uncertainty of Liberty.<ref name="Gerard" /> Andrea Odintz writing for Rolling Stone also remarked on the sense of evolution, noting that the album abandoned both the "computerized lustfulness" of Big Thing and the "generic soulfulness" of Liberty.<ref name="Odintz" />

The biographer Steve Malins emphasised the richness of its production, built on programmed beats but layered with organic textures. Taylor's bass was said to ground the songs with warmth, while Rhodes' keyboards played a reduced role, though his electric piano contributed a cinematic tone to the band's cover of "Femme Fatale". Malins noted Cuccurullo's prominent guitar work throughout, from the "dense, Fripp-like" textures of "Too Much Information" to the Brazilian-inspired acoustic instrumentation of "Breath After Breath". His playing was also cited as central to the ballads "Ordinary World" and "Come Undone", as well as the atmospheric textures of "Love Voodoo".Template:Sfn In The Philadelphia Inquirer, Sam Wood highlighted a lyrical transformation, observing that the "strings of ridiculous non sequiturs" in earlier hits like "The Reflex" and "Union of the Snake" were replaced by songs engaging with themes such as American decline, moral outrage at slumlords, and even criticism of MTV.<ref name="Wood" />

Songs

"Too Much Information" is a keyboard-propelled rock song,<ref name="UltimateClassicRock">Template:Cite web</ref> described by Malins as "classic Duran Duran—shiny, energetic, rowdy, plastic and full of great hooks". Lyrically, Malins pointed out its critique of "over-hyped, pop-trash culture", quoting the line “Destroyed by MTV/I hate to bite the hand that feeds/There's too much information." Taylor connected the song's theme to the glut of television and media, and Rhodes explained that its inspiration came in part from Gulf War coverage, which he described as an "immoral" trivialisation of real events.Template:Sfn David Chiu of Forbes placed the track in the context of a "pre-Internet commentary about mass media overload",<ref name="Chiu" /> while Bryan Reesman of American Songwriter summarised it as an "ode to advertising and media overload".<ref>Template:Cite web</ref> "Ordinary World" features acoustic guitars, keyboards, and sweeping strings, with a guitar solo near the end of the song written and arranged by Cuccurullo that reflected his progressive background.<ref name="Zaleski">Template:Cite web</ref> Lyrically, it is one of three Duran Duran songs in which Le Bon wrote about his friend David Miles, who died of a drug overdose in 1986.<ref name="Melchior">Template:Cite web</ref> "Love Voodoo" combines a slinky rhythm with a sharp rhyme scheme,<ref name="Odintz" /> underpinned by a descending chord progression in the verses and a prominent chorus.<ref name="Sinclair2">Template:Cite web</ref> Sinclair highlighted its "seductive melody", along with keyboard flourishes and a sparing acoustic guitar figure that adds lightness to the arrangement.<ref name="Sinclair">Template:Cite web</ref> Zaleski described the track as a "languid electro seduction",<ref name="UltimateClassicRock" /> while Rhodes characterised it as a "twisted love story", likening its mood to Kiss of the Spider Woman (1976).<ref name="Leas">Template:Cite web</ref>

"Drowning Man" is built around repetitive keyboards and sparse dance-oriented rhythms.<ref name="Odintz" /><ref name="musicweek" /> Critics described the track as drawing from techno,<ref name="Odintz" /> house, and trance,<ref name="Sinclair" /> as well as incorporating textures associated with the underground rave scene.<ref name="UltimateClassicRock" /> The 55-second segue "Shotgun",<ref name="Sinclair" /> featuring a Prince-inspired riff, leads into "Come Undone", a trip hop-inflected ballad.<ref name="Odintz" /><ref name="UltimateClassicRock" /> The song features watery keyboards, a circular guitar riff, and a laid-back drum loop. Le Bon delivered what Zaleski called one of his "most delicate and emotional vocal performances", singing lyrics he wrote for his wife, Yasmin Le Bon, imagery that reflects both vulnerability and tenderness. Tessa Niles contributes counter-singing that underpins the song's theme of "discovering a deep romantic connection with someone".<ref name="Zaleski2">Template:Cite web</ref> Her vocals provide a counterbalance during certain verses.<ref>Template:Cite web</ref> "Breath After Breath" is a ballad featuring Nascimento, who contributes vocals in Portuguese. The track has been described as romantic-sounding and samba-flavored,<ref name="Chiu" /><ref name="Wood" /> while also carrying a melancholic melodic lift reminiscent of A-ha.<ref name="Elliott">Template:Cite web</ref> "U.M.F." has been described as a Prince-like funk and R&B song.<ref name="UltimateClassicRock" /> According to Odintz, Rhodes, Taylor, and Cuccurullo mimic Prince's "calculated groove" while Le Bon adopts "the appropriate vocal nuances".<ref name="Odintz" /> Sinclair highlighted the track's witty lyric, its use of horns, whistling, and "oooh oooh" backing vocals, as well as its extended outro section.<ref name="Sinclair" />

"Femme Fatale", a cover of the Velvet Underground song, was given a dreamy and atmospheric treatment by Duran Duran. Malins noted that their version "relocated the song from the icy street hassle of New York into Los Angeles' glimmering Californian sunshine", while Zaleski described it as adding an element of introspection.Template:Sfn<ref name="UltimateClassicRock" /> "None of the Above" is an upbeat pop song with nimble guitar work.<ref name="UltimateClassicRock" /> The track begins with an a cappella chorus, followed by verses, a contrasting break, and a cracking chorus. Its arrangement also includes an extended guitar section by Cuccurullo toward the end of the song.<ref name="Sinclair" /> "Shelter" has been described as a "heavy-footed funk workout". It features prominent synthesisers that interrupt with urgency, leading Mark Elliott of Dig! to note that it is perhaps the only track on the album that might have been recorded during the band's mid-1980s peak. "To Whom It May Concern" carries a similar funk sound and takes the form of a chant-like protest song, with lyrics written by Rhodes that reference "some people" and "Mr. Bones."<ref name="Elliott" /><ref name="Sinclair" /> "Sin of the City" runs for more than seven minutes and features a compulsive vocal hook.<ref name="Elliott" /> The song's lyrics, written by Taylor, are about the Happy Land fire.Template:Sfn

Artwork

The sleeve of Duran Duran was designed by Nick Egan with Eric Roinestad. Its concept grew out of a chance encounter: Taylor had mentioned to the actor Billy Zane that the band was looking for Egan to design the cover, and Zane revealed that he and his wife Lisa were friends with him. Zane also told Taylor that Egan was in London at that very moment, which quickly led to a meeting at Taylor's house. There, Taylor outlined the band's idea of using photographs from their parents' weddings, a deliberate break from the elaborate photo shoots that had defined the band's earlier covers. Egan was convinced by the concept and felt it demonstrated Duran Duran's unpredictability and creativity. In approaching the design, Egan said his immediate concern was avoiding the kitsch qualities often found in wedding imagery, such as lace, confetti, and other traditional motifs. Instead, he turned to the work of the artist Robert Rauschenberg, who Egan said "laid seemingly random images on top of each other with the faintest hint of off register color as if the whole thing was screen printed". Drawing from this influence, Egan arranged the sepia-toned family wedding photographs into a collage. The final sleeve featured these images overlaid by a solitary gold Duran Duran logo.<ref name="Duran Duran Reflection" /><ref name=":72">Template:Cite web</ref>

Release

By mid-1992, Duran Duran had completed their new album and delivered it to Capitol Records.<ref name="Lindores" /> The album, however, was not immediately released. Taylor noted that this approach contrasted with EMI's past practice of releasing material as soon as it was completed.Template:Sfn According to Malins, their new management company Left Bank were struck by what they saw as Capitol's "unbelievable apathy" towards the band and advised postponing the project until 1993, a move also influenced by Rhodes' ongoing divorce proceedings.Template:Sfn Mark Lindores of Classic Pop writes that Capitol themselves were hesitant to prioritise Duran Duran, choosing instead to focus on other acts; promotional cassettes with an alternate track list, featuring future B-sides "Time For Temptation" and "Stop Dead", were sent to media outlets and record stores before being revoked.<ref name="Lindores" />

In mid-August 1992, Radio & Records reported that a Tampa radio station had received a cease and desist order after playing Duran Duran's forthcoming single "Ordinary World" ahead of its official release. To bypass the restriction, program director Jay Taylor created a "Q105 Duran Duran Listen-Line", which he said logged hundreds of calls per day.<ref>Template:Cite magazine</ref> Zaleski later described the incident as an early indication of strong interest in the song.<ref name="Zaleski" /> According to Malins, near the end of 1992, Capitol themselves circulated "Ordinary World" to select US radio stations roughly three months before its planned release date, with DJs reportedly receiving hundreds of requests within the first day.Template:Sfn The label subsequently rush-released the single on 19 December 1992.Template:Sfn<ref name="Zaleski" /> It reached number three on the Billboard Hot 100 and number six on the UK Singles Chart following its release in the UK by EMI and Parlophone on 18 January 1993.<ref>Template:Cite web</ref><ref name="OrdinaryWorldUK">Template:Cite web</ref><ref name="ukrel">Template:Cite magazine</ref>

In advance of Duran Duran's release, Music Week reported that Parlophone was "pulling out all the stops" to support the album. The label mounted a television campaign aimed at women over 25, described as "grown-up Duranies", and coordinated a range of promotional activity. Advertising included a full-page colour placement in Sky magazine, a half-page in Hello!, and further ads in the Daily Mirror, Daily Mail, and Time Out in cooperation with Tower Records. A one-week regional TV campaign was also planned, alongside poster displays at British Rail sites from March. In-store promotion featured point-of-sale materials such as posters and name boards at fifty independent retailers, while Virgin showcased the album on listening posts. Tower Records committed to window displays, and both HMV and Our Price gave the release prominent space in their stores. At the time of the campaign, "Ordinary World" was already on the charts, and "Come Undone" was scheduled as the follow-up single for 22 March 1993.<ref name="musicweek" />

Duran Duran was released on 15 February 1993Template:Efn in the UK by Parlophone and on 23 February in the US by Capitol.<ref name="Erlewine" /> In the UK, the album debuted and peaked at number four, remaining on the UK Albums Chart for 23 weeks.<ref>Template:Cite web</ref> In the US, it entered and peaked at number seven the following month and stayed on the Billboard 200 for 47 weeks.<ref>Template:Cite magazine</ref> According to Malins, the album remained in the US Top Twenty for five months.Template:Sfn Zaleski noted that the record marked Duran Duran's first Top Ten US record since the 1984 live album Arena.<ref name="UltimateClassicRock" /> In the UK, it was awarded Silver status by the British Phonographic Industry (BPI) on 1 March 1993 for sales exceeding 60,000, and Gold on 1 April for sales surpassing 100,000.<ref name="BPI" /> In the US, the Recording Industry Association of America (RIAA) certified the album Platinum on 18 June 1993 for sales of more than one million.<ref name="RIAA" /> Malins further records that the album was awarded additional platinum discs in South America and across the Far East, generating total global sales of around five million.Template:Sfn

"Come Undone" was released as the second single on 29 March 1993.<ref>Template:Cite magazine</ref> The accompanying music video was directed by the filmmaker Julien Temple and produced by Kirstyn Symes for Nitrate Films. Much of the video was shot on location in Los Angeles, with a key sequence filmed overnight in the aquarium at London Zoo.<ref>Template:Cite magazine</ref> Commercially, "Come Undone" peaked at number 13 in the UK and number ten in the US.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> According to Sinclair, its performance helped push Duran Duran back up the charts worldwide.<ref name="Sinclair" /> Zaleski similarly observed that the single demonstrated the triumph of "Ordinary World" was not a one-off.<ref name="Zaleski2" />

"Too Much Information" was released as the third single on 23 August 1993.<ref name="MW1">Template:Cite magazine</ref> Its accompanying music video, directed by Egan and produced by Larry Perel for Satellite Films, was issued earlier on 5 July 1993. The video featured the band performing on the rooftop of the Capitol Tower in Los Angeles.<ref>Template:Cite magazine</ref> Commercially, the single did not match the success of its predecessors. It peaked at number 35 in the UK and stalled at number 45 in the US.<ref>Template:Cite web</ref><ref>Template:Cite web</ref> Malins later noted that this suggested fans preferred the softer balladry of "Ordinary World" and "Come Undone" to the new single's more "swaggering, slightly tongue-in-cheek" tone. In response, Capitol briefly considered following it with a cover of the Velvet Underground's "Femme Fatale", complete with an androgynous-styled video by the photographer Ellen von Unwerth. However, the plan was abandoned after "Too Much Information" lost radio momentum, effectively ending the album's single campaign.Template:Sfn Reflecting on this Sinclair argued that choosing "Too Much Information" as the third single was "a big mistake — the first mistake in what was, until that point, a flawless campaign".<ref name="Sinclair" />

Other releases

In addition to the three main singles, several other tracks from Duran Duran saw limited or regional release. According to Sinclair, "Breath After Breath" was considered "commercial enough" for a video to be made, and there were hints at one point that it might be released as a fourth single.<ref name="Sinclair" /> As Malins notes, the video included some footage filmed at the Iguacu Falls on the border of Argentina and Brazil.Template:Sfn Despite this, the track was never issued commercially as a single.<ref name="Sinclair" /> "Drowning Man" was released as a single in the US in 1993.<ref name="Sinclair" /><ref name="Sinclair3">Template:Cite web</ref> It only reached number 40 on Billboard's Dance Club Songs chart.<ref name="Billboard">Template:Cite web</ref> In France, "Femme Fatale" was released as a single in 1993,<ref name="DuranDuranLiner2">Template:Cite AV media notes</ref> and in Japan, "None of the Above" was released as a single in 1994.<ref name="Liner2">Template:Cite AV media notes</ref><ref name="Sinclair3" /> In addition to these singles, a two-CD special edition of Duran Duran was released in late 1993, featuring the non-album B-sides "Falling Angel", "Time For Temptation", and "Stop Dead". EMI did not release any of these tracks on UK singles at the time, meaning they did not become available in the country until this special edition.<ref name="Sinclair" />

Critical reception

Template:Music ratings Duran Duran received mixed reviews upon its release, with opinions reflecting on the band's attempt at a comeback. Sam Wood of the Philadelphia Inquirer described the album as a potential "second coming of the Duranies", praising the shift toward "pop respectability" with tracks like the ballad "Ordinary World".<ref name="Wood" /> He commended the thematic maturity of the lyrics, the inclusion of Brazilian artist Milton Nascimento on "Breath After Breath," and the album's strong dance-pop influences, likening its quality to 1986's Notorious.<ref name="Wood" /> Alan Jones of Music Week offered a positive assessment, giving the album four out of five stars.<ref name="musicweek" /> He noted that the band had put considerable thought and care into the album's production, highlighting its diversity.<ref name="musicweek" /> He concluded that the album demonstrated unexpected strength and affirmed that Duran Duran remained "a force to be reckoned with."<ref name="musicweek" />

In contrast, Jim Farber of Entertainment Weekly gave the album a "D" rating, criticising its production as "overproduced" and the songwriting as lacking the memorable melodies of the band's earlier work.<ref name="EntertainmentWeekly" /> He described "Ordinary World" as a weaker derivative of its influences and singled out the cover of the Velvet Underground's "Femme Fatale" and the collaboration with Nascimento as ineffective.<ref name="EntertainmentWeekly" /> Dave Obee of the Calgary Herald observed that the band struggled to distance themselves from their 1980s success while attempting to reconnect with audiences.<ref name="CalgaryHerald" /> He noted their influential role in the music industry but remarked on the challenge of maintaining relevance.<ref name="CalgaryHerald" /> Similarly, Clark Collis of Select acknowledged the success of singles like "Ordinary World" but criticised the album for inconsistent quality and a lack of innovation, suggesting that it rarely matched the high points of its standout tracks.<ref name="Select" />

Retrospective assessments

Template:Music ratingsRetrospective reviews of Duran Duran have been mixed, with critics reflecting on the album's strengths and its place in the band's career. Stephen Thomas Erlewine of AllMusic praised the album for blending Duran Duran's classic style with a more mature approach, describing it as a successful adaptation to the 1990s music landscape.<ref name="Erlewine" /> He highlighted "Ordinary World" and "Come Undone" as standout tracks, calling them "wonderful pop singles", but noted weaker moments, such as the cover of the Velvet Underground's "Femme Fatale".<ref name="Erlewine" />

Andrea Odintz of Rolling Stone offered a more reserved perspective.<ref name="Odintz" /> She acknowledged the band's effort to evolve by incorporating elements of Prince and techno but felt the album was more compelling when the band leaned on their own distinctive style.<ref name="Odintz" /> While she praised "Ordinary World" for its spiritual qualities, Odintz criticized some tracks for following contemporary trends too closely and suggested that the album was uneven in quality compared to their earlier successes.<ref name="Odintz" />

Personnel

Adapted from the album's liner notes.<ref name="Liner">Template:Cite AV media notes</ref>

Duran Duran

• Simon Le Bon – lead vocals
• Warren Cuccurullo – acoustic and electric guitars
• Nick Rhodes – keyboards
• John Taylor – bass guitar (except track 6)

Additional musicians

• John Jones – programming, engineer, keyboards, drums (all tracks except 1, 2, 7 and 9), bass (track 6)
• Milton Nascimento – vocals (track 7)
• Steve Ferrone – drums (tracks 1 and 2), percussion (track 10)
• Vinnie Colaiuta – drums (track 7 and "Falling Angel")
• Dee Long – additional keyboards (track 11)
• Bosco – percussion (track 7)
• Lamya – backing vocals (track 3)
• Tessa Niles – backing vocals (track 6)
• Karen Hendrix – vocal samples (track 4)
• Jack Merigg – vocal samples (track 4)

Production

• Duran Duran – production (all tracks), mixing (track 5)
• John Jones – production (all tracks), engineering (all tracks except track 9), sub-mixing, mixing (track 5)
• Tony Taverner – live drum session engineering (tracks 1, 2, 7, and 9)
• Stuart Every – assistant live drum session engineer (tracks 1, 2, and 7)
• David Richards – mixing (tracks 1–3, 6–8, and 10–13)
• David Leonard – mixing (tracks 4 and 9)
• Kevin Metcalfe – mastering

Charts

Weekly charts

Template:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chartTemplate:Album chart

Weekly chart performance for Duran Duran

Chart (1993)	Peak position
European Albums (Music & Media)<ref>Template:Cite magazine</ref>	13
Finnish Albums (Suomen virallinen lista)<ref>Template:Cite book</ref>	18
French Albums (IFOP)<ref>Template:Cite web Select "DURAN DURAN" from the drop-down menu and click "OK".</ref>	32
Greek Albums (IFPI)<ref name="MM-1993-03-13">Template:Cite magazine</ref>	9
Italian Albums (Musica e dischi)<ref name="MM-1993-03-13"/>	6
Japanese Albums (Oricon)<ref>Template:Cite web</ref>	24
Portuguese Albums (AFP)<ref name="MM-1993-03-13"/>	9
US Billboard 200<ref name="billboard200">Template:Cite magazine</ref>	7

Year-end charts

Year-end chart performance for Duran Duran

Chart (1993)	Position
Canada Top Albums/CDs (RPM)<ref>Template:Cite magazine</ref>	23
European Albums (Music & Media)<ref>Template:Cite magazine</ref>	35
German Albums (Offizielle Top 100)<ref>Template:Cite web</ref>	79
UK Albums (OCC)<ref>Template:Cite magazine</ref>	50
US Billboard 200<ref>Template:Cite magazine</ref>	48

Release history

Release history for Duran Duran

Country	Date	Label	Format(s)	Catalogue number
Europe	15 February 1993	Parlophone	CD	CDDDB 34<ref name="musicweek" />
United Kingdom			Cassette	TCDDB 34<ref name="musicweek" />
			LP	DDB 34<ref name="musicweek" />

References

Sources

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External links

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