Duran Duran. The name conjures images of screaming fans, iconic music videos, and a string of chart-topping hits that defined the sound of the 1980s. Songs like “Rio,” “Hungry Like the Wolf,” and “The Reflex” are undeniably cornerstones of pop culture, instantly recognizable and endlessly playable. But to define Duran Duran solely by these mainstream successes is to miss a vast and fascinating landscape of musical artistry. For those willing to venture beyond the well-trodden paths of their greatest hits, a treasure trove of deep cuts awaits, revealing the band’s true breadth, innovation, and willingness to experiment.
While their stadium anthems cemented their place in music history, Duran Duran’s albums are rich with tracks that showcase their diverse musical palette. They were never confined to the synth-pop label often attached to them. Dig deeper, and you’ll uncover explorations into art rock, house rhythms, Latin influences, atmospheric pop soundscapes, and even funk-infused grooves. This willingness to push boundaries, even when it led to occasional missteps, is a testament to their creative spirit and their evolution as artists.
This curated journey, presented as a two-disc exploration, delves into some of the lesser-known gems within Duran Duran’s extensive discography. These are personal favorites, and in some cases, spotlighted remixes, that offer a different perspective on the band’s musical journey. Presented chronologically, this selection aims to illuminate the evolution of their sound from their early days to their later works. While some may quibble with omissions – and personal preferences are always subjective – this collection stands as a testament to the depth and enduring appeal of Duran Duran’s music, far beyond their most famous Duran Duran Hit Songs.
Disc One: The Wonder Years (1981-1987)
“Sound of Thunder” – Duran Duran
What better way to commence an exploration of Duran Duran’s deep cuts than with a track that subtly nods to their origins? “Sound of Thunder,” the opening track from their self-titled debut album, begins with a flanged keyboard riff that echoes the iconic “Planet Earth,” the song that launched their career. However, “Sound of Thunder” quickly establishes its own distinct mood. While retaining a compelling groove, it possesses a darker, more introspective atmosphere compared to the sunny optimism of “Planet Earth.” John Taylor’s basslines are immediately prominent, showcasing his musicality, and contributing to the song’s moody yet danceable character. The album artwork hinted at hidden meanings within the bolded words “Earth,” “Memories,” and “Thunder,” but as the band revealed, this was purely coincidental, adding to the mystique surrounding this early track.
“Friends of Mine” – Duran Duran
Lyrically, “Friends of Mine” might not represent Simon Le Bon’s most sophisticated work (“The water’s running cold / It’s time that you were told, I think you’re growing old”). However, the chorus of this track from their debut album possesses an undeniable soaring quality. For years, the name “Georgie Davies,” mentioned in the chorus, sparked curiosity. Was he a fashion figure, akin to Nick Kent name-checked by Adam Ant? The reality was less glamorous; Georgie Davies was a man wrongly imprisoned and then re-incarcerated. Despite the somewhat mundane lyrical inspiration, “Friends of Mine” stands out for its powerful chorus and energetic delivery, a testament to the band’s early songwriting strengths.
“Tel Aviv” – Duran Duran
Duran Duran has occasionally ventured into instrumental territory throughout their career, with tracks like “Tiger Tiger,” “Lake Shore Driving,” and Arcadia’s “Rose Arcana.” Yet, their first instrumental piece, “Tel Aviv,” remains arguably their most compelling. Simon Le Bon’s vocals are present, but they are ethereal, almost detached, like a distant transmission woven into the music. This track truly belongs to Nick Rhodes and Andy Taylor. Nick’s keyboards dominate, creating a swirling, atmospheric soundscape, from the string-like textures to the robotic opening motif. Andy Taylor’s guitar work is equally crucial, weaving in and out of the keyboard layers. John Taylor’s presence is less distinct, perhaps intentionally, allowing the interplay between Rhodes and Taylor to take center stage in this atmospheric and innovative instrumental.
“Hold Back the Rain (Remix)” – Night Versions
Securing this specific remix of “Hold Back the Rain” might require some dedicated searching on platforms like eBay, but for enthusiasts, the effort is worthwhile. Numerous versions of this song exist, but this particular remix, expertly crafted by David Kershenbaum, is exceptional. “Hold Back the Rain” already effectively blended dance and rock elements, and Kershenbaum’s remix amplifies this dynamic. The driving keyboard line is intensified, the guitar chords become more powerful, and the drum track is elevated, injecting a surge of energy. The chorus is already a highlight of Duran Duran’s songwriting, and this remix further enhances it with Beach Boys-esque backing vocals. While the remix on the “Strange Behavior” compilation is a decent alternative, the David Kershenbaum “Night Versions” mix is the definitive experience for those seeking the ultimate rendition of this track.
“Lonely in Your Nightmare (David Kershenbaum mix)” – Rio
This inclusion is a deep dive for serious Duran Duran fans, as this definitive mix of “Lonely in Your Nightmare” has never been officially released on CD. It exists as a rare cassette-era gem, last issued on US cassette re-releases of “Rio” following the breakthrough success of “Hungry like the Wolf.” Even finding a digital copy can be challenging, and even those may suffer from imperfections. The differences between this mix and the standard “Rio” album version are subtle yet impactful. Kershenbaum’s mix adds percussion in the chorus and extends the outro, enriching the song’s texture and emotional depth. Already a strong mid-tempo ballad and an early example of Duran Duran’s versatility, Kershenbaum’s touch elevates “Lonely in Your Nightmare” to another level. John Taylor’s fretless bass work is also more pronounced in this mix, adding another layer of sophistication to this elusive and cherished version.
“New Religion” – Rio
The second half of the “Rio” album, or “Side Two” as it was known on vinyl, remains a peak moment in Duran Duran’s discography, and this selection includes all four tracks from that side. “New Religion” exemplifies Duran Duran as a collaborative unit, where no single member overshadows the others. Nick Rhodes creates an atmospheric intro and icy synth lines that punctuate the verses. Andy Taylor contributes both sharp riffs and Nile Rodgers-esque scratch guitar rhythms. John Taylor delivers a memorable bassline with a clever twist in the song’s break. Simon Le Bon’s vocals are at their most intricate, layering multiple parts. Roger Taylor’s drumming provides a solid foundation, adding impactful fills at key moments. “New Religion” is a masterclass in band interplay, showcasing the collective creativity that defined Duran Duran at their peak.
“Last Chance on the Stairway” – Rio
Prepare to be captivated by the bassline in “Last Chance on the Stairway.” While “Rolling Stone” magazine jokingly awarded John Taylor “Best Bass Player” (or “Best Face”) awards, his musical talent is undeniable. Pin-up idol status aside, Taylor is a truly gifted bassist. The second and third verses feature a striking vocal performance from Simon Le Bon, holding a single note across chord changes, creating a haunting effect. The song’s break is also noteworthy, featuring a glockenspiel solo from Nick Rhodes before Andy Taylor unleashes a concise but impactful guitar solo. “Last Chance on the Stairway” is a showcase of individual brilliance within a cohesive band performance, highlighting the depth of talent within Duran Duran.
“The Chauffeur” – Rio
Perhaps the most recognizable “deep cut” on this list, “The Chauffeur” is nonetheless essential. Nick Rhodes is the driving force behind this track, starting with the iconic climbing keyboard riff and syncopated percussion. Simon Le Bon’s vocal melody is equally distinctive, cascading downwards in the chorus, creating a compelling contrast. John Taylor’s bassline is vintage, featuring octave jumps that add to the song’s rhythmic complexity. Andy Taylor’s contribution might be less overt, perhaps adding subtle textures or even the flute-like sound heard in the third verse. If you were to survey Duran Duran fans about their favorite songs, “The Chauffeur” would likely appear on almost every list. It’s a quintessential Duran Duran track, showcasing their atmospheric sound and sophisticated songwriting.
“Make Me Smile (Come Up and See Me)” – The Singles Box 1986-1995
Originally a Cockney Rebel hit, this cover version by Duran Duran was initially released on the import 12″ single for “The Reflex” and later appeared on the “Threesome” movie soundtrack. Recorded during the “Rio” tour in 1983, it represents a fascinating reinterpretation. The first verse and chorus are transformed into a torch song, imbued with a melancholic atmosphere. Then, the track explodes into high-energy dance rock. Andy Taylor’s blistering guitar solo is a standout, foreshadowing his later hard rock inclinations with The Power Station. Adding further intrigue, Steve Harley, the original singer of Cockney Rebel, contributed backing vocals to this Duran Duran rendition, creating a unique cross-generational musical moment.
“Secret Oktober” – The Singles Box 1981-1985
If “Make Me Smile (Come Up and See Me)” hinted at the raw energy of The Power Station, “Secret Oktober,” the B-side to “Union of the Snake,” served as a precursor to the sophisticated sound of Arcadia. Recorded in a late-night session by Simon Le Bon and Nick Rhodes, “Secret Oktober” features a chugging, cowbell-driven percussion track and a seductive vocal performance from Simon. His harmony vocals in the verses are unusually low, venturing into a Robert Palmer-esque register. The track’s ornate yet sparse arrangement stands in stark contrast to the heavily produced A-side, “Union of the Snake.” “Secret Oktober” reveals the band’s ability to create nuanced and atmospheric music even within the B-side format.
“Shadows on Your Side” – Seven and the Ragged Tiger
“Seven and the Ragged Tiger” is known for Simon Le Bon’s distinctive yelping vocal style, particularly on tracks like “(I’m Looking for) Cracks in the Pavement” and “I Take the Dice.” “Shadows on Your Side,” however, keeps the vocal histrionics more restrained and delivers a powerful, darker edge often overlooked in Duran Duran’s mainstream image. A charging minor-key rocker, the song features an eerie, harmonica-driven outro, highlighting the band’s capacity for exploring darker sonic territories. “Shadows on Your Side” serves as a potent reminder that beneath the polished pop surface, Duran Duran’s music often contained a more complex and shadowy undercurrent.
“Harvest for the World” – The Power Station, The Power Station
A detour into side projects is warranted, and The Power Station’s rendition of “Harvest for the World” is a prime example. While recording a cover of T. Rex’s “Bang a Gong (Get It On),” John Taylor, Andy Taylor, Robert Palmer, and Tony Thompson also tackled this Isley Brothers classic with equal enthusiasm but a more restrained approach. Andy Taylor even takes on lead vocals for the first time, perhaps fueling his subsequent solo career. Tragically, Robert Palmer, Tony Thompson, and producer Bernard Edwards, all integral to The Power Station project, passed away prematurely between 1996 and 2003, underscoring the fleeting nature of musical collaborations and the fragility of life. “Harvest for the World” remains a poignant and powerful testament to their collective talent.
“Keep Me in the Dark” – Arcadia, So Red the Rose
If “New Moon on Monday” was Nick Rhodes and Simon Le Bon’s homage to Roxy Music, “Keep Me in the Dark” felt like a full-fledged marriage proposal. Evoking the sophisticated sound of “Avalon” produced by Trevor Horn, “Keep Me in the Dark” possesses a smooth, polished groove. Intriguingly, the chord progressions in the verses of “Keep Me in the Dark” and “New Moon on Monday” are strikingly similar, suggesting a deliberate musical connection. Despite Simon Le Bon later dismissing “So Red the Rose” as overly pompous, “Keep Me in the Dark” and the album itself contain moments of genuine artistry and sophisticated pop craftsmanship.
“Hold Me” – Notorious
“Notorious” as an album is surprisingly dark and introspective, reflecting the band’s internal tensions and lineup changes during its creation. Beyond the three hit singles – “Notorious,” “Skin Trade,” and “Meet El Presidente” – the album delves into down-tempo, minor-key territories. Even “Hold Me,” while possessing an upbeat tempo, is rooted in a minor key. Once the driving kick-snare rhythm kicks in, the song takes off, propelled by a catchy, almost minimalist chorus melody reminiscent of “Last Chance on the Stairway” – proving that sometimes, simplicity is key to creating memorable hooks.
“We Need You” – The Singles Box 1986-1995
The B-side to “Skin Trade,” “We Need You,” has an interesting backstory. According to sources, it was recorded by Simon Le Bon, Nick Rhodes, and John Taylor while waiting for Andy Taylor to arrive at a recording session. This impromptu origin might explain the subtle, Beatlesque guitar work, a departure from Andy Taylor’s Power Station-influenced style on the “Notorious” album track “American Science.” The melody is strong, even if the lyric “I refuse to take you down, or shake you down” coincidentally echoed Gregory Abbott’s R&B hit “Shake You Down,” released around the same time. Whether this was a coincidence or a subtle nod remains a mystery, adding to the song’s intriguing charm.
“Meet El Beat” – The Singles Box 1986-1995
A notable moment in remix history, “Meet El Beat” is a dub mix of “Meet El Presidente,” the third single from “Notorious.” While technically a remix, it’s included here as a fascinating example of remixing in the mid-1980s. Unlike contemporary remixes, which often focus on adding rhythmic elements, 80s remixers aimed to create versions that were both danceable in clubs and engaging for home listening. Pioneers like Arthur Baker and John Robie experimented with sequencers and radical edits. However, “Oh Oh” Omar Santana took Mark Berry’s Latin-flavored mixes of “Meet El Presidente” and essentially deconstructed them, creating a truly unique and groundbreaking dub version. Santana’s remix work on “Meet El Beat” is a testament to the artistry and innovation of 80s remix culture.
Disc Two: “Who do you love, when you come undone?”
The period following “Notorious” marked a more inconsistent phase for Duran Duran. Their album releases seemed to follow a “Star Trek” pattern – good album, bad album. “Big Thing”: good. “Liberty”: bad. “The Wedding Album”: good. “Thank You”: very, very bad. Despite this fluctuating quality, each album still contained worthwhile moments, and even the singles offered hidden gems.
“I Believe/All I Need to Know (Medley)” – The Singles Box 1986-1995
Released as the B-side to “All She Wants Is,” “I Believe/All I Need to Know (Medley)” is a somewhat enigmatic track. Its title suggests a medley of two incomplete songs, and while the exact origins remain unclear, the song flows seamlessly. It avoids jarring transitions, unlike some medleys. Simon Le Bon returns to playing harmonica, and the chorus evokes a subtle Zombies-esque vibe, reminiscent of “She’s Not There,” adding to its nostalgic charm.
“Land” – Big Thing
“Land,” from “Big Thing,” possesses a disarming simplicity that is hard to resist. It’s almost a mirror image of “The Seventh Stranger,” the more overwrought ballad from “Seven and the Ragged Tiger.” In “Land,” less is definitely more. The verse and bridge sections are built on just five chords, and the instrumentation and Simon Le Bon’s vocal delivery are minimalist. Nick Rhodes’ keyboards create a wave-like texture in the verses, and the acoustic guitar solo was a first for the band. “Land” stands apart in Duran Duran’s catalog, a testament to their ability to create impactful music through understated arrangements.
“Burning the Ground” – Decade
Technically ineligible as it was released as a single, “Burning the Ground,” from the “Decade” compilation, is included due to its relative obscurity in the US. It’s a clever mashup of Duran Duran’s biggest hits, combining the “Rio” bassline with the “Wild Boys” drum track, incorporating elements from “Girls on Film,” “Planet Earth,” and “The Reflex.” Almost every song from the “Decade” album is referenced, except for “Skin Trade” (whose trumpet solo was featured in the B-side house mix, “Decadance”). The accompanying music video is equally impressive, making “Burning the Ground” a unique and celebratory retrospective of Duran Duran’s first decade.
“Read My Lips” – Liberty
Despite earlier claims, “Liberty,” not “Seven and the Ragged Tiger” or “So Red the Rose,” is arguably Duran Duran’s most overproduced album. Producer Chris Kimsey, known for his work with the Rolling Stones and Marillion, layered the album with overdubs to an extreme degree. The snare drum in the intro features different pitches on each hit, Warren Cuccurullo’s guitar solo is split into different channels, and the bridge is a dense collage of keyboard riffs. Beneath this overwhelming production, “Read My Lips” itself isn’t far removed from earlier Duran Duran tracks like “My Own Way,” leaving one to wonder what a more restrained production approach, perhaps by Colin Thurston, could have revealed.
“My Antarctica” – Liberty
“My Antarctica” stands in stark contrast to the sonic excess of “Read My Lips” and much of “Liberty.” The drum track is understated, the primary keyboard is piano-based. Perhaps a spiritual successor to “Big Thing” track “Too Late Marlene,” “My Antarctica” offers a welcome respite after the production overload of the album’s opening tracks. This simple ballad showcases a different side of Duran Duran, proving their ability to create compelling music even with stripped-down arrangements.
“Yo Bad Azizi” – The Singles Box 1986-1995
A notable moment of creative uncertainty, “Yo Bad Azizi,” the B-side to “Serious,” from “Liberty,” feels like a thinly veiled update of an earlier Duran Duran hit. (Adding “as a nuclear war” after the title hints at the connection to “Rio”). It suggests a period where the band was lacking original material and direction, resorting to retooling past successes to maintain relevance. While “Yo Bad Azizi” is fun and energetic, it also hints at a creative dry spell, even as Warren Cuccurullo delivers a guitar solo that Andy Taylor might have envied.
“Save a Prayer (Thunder in Our Hearts Mix)” – Retro: Active, Vol. 3 – Rare and Remixed
This remix of “Save a Prayer” is a true hidden gem, requiring dedication to find, but rewarding in its transformative beauty. Credit goes to DJ Paul MacDonald for bringing this mix to light. Paul MacDonald stripped away the drums and bass from the original “Save a Prayer” and replaced them with tasteful drum programming and an orchestra. Adding a vocal snippet from Kate Bush’s “Hello Earth,” this remix elevates “Save a Prayer” to a majestic and emotionally resonant experience, forever altering how one might hear the original album version.
“Drowning Man” – Duran Duran 2 (a.k.a. The Wedding Album)
Duran Duran’s initial foray into house music, “All Along the Water” from “Liberty,” was unsuccessful. However, they fared much better with “Drowning Man,” from “The Wedding Album.” This track is a critique of America, with lyrics referencing “Uncle Sam.” Nick Rhodes utilizes sampling effectively, turning a grunt from Simon Le Bon into a percussive element and creating a chain-gang chorus from the word “Na.” The intro’s “oooh-oooh” sound bears a resemblance to Jesus Jones’ “Real Real Real,” adding an element of contemporary musical referencing.
“Breath after Breath” – Duran Duran 2 (a.k.a. The Wedding Album)
“Breath after Breath” is a stunning track and a personal Duran Duran favorite. This duet with Brazilian singer Milton Nascimento marked a radical departure into Latin music, a surprising move considering their new wave origins. This stylistic shift coincided with a period where expectations for Duran Duran’s sound were lower, allowing for greater creative freedom. It was also their first significant guest collaboration, and the band wisely allowed Milton Nascimento’s tenor vocals to take center stage. “Breath after Breath” showcases Duran Duran’s willingness to embrace new musical territories and collaborate with diverse artists.
“UMF” – Duran Duran 2 (a.k.a. The Wedding Album)
Duran Duran’s previous Prince-inspired track, “Skin Trade,” was a highlight of their catalog. “UMF,” from “The Wedding Album,” revisits this influence. Simon Le Bon embraces the white-boy funk groove, singing about themes of seduction and restraint. Despite its club-ready potential and strong Prince-esque vibe, “UMF” was surprisingly not released as a single or remixed, a missed opportunity as it likely would have resonated more than “Too Much Information.”
“The Needle and the Damage Done” – The Singles Box 1986-1995
Duran Duran’s covers album, “Thank You,” is widely considered one of their weakest releases. Despite this, their cover of Neil Young’s “The Needle and the Damage Done,” included as a B-side to “Perfect Day,” is surprisingly well-executed. It’s arguably better than most tracks on “Thank You” itself. Why this superior cover was relegated to B-side status while lesser tracks populated the album remains a questionable decision, reflecting the band’s sometimes erratic decision-making during this period.
“Big Bang Generation” – Medazzaland
Released in 1997, “Medazzaland” arrived in a music landscape dominated by ska and electronica, and consequently, it was largely overlooked. However, “Medazzaland” is a stronger album than its commercial reception suggests. A bionic “Big Thing” of sorts, it’s filled with tension and conflict, which ironically fueled creative experimentation. “Big Bang Generation,” with its heavy beat, evokes a Happy Mondays vibe, albeit after a long period of excess. John Taylor’s departure during recording is noticeable in the prevalence of electronic basslines, which, in this case, complement the album’s overall aesthetic.
“Buried in the Sand” – Medazzaland
“Buried in the Sand” features cryptic lyrics that may or may not be about John Taylor. The lines “I’m glad that you came along, and so the journey ends / I say goodbye to you, my very dear friend / You were buried in the sand,” sung in the last verse, could be interpreted as allusions to John Taylor’s struggles with substance abuse at the time. Regardless of lyrical interpretation, the song’s unusual 6/4 time signature creates a compelling and distinctive rhythmic foundation.
“Midnight Sun” – Medazzaland
“Midnight Sun” continues the lyrical ambiguity, potentially referencing John Taylor again. The lines “There are times I look at you differently, like I’ve never seen you before / Funny, after all we’ve done, you could be someone I don’t know at all,” penned by Nick Rhodes, hint at the changing dynamics within the band. The dark lyrics are matched by an equally somber track, with a lumbering drumbeat reflecting the band’s internal frustrations. However, the closing line, “I’ll always know how to find you / ‘cause you shine like the midnight sun,” offers a glimmer of hope amidst the darkness. When questioned about the lyrics, John Taylor’s dismissive response, “Who gives a shit?”, further obscures the song’s intended meaning.
“Pop Trash Movie” – Pop Trash
“Pop Trash Movie” is a widescreen ballad originally intended for Blondie’s 1999 comeback album “No Exit.” Written by Nick Rhodes and Warren Cuccurullo, strained relationships with EMI led them to keep the track for Duran Duran’s “Pop Trash” album, their first release outside of EMI. While “Pop Trash Movie” is a standout on an otherwise weak album, Debbie Harry’s vocals on this track would have been a truly compelling collaboration.
“Nice” – Astronaut
“Nice,” finally released as a single in 2006, nearly two years after the “Astronaut” album, is a strong track that recalls Duran Duran’s “wonder years.” John Taylor’s octave-jumping basslines are back, Andy Taylor alternates between scratchy rhythm guitar and powerful chords, and Simon Le Bon delivers an instantly memorable chorus melody. With Duran Duran’s subsequent album described as a back-to-basics effort, “Nice” offered a promising glimpse of a return to form, fulfilling the promise of more songs in this vein.
This journey through Duran Duran’s deep cuts reveals a band far more nuanced and adventurous than their mainstream hits alone might suggest. From experimental instrumentals to unexpected genre explorations and emotionally resonant ballads, these songs showcase the true depth and enduring creativity of Duran Duran, proving their musical legacy extends far beyond the familiar territory of their Duran Duran hit songs.
