Another Statement Of (Blog) Being

It is somewhat provident or ironic (depending on your own point of view) that the Duran Duran single "Rio" was released in April 1982, exactly 25 years ago this month. As I explained in the introductory blog post (it's easy to find now so I won't link directly to it), the title of this blog comes from a 1979 demo track by DD called "See Me Repeat Me", which eventually became "Rio" after undergoing many transformations. And even though I really do not like "Rio" the song one bit (someone whom I've had plenty of disagreements with in the past accurately described it as being "the sound of a frat boy date rape"), I cannot get enough of "See Me Repeat Me". Recorded before Andy Taylor or Simon Le Bon became members of the group, with Andy Wickett as lead singer and Roger Taylor a brand-new member, the demo tape, which featured production by local studio vet Bob Lamb, became the stuff of heresay and legend before it was unearthed by Wickett, put out on CD format, and sold off his MySpace profile site. As a result, I and lots of other fans have been able to aurally witness the musical progression of our pop heroes and have been able to come to some interesting conclusions.

First off is the presence of Andy Wickett's vocals. His raw and passionate yelps are reminiscent of Simon Le Bon's own yellings on the band's major label debut album. One can easily tell how that vocal styling would be most beneficial toward the band's sound at around that time. Rough and ready was the name of the game with every aspect of Duran Duran's music, still showing its punk DIY roots while also throwing a real appreciation and adoration of disco dance music into the mix, the very definition of post-punk. That's what's so interesting about listening to the band's musical output from 1979 - 1981, that their roots were firmly within the realm of post-punk even as they signed a major label contract and adopted the uniform of the New Romantics. As a result of music journalist Simon Reynolds's research, it was found that DD played the same local venues that post-punk standard-bearers the Swell Maps also played in. So is it any surprise that many of the artists who are a part of the recent new wave of post-punk claim musical influence from both the usual post-punk suspects AND Duran Duran? (c.f. Franz Ferdinand, for one.)

Perhaps that is the key toward getting some much-deserved critical acclaim for Duran Duran and the other eventual standard-bearers of the New Pop movement. Perhaps by pointing out these strong links to that which is already being viewed as critically accepted/acceptable, it will enable these people who would like nothing more than to discredit these artists as being shallow, all style no substance type hobbyist posers whose music can be easily dismissed, to really and honestly reexamine this music and see just how much it too was rooted in the spirit of rebellion and revolution and involved youth culture. Or maybe it will take something more or something different. Maybe the key is in pointing out the real artistic merit of these pop artists' output AFTER they became "pop"-oriented. Maybe the case will not be wholly won until there is someone who can stick their neck out and say that this too is music that demands to be taken seriously.

And really, that is part of my agenda in keeping up this blog. Aside from going into detail about that which I have a real adoration for, I hope to be able to put into the best words I can why the serious, sober-minded music listener I am would wish to keep on running to the music of the '80s New Pop/synthpop scene. Even as I discover for myself all kinds of glorious musical artists that are considered critical smash successes, I still view artists such as Duran Duran, who weren't really treated fairly by the critics (especially in America), as being my own personal standard bearers for what I consider to be the most glorious of popular music. And even as I dislike the song "Rio", I find the rest of the album Rio to be an incredible masterpiece, with songs such as "New Religion" and "Last Chance On The Stairway" being the highlights of this inspired work of loveliness.

So I shall endeavor to explain away why I love that which I love in a manner that will explain it intellectually. Maybe then people can see that it is more than just overgrown teenagers trying continually to relive their adolescence who are drawn to the musical heart of the '80s pop scene.