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Making Duran Duran: Notorious – Classic Pop Magazine



Returning from their hiatus diminished in size and stature, the three-man Duran Duran recruited two new members and turned to Nile Rodgers to help them get their groove back, resulting in their funkiest work to date – Duran Duran: Notorious… By Mark Lindores

Duran Duran: Notorious

The road to Duran Duran: Notorious was a long one. Following the band’s mid-80s hiatus during which they indulged their musical infidelities in the form of The Power Station, Arcadia and solo experiments, the group’s planned reunion in 1986 was not what any of them had expected.

As well as being down to a three-piece following the departures of Andy and Roger Taylor, the band had split from long-term managers Paul and Michael Berrow, the Birmingham brothers that had guided them to global stardom.

It wasn’t just the band itself that had changed – the pop world had undergone a seismic shift post-Live Aid, developing a social conscience that rendered the vulgarity of globe-trotting playboys flaunting their wealth and excesses in everyone’s faces null and void.

Meanwhile, in the land of the teen mags that Duran Duran once ruled, Norwegian trio A-ha had stolen the hearts of Britain’s teenage girls with their impossibly catchy hits and heartthrob lead singer Morten Harket, causing many to question what the future held for Le Bon and Co.

As the band regrouped to discuss their fourth studio album, they were essentially a four-piece. Roger Taylor had made it clear from the offset that he wanted to leave the band and the music business altogether.

Burnt out after half a decade of mass hysteria and intense scrutiny, he moved to a farm to instil normality back into his life.

Andy Taylor was trickier. After weeks of uncertainty as to whether he was rejoining or not, he left without telling the others. Then he assembled a legal team to conduct his departure, at one point even attempting to stop the band using the Duran name.

“Andy really messed us around,” Simon recalls. “It made the whole artistic process really difficult because we had to have meetings with lawyers at 10 in the morning, and these would drag on, then we’d try to get on with work, but it was hard to get into creative mode after that.”

Though Andy’s departure had a negative impact creatively, John Taylor remembers the remaining three members bonding closer than before.

“It galvanised us,” he says. “We had gone on our own paths with The Power Station and Arcadia, but our relationships after that moved to a whole new level, because we were now just three, fighting to survive. Like one of those soccer teams down to 10 men – stronger, more determined, more focused. Less can be more. That was the silver lining.”

Though the trio had begun writing and recording in London and France, they had no clear direction for the record. Demoing tracks, some of which would survive, they nicknamed them after Hitchcock films for identification purposes. Their only criteria for the record was that it was to be a Duran funk album.

With that in mind, they asked Nile Rodgers to fill in as guitarist, not wanting to recruit permanent new members as they were still unsure whether the situation with Andy would be resolved.

“I always describe Duran Duran as my second band after Chic,” Rodgers told Spinner. “I think that we were the right pairing  at the right time. I don’t like to overly take credit for anything, but since they said it first…

“Had I not been there in their lives at that pivotal time of their lives, when we did Notorious, when the two other Taylors left, that’s a heavy blow to a band at the top of their career.

Duran Duran: Making Seven And The Ragged Tiger

Duran Duran: Making Rio

“I think I was the glue that held that together. I used to say to the guys, ‘People don’t realise how great you are. You’re still like this boy band and the girls are still talking about your looks, and the music becomes sort of an added bonus.

“Now it’s time to go in the direction where you can become more like a U2 that’s really classic and solid artistically. You gotta build that foundation, and let’s take the fans along with us.’ And that’s what the Notorious album was supposed to do.”

With Rodgers on board as guitarist (and later taking on production duties), they completed their line-up with Warren Cuccurullo (who had contacted the band and offered his services after Andy Taylor informed him he’d left the group) and drummer Steve Ferrone.

These incoming members combined with the originals’ new-found renewed vigour and passion to ignite a fresh creative flare.

The title track, one of the first to be written, set the tone for the rest of the record.

Notorious was such an important song for us, because Simon, Nick, and I were left holding the flame, sort of wondering, ‘Can we keep this going? Can we maintain the momentum?’” John says. “We’d already taken a break and we knew we weren’t the biggest band in the world anymore, and the question was, did we have a hit in us?

“And, again, we have to be grateful for Nile, because Nick and Nile really sort of cooked up the main hook to the opening, the sort of guitar hook to the song. And by the time we finished it, we knew we had a song that could announce the next phase of the band’s career.”

Tracks such as Skin Trade, Vertigo and American Science displayed a loose funkiness which harked back to the disco/funk sound Rodgers had pioneered with Chic. However, unlike his work with David Bowie and Diana Ross, on which the main artists had a tendency to sound like guest performers on a Nile Rodgers record, Notorious retained Duran Duran’s identity, with the results revealing a more balanced collaboration.

“It was patently obvious very quickly that we were going in that funk-driven direction,” Simon says. “I was initially quite surprised, but I shouldn’t have been, because if you listen back to tracks such as Last Chance On The Stairway we knew we had it in us. Once we started making the music, we didn’t even think about it. The last thing on our minds was how it was going to be received. We thought it was great.”

Released in October 1986, comeback single Notorious reached No.7 in the UK, faring much better in the US, where it peaked at an impressive No.2.

The album followed a month later and it topped out at No.16, making this the band’s first album to miss the Top 10. Further disappointment came with both Skin Trade and Meet El Presidente missing the Top 20.

Duran Duran: Making The Wedding Album

Read our feature on Duran’s cover art

John Taylor felt disillusioned by the Notorious album’s failure, having felt almost certain it would be a hit. “We felt we redefined the sound of the band in a good way,” he says. “We thought the title track and Skin Trade were great songs. When you look back through your albums, even if they all have one great song that goes into your canon, not all of them have something unforgettable. Notorious in particular has done great things for us over the years.”

The title track got a new lease of life in 1999 when the chorus was sampled for a posthumous song from rapper Notorious B.I.G., forming the basis of a track now considered a hip-hop classic.

More than three decades after its release, it is being discovered by new generations, and the Biggie track is used as the walkout music for mixed martial arts superstar Conor McGregor.

For more info on Duran Duran check out their official website here

Read our feature on Duran’s 1990 album Liberty



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Classic Pop Issue 72 is on sale now!




In the latest Classic Pop, we have an exclusive interview with all four members of Duran Duran as they return with superb new studio album Future Past. Also, as a Duran-related bonus, our next classic album feature is the band’s eponymous 1993 LP aka ‘The Wedding Album’.

This issue, we also meet David Bowie collaborators Mike Garson and Reeves Gabrels who look back on their work with the legend in the 90s ahead of new boxset Brilliant Adventure (1992-2001).

We also catch up with Pepsi and Shirlie as they unveil a revelatory new autobiography about their time in Wham! as well as their solo years. Elsewhere, there are Q&As with Matt Goss plus Eddie Lundon from China Crisis and David Sylvian’s back catalogue goes under the microscope as part of our Album By Album feature.

We revisit Dead Or Alive’s Mad, Bad, And Dangerous To Know for our Forget Me Nots feature and interview 808 State’s founder Graham Massey for an in-depth look at the ground-breaking dance outfit.

In our expanded reviews section we have new releases including Duran Duran, Coldplay, Damon Albarn and Sting while our bumper reissues coverage features David Bowie, OMD, Erasure, Primal Scream, Debbie Gibson, Echo & The Bunnymen and much more.

Our live section returns, too – we’re back on gigging action for reviews of the Isle Of Wight Festival, Scritti Politti and Heaven 17.

Steve Harnell
Editor, Classic Pop

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Emerging Artist: DANIEL – EQ Music Blog




Readers of EQ Music Blog will know how much I love to discover new and emerging pop artists. After having the best night out at our own EQ Music Live gig last weekend in Dalston (Kudos to our main-man Raj for putting together another ace show). I could not be more eager to seek out even more hot pop talent to share with you. It just so happens I had a tip come in about an exciting singer/songwriter, DANIEL (Crossley). (I knew the name felt somewhat familiar to me. It is because DANIEL added some guest vocals on our EQ Music Artist, Mickey Taylor’s track “D**K“, which appears on the 2020 album “Surrender“. Produced by another EQ Music Artist Lostchild). The email sent in alerted me to the new track by DANIEL, called “Want Me Back“. Once getting my first listen in, I knew I had to get a post out as soon as I could, upon returning back home (to Ed Sheeran land aka Suffolk).

Here are some hot facts about DANIEL. He recently signed with, new LA-based, indie label SoCal Records. The debut EP “Introducing Daniel” is due to arrive in 2021 (meaning the release is pretty much imminent I would say). His inspirations include Freddie Mercury, Robyn, Michael Jackson and Tove Lo, to name a few.

Listen on Apple Music

The track “Want Me Back” is an empowering, buzzy electro-pop anthem teamed with emotive lyricism. Written about DANIEL’s feelings towards an ex. The track explains how he imagined bumping into the former lover post-break-up when he had worked through all of the messy trauma and come out the other side of it. As a better version of himself. Essentially in this narrative. He wants his ex to recognise he lost out big time. From now on he is only interested in looking for the kind of love he deserves and is worthy of.

The track is a banger. However, when seeking out the previous singles “Love Pill“, and “Nobody Knows My Name“. We get a broader look at the diverse musicality and beautifully nuanced musicianship of this talented, emerging pop force in the making. The music style pulls in various directions, but with this EDM infused pop jam, DANIEL indeed looks set to make an even bigger impression on the pop stage.

Catch DANIEL at Breaking Sound London (another emerging artist showcase) Venue: Cargo – Date: 3rd November 2021 (Ticket Info HERE).

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Top 20 80s Cover Versions




Cover versions are sometimes bad, sometimes great. Here’s Classic Pop’s rundown of the very best cover versions of some of some of the 80s’ very best songs.

Cover versions

It’s a testament to the skyscraping songwriting achievements of the 1980s that its music is constantly being revisited by today’s artists. Since 31 December 1989, the highlights of that decade have been continually plundered by singers and bands eager to capture a little of that 80s magic. Some are by artists who lived through that special decade, while others are by those that weren’t even born back then. Here, then, is our pick of the best cover versions of 80s hits. Strap in tight…

Our countdown of the Top 20 80s cover versions

Sonic Youth – Into the Groove
Original: Madonna

Credited to Ciccone Youth, this improbable Madonna cover by Noo Yoik noiseniks Sonic Youth was cut from The Whitey Album, an LP built around their fascination with the Material Girl. We’ve chosen not their take on Burning Up but their version of Maddie’s 1985 smash, Into The Groove.

Staggeringly, it’s as loyal to the discordant, feedback-heavy Sonic Youth sound as it is the pop majesty of Madonna. Her opinion of this most unique of refits, however, remains sadly unknown.

M WardLet’s Dance
Original: David Bowie

Let’s Dance is one of David Bowie’s slickest tracks, a glorious, clear-eyed slice of party-funk that won him his biggest hit in years. M Ward’s 2007 cover version, recorded for Taika Waititi’s comedy flick Eagle Vs Shark, strips back all of that Nile Rodgers tinsel, reclaiming it as a tender folk-blues number.

It’s worth checking out the covers album Ward made in 2014 with Zooey Deschanel, Classics, under their She & Him alias, where they revisit 13 favourite songs with the help of a 20-piece orchestra.

Calexico – Love Will Tear Us Apart
Original: Joy Division

There have been oh-so-many cover versions of Joy Division’s signature number (including Squarepusher, José González, Fall Out Boy, Nouvelle Vague, Soul Asylum and, of course, Paul Young), but our pick comes from alt-country oddballs Calexico who recorded this Americana-inflected take in 2005.

Audaciously refashioning the central melody, it’s a rosier, sunnier version than the introspective, intense original and no worse for that. Quite what Ian Curtis would have made of it, though, is another thing.

Nada Surf – If You Leave
Original: OMD

Recorded originally for John Hughes’ cult romcom Pretty In Pink, If You Leave became Orchestral Manoeuvres In The Dark’s highest-charting single in the US, where it peaked at No.4 in May 1986. When noughties teen drama The OC fashioned an episode around Hughes’ film, they reached out to alternative rock band Nada Surf to cover OMD’s iconic, movie-closing track.

Jettisoning the towering synths of the original, they give the song a lovingly indie makeover.

The Flaming Lips With Stardeath And White Dwarfs – Borderline
Original: Madonna

Recorded in 2009 for a Warner Bros tribute album by sonic adventurers The Flaming Lips and experimental crackpots Stardeath And White Dwarfs, this unsettling version of Madonna’s 1984 classic turns the song inside out.

A scuzzy, disorientating take, it hoovers out all the pop and reinvents the song as some kind of avant-garde noise project – a sort of sweaty, night terrors take on La Ciccone’s rainbow-hued original.

Alien Ant Farm – Smooth Criminal
Original: Michael Jackson

The awfully-named Alien Ant Farm have failed to make much of an impact after this, their – admittedly dope – debut single.

A guitared-up take on Jacko’s 1988 dance classic, it was certainly an MTV favourite in the early noughties (with its video depicting frontman Dryden Mitchell frolicking with a pet monkey and pastiching Jackson’s iconic crotch grab) and propelled the simple-headed frat-rockers to No.3 on the UK singles chart.

STRFKR – Girls Just Want To Have Fun
Original: Cyndi Lauper

It’s worth noting that Cyndi Lauper’s 1983 single was itself a cover of a song written and first recorded in 1979 by new wave muso Robert Hazard (he reportedly dashed off the track in just 15 minutes whilst in the tub). Lauper, however, took the number to soaring chart heights, creating an effervescent feminist anthem.

Three decades later, indie outfit Starfucker (politely abbreviated to STRFKR) put out this sympathetic cover, retaining the bouncy fun of Lauper’s version while dialling back the synths.

Read our Classic Album feature on Cyndi Lauper’s She So Unusual here.

Ian Brown – Billie Jean
Original: Michael Jackson

“You’re never going to improve on a Michael Jackson song if you cover it,” so proclaimed former Stone Rose Ian Brown, a brave man who took on not just one, but two Jacko classics at the turn of the millennium. A fully Brownified take on Jackson fave Billie Jean was released as a double A-side with his similarly idiosyncratic version of Thriller.

Eschewing Quincy Jones’ silky production for his own trademark do-it-yourself home-studio sound, Brown’s cover acquits itself nicely.

Johnny Cash – Personal Jesus
Original: Depeche Mode

The Man In Black’s American Recordings series threw up a plethora of bang-up covers, some blindingly obvious and some that were, for a sexagenarian country legend, rather more leftfield. It was producer Rick Rubin who suggested this sleazy, sinister cut off Depeche Mode’s Violator album for Cash’s 2002 long-player, American IV: The Man Comes Around.

Cash mined something very different for his bluesier interpretation, calling it “probably the most evangelical gospel song I ever recorded.”

Read our Classic Album feature on Depeche Mode’s Violator here.

Weezer – Africa
Original: Toto

In December 2017, a Twitter account was set up with the sole purpose of convincing American alt-rockers Weezer to wax a version of Toto’s MOR favourite Africa. Just to be contrary, the band first put out a cover of Toto’s Rosanna, before succumbing and releasing their irony-heavy version (they even brought in “Weird Al“ Yankovic to replace singer Rivers Cuomo in the video) of Africa in May 2018.

The song netted the band their biggest hit since 2006. Result.

Faith No More – I’m Easy
Original: The Commodores

We can’t imagine Faith No More are particularly happy now, 27 years down the line, that I’m Easy remains their biggest worldwide hit. Although they were most likely pissing themselves in the studio, it’s a surprisingly – no pun intended – faithful cover of the Lionel Richie-composed original.

Which is probably why their fans detested it so much, regularly flipping the band the finger when they played it live. Originally released in 1977, we’re sneaking this in on the basis of its reissue a decade later.

The Postal Service – Against All Odds (Take A Look At Me Now)
Original: Phil Collins

Phil Collins’ chart-conquering power-ballad has been covered umpteen times, mostly by bands and singers who do little to put their stamp on it (we’re looking at you, Mariah Carey and Westlife).

That’s not an accusation you could ever lob at electro laptop misfits The Postal Service – they being Death Cab For Cutie vocalist Ben Gibbard and DJ Jimmy Tamborello – who delivered this appealingly angular reinterpretation for the 2004 big screen thriller Wicker Park.

Foo Fighters – Down in the Park
Original: Tubeway Army

The characteristically doom-laden Down In The Park was the first single to be released from Tubeway Army’s sophomore album, Replicas. Despite bombing commercially, it’s something of a goth favourite, with starry-eyed versions by Marilyn Manson and Christian Death, alongside this take by Dave Grohl and co.

Replacing the ominous synths of the original with a wall of guitar noise, it was recorded for a 1996 LP titled Songs In The Key Of X: Music From And Inspired By The X-Files.

Muse – Hungry Like The Wolf
Original: Duran Duran

Sometimes when a song is so faultless, it would be almost sacrilegious to perform radical surgery on it. It’s clear then that Devonian space-rockers Muse were hot and heavy for Duran Duran’s 1982 original, so where’s the harm in doing a straight, loving, well-performed cover?

The trio first aired the song during a live TV appearance in 2018, a performance so well received that, only a few months later, they released a studio recording exclusively on Spotify. Go listen. Now.

Paloma Faith – Never Tear Us Apart
Original: INXS

It takes a particularly fearless artist to take on the mighty, untouchable Michael Hutchence, but Paloma Faith’s gender-swapped version of the INXS classic Never Tear Us Apart, recorded for a John Lewis ad in 2012, stands almost as tall and proud as the 1988 original.

Seductive and sexy, with a cool Western guitar bridge and a powerfully soulful vocal from one of pop’s most cherished eccentrics – it’s a must-hear cover that can be found on her second studio album, Fall To Grace.

No Doubt – It’s My Life
Original: Talk Talk

Talk Talk’s version of It’s My Life didn’t even make the Top 30 in the States, so when Californian ska-rockers No Doubt chose the song to record in 2003, they didn’t have to deal with too many people giving them grief for vandalising a classic.

Though it misses the sulky melancholy of the original, No Doubt’s version is a pleasingly synth-soaked, club-friendly reinvention of one of Mark Hollis’ most sublime tracks. The song reached No.10 on the Billboard Hot 100, remaining on the chart for 28 weeks.

Read our Album By Album feature on Talk Talk here.

The Futureheads – Hounds of Love
Original: Kate Bush

There are precious few Kate Bush covers (I mean, who would even dare?) and even fewer ones that managed to prick the Top 10, with the unlikely exception being northern post-punks The Futureheads who scored a No.8 hit with this guitar-coated version of Dame Kate’s 1986 classic (which, somewhat outrageously, only managed a No.18 placing in the UK).

Despite being named Best Single Of 2005 by the NME it was, tragically for The Futureheads, their last ever Top 10 placing.

Read our Lowdown feature on Kate Bush here.

Hot Chip Dancing in the Dark
Original: Bruce Springsteen

Bruce Springsteen’s brand of blue-collar earnestness couldn’t be more distanced from the dorky, bedroom-dwelling, über-arch output of electro noodlers Hot Chip, so there was never any chance that their version of The Boss’ 1984 classic would sound even remotely similar.

Replacing Springsteen’s testosterone-drenched vocals with that of lady-voiced man-child Alexis Taylor, it’s a geeky reclaiming of a song that no speccy, pasty-faced dork would have gone anywhere near before.

The Be Good Tanyas – When Doves Cry
Original: Prince

The most ear-catching covers are often when a band from a completely different corner of the musical spectrum take on a song from a genre far away from their own. So it was when Canadian folkies The Be Good Tanyas picked Prince’s When Doves Cry for a hidden track on their 2006 album Hello Love.

The band’s no-frills, Frazey Ford-fronted cover is slower and more delicate, but still boss, a testament to the stately brilliance of the Purple One’s 1984 original.

Read our Top 10 Prince songs feature here.

Michael Andrews & Gary Jules – Mad World
Original: Tears For Fears

Sometimes a cover can dwarf the original so much that it’s the first version that tends to get mistaken as the reboot. So it is with Mad World, the original of which, by Tears For Fears, peaked at No.3 in the UK in 1982. But Michael Andrews and Gary Jules’ achingly melancholic, bare-bones cover, recorded for the Jake Gyllenhaal-fronted sci-fi flick Donnie Darko, became an unlikely Christmas No.1 at the end of 2003.

When Adam Lambert sang Mad World on American Idol in 2009, it wasn’t Tears For Fears’ version that he performed.

Read more: Top 20 Posthumous Releases



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