Cape Canaveral concert: Duran Duran celebrating the launch of Apollo 11 in 1969, accompanied by a 300 drone art performance by Studio Drift. (Getty)
◼ WHO ELSE BUT DURAN DURAN – whose debut hit in 1981 was titled Planet Earth – could the Kennedy Space Centre in Florida have chosen to celebrate the 50th anniversary of man’s journey to the Moon in Apollo 11 when Neil Armstrong and Buzz Aldrin walked on its surface? On Tuesday the Rocket Garden at NASA’s primary launch centre at Cape Canaveral saw Duran Duran climaxing the Apollo 50th gala day of special events with a headline concert backed by a 16-piece orchestra and 12-voice choir, plus 300 Intel Shooting Star drones flying in formation overhead.
Performing before the Saturn 1B launch vehicle and a platoon of iconic space rockets, Duran were watched by all the surviving astronauts who have walked on the Moon since 1969, plus an audience who had paid $300 a ticket to support the Aldrin Family Foundation. Obviously the British band kicked off with The Universe Alone, followed by a selection of their space-themed hits including Planet Earth, New Moon On Monday, Anyone Out There, Astronaut, and Ordinary World. The Brummie boys capped their 90-minute show with their biggest hit Rio.
Keyboardist Nick Rhodes, who had watched the Moon-landing on TV as a seven-year-old, said: “It was surreal and awe-inspiring. Science-fiction unfolding before us, opening our minds to what mankind was capable of achieving.”
Duran Duran at Cape Canaveral: playing their space-themed hits to honour the 50th anniversary of the Apollo 11 Moon launch. (Getty)
❏ KSC setlist – The Universe Alone, Planet Earth/Space Oddity, Anyone Out There, Astronaut, Ordinary World, (Reach Up for the) Sunrise, Walking on the Moon (Police cover), Wild Boys, Hungry Like the Wolf, Come Undone, Notorious, Pressure Off, White Lines (Don’t Do It) (Grandmaster Melle Mel cover), Girls on Film, Save a Prayer, View to a Kill, Rio.
Duran reignited for 2015: Roger Taylor drums, John Taylor bass, Nick Rhodes keyboards, Simon Le Bon vocals. (Photograph by Stephanie Pistel)
◼ FILM-MAKERS AND CREATIVE TYPES, Duran Duran are talking to you! Deadline for pitching your treatment to make a new lyric video is Sunday 28 June. When they threw out a free-for-all invitation in 2011, dozens of brilliant music videos resulted from people adapting classic Duran tracks. Now DD are trying something similar for their single Pressure Off, the first from a new album, in another video collaboration with Genero TV – click now to apply.
In September, after a gap of nearly five years, the former house band of the Brummie Rum Runner club’s New Romantic scene launch a new studio album – Paper Gods, their 14th. As part of a recording deal with Warner Bros Records, the album starts the next chapter in the Duran story, and features a host of A-list collaborators who include Nile Rodgers, Mark Ronson, Mr Hudson, Janelle Monáe, John Frusciante, Kiesza and Davide Ross.
“We found a whole new level of inspiration on this album,” says the band’s keyboardist and aesthetic overlord, Nick Rhodes. “We were talking the other day about artists that have been around for a long time – our contemporaries and some older ones, and there’s only a handful of the latter now, still out there playing shows. And we were saying, ‘What albums did they make this far down the line that we own?’ And that was a difficult one.”
DD seem convinced that this album will be one of the most visceral and daring of their career. A senior editor at Yahoo Music has already given Pressure Off a rave review, saying: “The sexy, slinky, all-around groovy party track is the legendary group’s best single in years. . . The remix-ready cut sounds fresh and modern, even as it traffics in D2’s tried-and-true signature sounds: super-Chic chickenscratch guitars, thick ’n’ gooey basslines, sassy soul-sister backup vocals, irresistibly effervescent chants.” Listen now at YouTube and you decide (no prizes for linking the cocktail of images with DD classic hits). Pre-order Duran Duran’s Paper Gods on iTunes and get an instant download of Pressure Off.
➢ Duran Duran 2015 tour dates at their own website – The four-man Duran line-up is set to headline at Bestival, in the UK, in September, and a trickle of European tour dates kicked off this week in Barcelona and The Hague, following up with the US and UK before climaxing in December.
❚ HAPPY 30th ANNIVERSARY to Planet Earth. On March 5, 1981, Duran Duran made their first appearance on the nationwide TV show Top of the Pops, a vital consequence of their debut single hitting the UK Top 40. Along with Spandau Ballet and Visage, Duran were the third British band to confirm the gathering force of the New Romantic movement, and TV’s pop flagship was to showcase a rush of new bands as springtime blossomed. Duran’s strongly contemporary electronic style is attributed to producer Colin Thurston, who had co-engineered David Bowie’s “Heroes”, and on his death in 2007 John Taylor paid tribute to Thurston as “a major catalyst for the 80s sound” which he was to reinforce on the band’s first album. “Without Colin’s depth of vision, we would never have become the band we became.”
Simon Le Bon: live on video at the Rum Runner in 1980
In the Planet Earth video mix above we see original footage of DD performing in 1980 at the Rum Runner, home of Birmingham’s then underground New Romantic scene.
The futuristic and stylish official video, shot later in a studio by director Russell Mulcahy, has been spliced in, all overdubbed with the audio track recorded at EMI’s Manchester Square studio with lyrics refreshed opportunistically to include the line Like some New Romantic looking for the TV sound (available as the Manchester Square Demo on the debut Duran Duran album remastered in 2010). One of Duran’s earliest songs, Late Bar, completed the B-side of the single released on Feb 2, 1981. An alternative arrangement of Planet Earth was also released on a 12-inch extended remix as what DD called a “night version” for the dancefloor. The single spent 14 weeks in the chart, peaking at No 12 in late March.
Among comments at YouTube, Jeremy Thirlby, musician and school friend of Nick Rhodes, points out that the dancers we see during the filming at the club were “drafted in actors” because for some reason “most regulars were excluded”! Unknown to everyone at Birmingham’s Rum Runner the very week when Duran were being filmed in July 1980, London’s ITV station was to air its 20th Century Box documentary about the Blitz club house band, Spandau Ballet. Bang! This was the starting gun that signalled the record-industry race to sign up the first of the New Romantic bands.
New Romantics in full fig at the Rum Runner in July 1980: note the tell-tale moves in the Planet Earth video, such as the Ballet sway at 1:20, crucial handpasses at 2:18 and Pierrot’s wonky head at 3:06
Duran Duran in 1980: Birmingham’s fluffiest New Romantics
◼ 30 YEARS AGO TODAY the Birmingham club-band Duran Duran released their debut single Planet Earth, less than two months after signing to EMI. It charted in mid-March, peaked at No 12, and bagged the band a spot on Top of the Pops, Britain’s premier music TV show. They were the first New Romantic band from outside London to make good, and this week the writer Steve Jansen claims that “inside of three short years, Duran were officially the biggest band on the planet”. He celebrates Duran’s birthpangs with a freshly researched three-day survey of their origins titled Switch It On! – Planet Earth & The Launch of Duran Duran, online at gimmeawristband.com. Jansen talks to all the main players involved during the run-up to the band’s chart debut — here are a few tasters from his epic story, published with permission…
Extracts from Switch It On! – Planet Earth & The Launch of Duran Duran:
❏ Bass player John Taylor recalls himself and Nick Rhodes, both Birmingham-born, founding Duran Duran as “young punks; we just wanted to get involved. To us, music was like a commodity. It was this word-of-mouth thing that brought you together with people; it made you your friends — and some of your enemies. It was the mixer.”
❏ Jeremy Thirlby, who was childhood friends with Rhodes, remembers: “None of us — John, Nick or me was gay — but that whole Kahn & Bell scene [around their fashion boutique] was very appealing to people like Nick because there was something going on; plus he’d always been into the slightly more surreal end of Bowie… Nick had always been single-minded, so it didn’t turn his head. He wanted to get somewhere else, and at the time Kahn & Bell was it.”
❏ Duran’s co-manager Paul Berrow: “That unique relationship between [Duran’s] rehearsal room upstairs and the club — which was pumping six, seven nights a week down below — John and Roger, all they had to do if they were running out of inspiration was walk down one flight of stairs and they’d find themselves in a club with four or five-hundred people, with a very loud sound system.”
❏ EMI’s A&R man Dave Ambrose travelled to Birmingham to catch Duran in October 1980. Could he honestly have seen so much in Duran so early? “Honestly. Yes. I swear. This was going to be a very, very important band; I could see them being the next Queen. Simon was like this Elvis figure. Andy was a great craftsman, a really solid musician. There was John, this cool bass player. Roger, a still under-rated drummer. And then there’s Nick, like this Andy Warhol figure; and I thought, what an incredible combination.”
❏ In 1980 Beverley Glick was akaBetty Page at the now-defunct UK music paper Sounds. Paul Berrow invited her to Birmingham to meet his unknown band. Page had doubts: “I thought, do I really want to go all the way up to Birmingham to do this? [Berrow] didn’t even offer me a tape.” Upon arrival, Page was forced to reassess: “I’d never met a bunch of people who were so confident and focused, who knew exactly where they wanted to go; even more so than Spandau Ballet [London’s rival New Romantic band]. It was a kind of youthful arrogance that was quite appealing at the time. I don’t think they ever thought coming from Birmingham was going to stop them — in fact, I think they used it to their advantage really.”
Inspiration for Planet Earth: Rod Stewart’s UK number one and US number one single Da Ya Think I’m Sexy was released in December 1978. Most of the music was written by drummer Carmine Appice, and its disco-like arrangement was seen by fans as a betrayal of Stewart’s rock roots at a time when he gyrated onstage wearing tight spandex. The song has a further history. Its refrain was similar to the melody in the 1972 instrumental, Taj Mahal, by Brazil’s popular singer-songwriter Jorge Ben Jor. In an ensuing lawsuit, Rod agreed to donate the profits from his song to UNICEF
❏ Andy Taylor, Duran guitarist: “The essence of Planet Earth came from Da Ya Think I’m Sexy? [from December 1978] which Rod Stewart reckons was brilliant. The synth-guitar hook line that kicks off the tune is played on the same scale and key; the first two chords Dm7 & F are the same, so the melody/ counter melody lines are interchangeable.”
❏ Michael Berrow remembers Bob Lamb who produced Duran’s demos back in 1980: “Bob did a great job on Planet Earth. Bob’s arrangement is pretty well what made the final recording.” When EMI came into the frame, however, Lamb was laid off in favour of Colin Thurston. Lamb said later: “Colin was more fashionable than me at the time. I bumped into him at a studio in London and Colin said to me – and I quote – ‘I owe you a house’ (laughs) — which I’m still waiting for!”
❏ Graphic designer Malcolm Garrett reveals why the 12-inch sleeve of Planet Earth (the Night Version) looks different from the regular 7-inch version: “Economics. I don’t think they had much money, and they didn’t expect it to sell. Hence, they only gave me two colours to print with.”
The New Romantic Jive: Rum Runner regulars Gay John and Lavinya (aka Patrick Black), dressed to the hilt and dancing in Russell Mulcahy’s official 1981 video for Planet Earth
Duran Duran as full-on Romantics: Betty Page thought only co-founder Nick Rhodes (second right) passed the bouffant test convincingly
❚ ON OR ABOUT THIS DAY IN 1980 (MAYBE), Duran Duran signed their contract with EMI for a £28,000 advance (£90,000 in today’s money), according to Paul Berrow. The band seem mysteriously unable to remember when, so the guess is some time between Dec 9 because Andy Taylor recalls the news of John Lennon’s death ruining his breakfast in London, and possibly Dec 22, date of a celebratory gig at Birmingham’s Cedar Club, though the first official book, Their Story by Kasper de Graaf, places the signing firmly in January 1981.
As the house band of the New Romantics in Britain’s second city, Birmingham, they were styled locally by Kahn & Bell, photographed by Paul Edmond, and managed by Paul and Michael Berrow, owners of the glitzy Rum Runner nightclub on Broad Street.
The Berrows had inherited the family business from their influential bookmaker father who had opened the club in the Swinging 60s and the sickly odours of Brut and Estee Lauder still lingered. Inspired directly by a visit to New York’s Studio 54, the brothers refurbished the Rum Runner in 1979 with state-of-the-art mirror-tiled walls and zigzags of neon. They then introduced a playlist heavily flavoured with Moroder-style imports and the American club-funk championed by the Nile Rodgers band Chic, whose string of chart hits was restoring credibility to disco music following the ridicule inflicted by the low-rent movie Saturday Night Fever. But how to become the Studio 54 of the Midlands?
Enter a band called Duran Duran in January 1980, armed with a four-song demo recorded at Bob Lamb’s studio which included Rio as a work in progress. The DD line-up were offered the club as daytime rehearsal space and jobs by night, including deejaying for Nick Rhodes. Roger Taylor recalls that the brothers “were looking for a band that was a cross between Gino Soccio, Genesis and Chic” — all the more curious that they made many attempts to contact Steve New to recruit the Rich Kids guitarist into the band, but they heard nothing from him.
The Melody Maker ad that landed Andy Taylor in April 1980: unearthed by Duran fan Figital
Inevitably the lineup was rationalised and by the summer Andy had been recruited (“They were quite blatant,” Andy told Rolling Stone much later. “They said, ‘We’re posers. We want a good-looking poser band”). Then came Simon Le Bon as singer. According to him: “They had this thing about being between Chic and the Sex Pistols, but I thought they were more like in between Roxy Music and the Sex Pistols.” The band were searching for a musical direction.
Meanwhile as the rival nightclub Barbarella’s fell from favour, the Birmingham poser scene was reinventing itself in local bars around the peacock clothes designers Jane Kahn, Patti Bell and a veteran of Billy’s club in Soho, Martin Degville, who was commuting to London weekly to run a branch of his shop in Kensington Market. That summer the Rum Runner gave over Tuesdays to a Bowie/Roxy night. Sounds familiar? Enter journalist Betty Page and the rest is history.
Within three years Duran Duran’s synth-pop had made The Fab Five one of the handful of British supergroups dominating the global stage. Duran can claim to have led the MTV-driven “Second British Invasion” of the United States from the autumn of 1981 with their raunchy and cinematic videos, and over 30 years enjoyed 21 singles in the Billboard Hot 100 and sales of 100m records.
BETTY PAGE OF SOUNDS RECALLS HOW SHE WAS
INVITED TO “DISCOVER” DURAN DURAN
Betty Page in youthful bloom, more recently identified as Beverley Glick
In September 1980 in the pages of the music weekly, Sounds, Betty had slapped the label “New Romantics” on Spandau Ballet, house band of London’s Blitz club and then received a call from the hungry manager of this Brummie band called Duran Duran…
“ Paul Berrow was a smooth operator. ‘Come to the Rum Runner,’ he said of the club he co-owned with his brother Michael. ‘We’ve got a scene going on up here to put the Blitz to shame, and a band to go with it.’ Clever, I thought. He had singled me out to be the first journalist to write about his group. And they actually wanted to be called New Romantics! Nick was the most obviously New Romantic — a bouffant blond David Sylvian lookalike who sported extravagantly frilly shirts and shiny suits — but the style sat rather uncomfortably on the others.
Years after both bands had achieved superstar status, Steve Dagger, the manager of Spandau Ballet, wrote this nugget summarising Duran Duran’s contribution to the 80s music scene. It was published in a partwork published by The Sunday Times in 1997 titled 1000 Makers of Music, which spanned all genres from classical to pop:
“ Duran were among a new group of artists who provided a glittering, sexy contrast to the prevailing dull corporate pop-punk of the 1970s. Taking their influence from the art-school underground of electronics/Ferry/Bowie, they came to prominence as the Birmingham ‘it’ band at the same time Spandau Ballet reigned over a similar scene in London. After an awkward but successful period as the Birmingham ‘answer to’, Duran metamorphosed in 1982 into a sleek, glamorous international entity with the seminal album Rio, having perfected a distinctive Duran sound fusing synths and guitar licks over post-disco rhythm. Inspired songs such as Hungry Like the Wolf were accompanied by cinematic videos, together creating an electric pop culture moment. After being derided for years, Britain had produced a group America could not ignore: Duran surfed in on the newly conceived MTV to conquer the States. They continue to make great British records and should recently have won a Novello for their lament to the 1980s, Ordinary World. [Key work: Is There Something I Should Know? (1983)] ”
❏ View this hilarious early video of white-faced New Romantics doing their wobbly dances to Duran Duran’s first single Planet Earth, performed at the Rum Runner in 1980 (now remastered in high quality). Note the hijacked Warren Street Jive in the official promo video sequences shot much later in a studio . . .
MORE INTERESTING THAN MOST PEOPLE’S FANTASIES — THE SWINGING EIGHTIES 1978-1984
They didn’t call themselves New Romantics, or the Blitz Kids – but other people did.
“I’d find people at the Blitz who were possible only in my imagination. But they were real” — Stephen Jones, hatmaker, 1983. (Illustration courtesy Iain R Webb, 1983)
“The truth about those Blitz club people was more interesting than most people’s fantasies” — Steve Dagger, pop group manager, 1983
PRAISE INDEED!
“See David Johnson’s fabulously detailed website Shapersofthe80s to which I am hugely indebted” – Political historian Dominic Sandbrook, in his book Who Dares Wins, 2019
“The (velvet) goldmine that is Shapers of the 80s” – Verdict of Chris O’Leary, respected author and blogger who analyses Bowie song by song at Pushing Ahead of the Dame
A UNIQUE HISTORY
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VINCENT FROM NYEVE
✱ Catch up on deejay legend Robbie Vincent’s return to JazzFM for four-and-half hours on New Year’s Eve 2020… Catch up on Robbie’s JazzFM August Bank Holiday session thanks to AhhhhhSoul with four hours of “nothing but essential rhythms of soul, jazz and funk”.
TOLD FOR THE FIRST TIME
◆ Who was who in Spandau’s break-out year of 1980? The Invisible Hand of Shapersofthe80s draws a selective timeline for The unprecedented rise and rise of Spandau Ballet –– Turn to our inside page
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UNTOLD BLITZ STORIES
✱ If you thought there was no more to know about the birth of Blitz culture in 1980 then get your hands on a sensational book by an obsessive music fan called David Barrat. It is gripping, original and epic – a spooky tale of coincidence and parallel lives as mind-tingling as a Sherlock Holmes yarn. Titled both New Romantics Who Never Were and The Untold Story of Spandau Ballet! Sample this initial taster here at Shapers of the 80s
CHEWING THE FAT
✱ Jawing at Soho Radio on the 80s clubland revolution (from 32 mins) and on art (@55 mins) is probably the most influential shaper of the 80s, former Wag-club director Chris Sullivan (pictured) with editor of this website David Johnson
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