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''Duran Duran'' represents a turning point in the sound of Duran Duran. The album demonstrated a more diverse sound, incorporating elements of [[Rock music|rock]], [[electronica]], [[Dance music|dance]], and [[experimental music]] while retaining their distinctive style. The album features a mix of introspective ballads, contemporary dance tracks, and funk influences.
''Duran Duran'' represents a turning point in the sound of Duran Duran. The album demonstrated a more diverse sound, incorporating elements of [[Rock music|rock]], [[electronica]], [[Dance music|dance]], and [[experimental music]] while retaining their distinctive style. The album features a mix of introspective ballads, contemporary dance tracks, and funk influences.


The album opens with "Too Much Information", described by Andrea Odintz of ''[[Rolling Stone]]'' as a "classic Duran Duran keyboard-driven rock song" that addresses the overwhelming nature of media saturation.<ref name=":1" /><ref name="RollingStone" /> The lyrics critique the impact of [[MTV]] and the pressures of fame, setting a reflective tone for the album.<ref name="EntertainmentWeekly" /> "Ordinary World", the album's lead single, is a lush [[Sentimental ballad|power ballad]] with lyrics Simon Le Bon wrote as a tribute to his late friend David Miles,<ref>{{Cite web |last=Eames |first=Tom |date=30 May 2024 |title=Duran Duran's 10 greatest songs ever, ranked |url=https://www.smoothradio.com/artists/duran-duran/best-songs-list-videos/ |url-status=live |archive-url=https://web.archive.org/web/20240827013748/https://www.smoothradio.com/artists/duran-duran/best-songs-list-videos/ |archive-date=27 August 2024 |access-date=2024-09-03 |website=[[Smooth Radio (2014)|Smooth Radio]] |language=en}}</ref><ref name=":11" /> who died of a drug overdose in 1986.<ref>{{Cite web |last=Melchior |first=Al |date=2024-01-10 |title=The Meaning Behind Duran Duran’s “Ordinary World,” Simon Le Bon’s Grieving Ode to a Lost Friend and the Path Forward |url=https://americansongwriter.com/the-meaning-behind-duran-durans-ordinary-world-simon-le-bons-grieving-ode-to-a-lost-friend-and-the-path-forward/ |url-status=live |archive-url=https://web.archive.org/web/20240509123551/https://americansongwriter.com/the-meaning-behind-duran-durans-ordinary-world-simon-le-bons-grieving-ode-to-a-lost-friend-and-the-path-forward/ |archive-date=9 May 2024 |access-date=2024-09-03 |website=[[American Songwriter]] |language=en-UK}}</ref> The song's success and its emotional depth are noted for reconnecting the band with their audience and showcasing their ability to craft powerful ballads. "Love Voodoo" is characterised by ''[[Townsquare Media|Ultimate Classic Rock]]'' writer Annie Zaleski as a "sleek, languid electro seduction", emphasising the band's skill in creating smooth, sensual tracks.<ref name=":2" /> Similarly, "Come Undone" is described by Zaleski as a "dreamy, trip-hop influenced" song, with lyrics written for Le Bon's wife Yasmin.<ref name=":2" /> The track's "sinewy riff" and drum loop add to its emotional intensity.<ref name=":2" /> "Drowning Man" integrates techno elements reflective of the underground rave scene, as noted by Zaleski.<ref name=":2" /> This track represents the band's adaptation to contemporary musical trends while maintaining their distinct style. "UMF" and "Shotgun" feature modern influences, with Odintz noting that "UMF" incorporates "[[Prince (musician)|Prince]]-like funk and R&B", and the "short but snappy"<ref name=":10" /> "Shotgun" includes a brief, "unmistakable Prince-inspired riff".<ref name="RollingStone" /> These tracks illustrate the band's engagement with early '90s musical trends. The cover of [[the Velvet Underground]]'s "Femme Fatale" is a "gorgeous, melodic treat" that may have inspired the band's ''Thank You'' album,<ref name=":10" /> though is critiqued as one of the album's weaker points.<ref name="AllMusic" /> "Breath After Breath", a collaboration with Brazilian singer [[Milton Nascimento]], is a lush, [[samba]]-flavoured sound with emotional depth.<ref name="ThePhiladelphiaInquirer" /> "None of the Above" is a "bass-heavy ode to self-discovery and empowerment"<ref name=":10" /> and is described by Zaleski as an "upbeat contemporary pop song with nimble guitar work",<ref name=":2" /> while "Shelter" features the bygone synths that helped make the band famous.<ref name=":10">{{Cite web |last=Elliott |first=Mark |date=11 February 2022 |title=Why Duran Duran’s “The Wedding Album” Kickstarted An Enduring Union |url=https://www.thisisdig.com/feature/duran-duran-the-wedding-album-1993/ |url-status=live |archive-url=https://web.archive.org/web/20240519015925/https://www.thisisdig.com/feature/duran-duran-the-wedding-album-1993/ |archive-date=19 May 2024 |access-date=2024-09-03 |website=Dig! |language=en-UK}}</ref> "To Whom it May Concern" showcases funk and dance elements previously used on their ''[[Notorious (Duran Duran album)|Notorious]]'' album while "Sin of the City" explores darker, introspective themes.<ref name=":2" /><ref name=":10" /> These tracks further highlight the album's range and the band's evolution.
The album opens with "Too Much Information", described by Andrea Odintz of ''[[Rolling Stone]]'' as a "classic Duran Duran keyboard-driven rock song" that addresses the overwhelming nature of media saturation.<ref name=":1" /><ref name="RollingStone" /> The lyrics critique the impact of [[MTV]] and the pressures of fame, setting a reflective tone for the album.<ref name="EntertainmentWeekly" /> "Ordinary World", the album's lead single, is a lush [[Sentimental ballad|power ballad]] with lyrics Simon Le Bon wrote as a tribute to his late friend David Miles,<ref>{{Cite web |last=Eames |first=Tom |date=30 May 2024 |title=Duran Duran's 10 greatest songs ever, ranked |url=https://www.smoothradio.com/artists/duran-duran/best-songs-list-videos/ |url-status=live |archive-url=https://web.archive.org/web/20240827013748/https://www.smoothradio.com/artists/duran-duran/best-songs-list-videos/ |archive-date=27 August 2024 |access-date=2024-09-03 |website=[[Smooth Radio (2014)|Smooth Radio]] |language=en}}</ref><ref name=":11" /> who died of a drug overdose in 1986.<ref>{{Cite web |last=Melchior |first=Al |date=2024-01-10 |title=The Meaning Behind Duran Duran’s “Ordinary World,” Simon Le Bon’s Grieving Ode to a Lost Friend and the Path Forward |url=https://americansongwriter.com/the-meaning-behind-duran-durans-ordinary-world-simon-le-bons-grieving-ode-to-a-lost-friend-and-the-path-forward/ |url-status=live |archive-url=https://web.archive.org/web/20240509123551/https://americansongwriter.com/the-meaning-behind-duran-durans-ordinary-world-simon-le-bons-grieving-ode-to-a-lost-friend-and-the-path-forward/ |archive-date=9 May 2024 |access-date=2024-09-03 |website=[[American Songwriter]] |language=en-UK}}</ref> The song's success and its emotional depth are noted for reconnecting the band with their audience and showcasing their ability to craft powerful ballads. "Love Voodoo" is characterised by ''[[Townsquare Media|Ultimate Classic Rock]]'' writer Annie Zaleski as a "sleek, languid electro seduction", emphasising the band's skill in creating smooth, sensual tracks.<ref name=":2" /> Similarly, "Come Undone" is described by Zaleski as a "dreamy, trip-hop influenced" song, with lyrics written for Le Bon's wife Yasmin.<ref name=":2" /> The track's "sinewy riff" and drum loop add to its emotional intensity.<ref name=":2" /> "Drowning Man" integrates techno elements reflective of the underground rave scene, as noted by Zaleski.<ref name=":2" /> This track represents the band's adaptation to contemporary musical trends while maintaining their distinct style. "UMF" and "Shotgun" feature modern influences, with Odintz noting that "UMF" incorporates "[[Prince (musician)|Prince]]-like funk and R&B", and the "short but snappy"<ref name=":10" /> "Shotgun" includes a brief, "unmistakable Prince-inspired riff".<ref name="RollingStone" /> These tracks illustrate the band's engagement with early '90s musical trends. The cover of [[the Velvet Underground]]'s "Femme Fatale" is a "gorgeous, melodic treat" that may have inspired the band's ''Thank You'' album,<ref name=":10" /> though is critiqued as one of the album's weaker points.<ref name="AllMusic" /> "Breath After Breath", a collaboration with Brazilian singer [[Milton Nascimento]], is a lush, [[samba]]-flavoured sound with emotional depth.<ref name="ThePhiladelphiaInquirer" /> "None of the Above" is a "bass-heavy ode to self-discovery and empowerment"<ref name=":10" /> and is described by Zaleski as an "upbeat contemporary pop song with nimble guitar work".<ref name=":2" /> "Shelter" features the bygone synths that helped make the band famous<ref name=":10">{{Cite web |last=Elliott |first=Mark |date=11 February 2022 |title=Why Duran Duran’s “The Wedding Album” Kickstarted An Enduring Union |url=https://www.thisisdig.com/feature/duran-duran-the-wedding-album-1993/ |url-status=live |archive-url=https://web.archive.org/web/20240519015925/https://www.thisisdig.com/feature/duran-duran-the-wedding-album-1993/ |archive-date=19 May 2024 |access-date=2024-09-03 |website=Dig! |language=en-UK}}</ref> while "To Whom it May Concern" showcases funk and dance elements previously used on their ''[[Notorious (Duran Duran album)|Notorious]]'' album. The seven-minute long "Sin of the City" explores darker, introspective themes, as the lyrics are about the tragic [[Happy Land fire]].<ref name=":2" /><ref name=":10" /><ref>{{Cite web |last=Sinclair |first=Paul |date=2018-02-11 |title=Remembering Duran Duran’s ‘The Wedding Album' 25 years on |url=https://superdeluxeedition.com/feature/remembering-duran-durans-the-wedding-album-25-years-on/ |url-status=live |archive-url=https://web.archive.org/web/20240228101643/https://superdeluxeedition.com/feature/remembering-duran-durans-the-wedding-album-25-years-on/ |archive-date=28 February 2024 |access-date=2024-09-03 |website=SuperDeluxeEdition |language=en-US}}</ref> These tracks further highlight the album's range and the band's evolution.


== Title and packaging ==
== Title and packaging ==

Revision as of 03:38, 3 September 2024

Duran Duran
Upper left: the Le Bons, centre: the Bateses (Rhodes), upper right: the Taylors, lower right: the Cuccurullos.
Studio album by
Duran Duran
Released15 February 1993 (1993-02-15)[a]
RecordedJanuary 1991 – 1992
Studio
Genre
Length63:34
Label
Producer
Duran Duran chronology
Liberty
(1990) 		Duran Duran
(1993) 		Thank You
(1995)
Singles from Duran Duran
  1. "Ordinary World"
    Released: 19 December 1992 (US)
  2. "Come Undone"
    Released: 29 March 1993 (UK)
  3. "Too Much Information"
    Released: 23 August 1993 (UK)
  4. "Drowning Man (remix)"
    Released: August 1993 (US)
  5. "Femme Fatale"
    Released: 1993 (France)
  6. "None of the Above"
    Released: 1994 (Japan)

Duran Duran (commonly known as The Wedding Album[3]) 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 and Capitol Records.

Background

As the 1990s progressed, the once-certain popularity that Duran Duran enjoyed in the 1980s began to fade. Many critics began to write them off as a throwback to the new wave era, with some declaring their career "over".[7][8][9][10] During this period, the band found themselves struggling to adjust to the evolving music scene, which was being shaped by the rise of genres like hip hop, techno, and alternative rock. Keyboardist Nick Rhodes said in a 2013 retrospective piece:[11]

The '80s had ended and a lot of people wanted to lock the door and close Duran Duran in that decade, too, I think. At the end of the '80s, music changed considerably. We had grunge, techno and rave culture, which left us in a place where we felt we had to make ourselves relevant to the times. We weren't about to make a grunge or techno album, but we had our songwriting. We very much went back to basics.

Following the release of their studio album Liberty in 1990, Duran Duran faced worsening financial difficulties.[6] This was primarily attributed to poor album sales, lack of touring to promote Liberty, and excessive spending.[12][13] The album saw limited commercial success, peaking at number 46 in the US.[14] The singles "Violence of Summer (Love's Taking Over)" and "Serious" achieved only moderate to low success on the US and UK charts.[13] Despite reaching number eight in the UK, it wasn't enough to convince Capitol or EMI, Duran Duran's record labels, that the band was on the right track.[15] Nonetheless, EMI did not completely abandon them, agreeing to provide financial support for a new album under strict supervision.[16]

Development and recording

Unsure of their musical direction, the band found themselves adrift in a rapidly changing music scene.[17] They contemplated over the sound of their next album. With limited funds and a desire to avoid expensive commercial studios they had used in the past, they relocated to American musician Warren Cuccurullo's home studio, "Privacy", situated in Battersea, London.[6][17][10] From January 1991 to 1992, Duran Duran immersed themselves in the living room of Privacy studios, using the space to record and write their album.[6][17][10] Opting for a home studio environment provided the band with the freedom to explore their musical ideas without the constraints of deadlines or the expenses associated with traditional studio time.[10] Although recording at Cuccurullo's home lacked the professional setup and soundproofing of commercial studios, it allowed for a more relaxed atmosphere and sparked moments of creativity.[10][17] However, this setup also led to some challenges, as Simon Le Bon mentioned that extraneous sounds like a bird, child and a car were inadvertently captured on the track "Ordinary World".[17]

In this makeshift studio, each band member arranged their own musical equipment to suit their preferences while also focusing on songwriting.[17] For example, as John Jones explained to Recording Musician magazine in April 1993, "I was placed in the window-bay, and at the other end of the room there was the guitar setup, Warren's sequencer setup, Nick's keyboard setup, and a couple of little Zoom guitar boxes which John [Taylor] could plug straight into. I myself used Notator on the Atari, and I had an Akai S1000, an S900, a Roland D50, other keyboards, and each setup had a Yamaha DMP7 from which I would take a feed straight into the 12-track".[17] Simon Le Bon performed in the middle of the room where a microphone had been installed.[17]

Although the band had been facing low morale due to the declining confidence of their record label in their ability to produce another commercial success, simply demoing new material kept the band on continuing.[17] Utilizing various instruments and setups, they aimed to record approximately 15 demo songs with the intent of seeking feedback from their record company, as they valued the company's input in the creative process over achieving a perfect sound at that stage.[17] Within all of that, the band played live together, everyone initially being miked with a Shure SM58 through which they could sing or talk.[17] The studio sessions consisted of various activities such as demoing new ideas, jam sessions, writing sessions, and recording, with an average of six to eight hours spent per day.[17] Months into the sessions, they brought in John Jones as a co-producer to contribute fresh ideas based on their initial studio recordings.[11][17] Following varied results, ranging from uninteresting to noteworthy,[11] the band decided to take a week-long break before moving to a proper studio to further develop and mix several unfinished tracks.[17]

Mixing

After the break, John Jones and the band decided to work at Maison Rouge Studios in South-West London after an unsuccessful attempt at mixing in Privacy Studios.[17] As they were relocating, they commissioned live drums for "Ordinary World" and several other songs. Live drums would be recorded in the span of a few hours using Steve Ferrone's percussive skills and Tony Taverner's engineering at Maison Rouge.[17] In preparation for the mixing of "Ordinary World", Nick Rhodes and Jones remastered the strings, other keyboard parts, acoustic guitar, and drums using an Akai DD1000.[17] Initial attempts at mixing the track were made by various producers, including Steve MacMillion in the US, Jones and keyboardist Dee Long in the UK, and Queen's producer David Richards in Switzerland, but none were satisfying to the band. It wasn't until American record producer David Leonard created a successful mix at Townhouse Studios that they found a version they were pleased with.[17] However, after hearing Leonard's mix while in London for the Freddie Mercury Tribute Concert, David Richards attempted to mix "Ordinary World" again, which ended up being the final version approved by the band.[17] Richards went on to mix the majority of the album alongside Leonard and Jones.

Music and lyrics

Duran Duran represents a turning point in the sound of Duran Duran. The album demonstrated a more diverse sound, incorporating elements of rock, electronica, dance, and experimental music while retaining their distinctive style. The album features a mix of introspective ballads, contemporary dance tracks, and funk influences.

The album opens with "Too Much Information", described by Andrea Odintz of Rolling Stone as a "classic Duran Duran keyboard-driven rock song" that addresses the overwhelming nature of media saturation.[3][18] The lyrics critique the impact of MTV and the pressures of fame, setting a reflective tone for the album.[19] "Ordinary World", the album's lead single, is a lush power ballad with lyrics Simon Le Bon wrote as a tribute to his late friend David Miles,[20][21] who died of a drug overdose in 1986.[22] The song's success and its emotional depth are noted for reconnecting the band with their audience and showcasing their ability to craft powerful ballads. "Love Voodoo" is characterised by Ultimate Classic Rock writer Annie Zaleski as a "sleek, languid electro seduction", emphasising the band's skill in creating smooth, sensual tracks.[6] Similarly, "Come Undone" is described by Zaleski as a "dreamy, trip-hop influenced" song, with lyrics written for Le Bon's wife Yasmin.[6] The track's "sinewy riff" and drum loop add to its emotional intensity.[6] "Drowning Man" integrates techno elements reflective of the underground rave scene, as noted by Zaleski.[6] This track represents the band's adaptation to contemporary musical trends while maintaining their distinct style. "UMF" and "Shotgun" feature modern influences, with Odintz noting that "UMF" incorporates "Prince-like funk and R&B", and the "short but snappy"[23] "Shotgun" includes a brief, "unmistakable Prince-inspired riff".[18] These tracks illustrate the band's engagement with early '90s musical trends. The cover of the Velvet Underground's "Femme Fatale" is a "gorgeous, melodic treat" that may have inspired the band's Thank You album,[23] though is critiqued as one of the album's weaker points.[24] "Breath After Breath", a collaboration with Brazilian singer Milton Nascimento, is a lush, samba-flavoured sound with emotional depth.[25] "None of the Above" is a "bass-heavy ode to self-discovery and empowerment"[23] and is described by Zaleski as an "upbeat contemporary pop song with nimble guitar work".[6] "Shelter" features the bygone synths that helped make the band famous[23] while "To Whom it May Concern" showcases funk and dance elements previously used on their Notorious album. The seven-minute long "Sin of the City" explores darker, introspective themes, as the lyrics are about the tragic Happy Land fire.[6][23][26] These tracks further highlight the album's range and the band's evolution.

Title and packaging

The band ultimately chose to self-title the album after describing themselves as having to go "back to the basics".[11] After its publication, the album became known alternatively as The Wedding Album, inspired by the album's cover art and to distinguish it from the band's 1981 album.[7][27]

British visual design artist Nick Egan collaborated with graphic designer Eric Roinestad to create the album cover for Duran Duran.[11][27] Departing from the band's traditional approach of costly album cover photoshoots, Egan opted to craft a "piece of art" that would stand out.[11] His final design features a collage using sepia-toned wedding photos of each band member's parents, suggested by Nick Rhodes, with a gold Duran Duran logo at the centre.[11][27] The inspiration behind the collage was drawn from the work of American graphic artist Robert Rauschenberg, known for his influence on the pop art movement.[11] Egan aimed to capture the essence of Rauschenberg's collages, which he describes as having "seemingly random images [laid] on top of each other with the faintest hint of off-register color as if the whole thing were screen-printed".[11] British magazine Classic Pop cited other potential inspirations for the album design, such as Jean-Michel Basquiat for its "raw illustrative sketching" and Andy Warhol for its "overlaid print effects".[27] Throughout the album are liner notes created using embossing tape from a Dymo label printer and grease pencil writing on masking tape, contributing to the do-it-yourself concept Egan envisioned.[11][27]

Prior to the creation of the album cover, John Taylor was looking for an artist to design the band's new album cover.[11] He mentioned to American actor Billy Zane, who happened to be visiting London at the time, that he was interested in having Nick Egan create the artwork.[11] To Taylor's surprise, Zane revealed that he was good friends with Egan, and that he was also in London.[11] Taylor promptly reached out to Egan, arranging a meeting at his residence within hours to discuss the band's vision for the album design.[11]

Release and singles

Recording of the album was completed in early 1992, with a planned mid-year release by their record label.[3][10] However, Duran Duran's new management company, Left Bank, was distressed at the industry's lack of interest in the band and the label's seeming lack of enthusiasm for promotion of the album.[8][10] Despite receiving positive feedback from shared material of the album that Duran Duran had provided to Capitol-EMI,[11][9] the band's label were hesitant in releasing the album, preferring to focus on what they considered to be "priority" acts.[10] This led to the album being temporarily pulled from the release schedule as a way to address the concerns raised by Left Bank. In an interview with HitQuarters, Left Bank manager Tommy Manzi expressed frustration, stating that the industry seemed resistant to the comeback of Duran Duran.[8] He believed that the focus was on promoting "the next hip band" rather than supporting established acts like Duran Duran.[8] Manzi mentioned that industry insiders even "laughed at" Left Bank while they worked on reviving the careers of not only Duran Duran, but also Meat Loaf.[8] Despite their efforts, industry insiders seemed to dismiss these "old" acts.[8] This lack of recognition and support ultimately resulted in the album being shelved, with a release date set for 1993.

During the delay of the album, the remaining members of Duran Duran found themselves at a creative crossroads. John Taylor returned to his wife in Los Angeles, while Simon Le Bon, Nick Rhodes, and Warren Cuccurullo began working on cover songs for what would later become the Thank You album.[28][16] The unexpected leak of their song "Ordinary World" to radio stations in Jacksonville, Florida caught the band off guard.[7][9][29] Speculation arose that their own record label had intentionally leaked the track to gauge public interest, as Duran Duran had seen a decline in popularity after a decade of chart success.[7][29] To their surprise, "Ordinary World" received positive reception from listeners and was a hit at radio stations, sparking a renewed interest in the band's music.[7][9] The positive feedback led to Capitol Records advancing the song's release as a single.[7] "Ordinary World" was officially released as a single on 19 December 1992[21] by Capitol Records and made its debut on record charts the following year, reaching number six in the UK[30] and number three in the US.[31]

Critical reception

Professional ratings
Review scores
SourceRating
AllMusic[24]
Calgary HeraldC[32]
The Encyclopedia of Popular Music[33]
Entertainment WeeklyD[19]
Music Week[34]
The Philadelphia Inquirer[25]
Rolling Stone[18]
The Rolling Stone Album Guide[35]
Select[36]

Duran Duran initially received a variety of reviews upon its release, reflecting on the band's comeback and criticism of some aspects of the album. Sam Wood of the Philadelphia Inquirer offered a positive review of Duran Duran, suggesting that it could signify "the second coming of the Duranies". Wood noted that with the success of the sober ballad "Ordinary World", the band appeared to be making a concerted effort towards achieving "pop respectability".[25] He praised the album for moving away from the band's previous tendency towards "ridiculous non sequiturs" in their lyrics and observed a notable shift in thematic content, including critiques of American cultural dominance and the band's complex relationship with MTV.[25] He described the album as featuring "the best dance-pop the band has created since 1986's Notorious" and commended the inclusion of Brazilian artist Milton Nascimento on "Breath After Breath" for adding a unique, "samba-flavored" touch.[25] Conversely, Jim Farber of Entertainment Weekly was more critical and gave the album a "D" rating.[19] He described the album as a disappointing effort, despite the success of the single "Ordinary World".[19] Farber criticised the album's production and songwriting, arguing that it was "poured thick with gloppy production effects" and lacked the memorable melodies of their earlier work.[19] He described Duran Duran as a missed opportunity, pointing out that even the album's hit single, "Ordinary World," sounded like a lesser version of its influences.[19] Farber described "Ordinary World" as sounding like a "Moody Blues ballad with a dented hook", and lamented that the band's reliance on "overproduced" tracks and "lack of genuine musical talent" overshadowed the album's merits.[19] Farber's review was particularly scathing of the cover of the Velvet Underground's "Femme Fatale" and the collaboration with Milton Nascimento on "Breath After Breath", suggesting these elements did little to enhance the album's overall appeal.[19] Dave Obee of the Calgary Herald highlighted the band's struggle to distance themselves from their 1980s success, noting that despite a major revival of 1970s pop music and culture, Duran Duran seemed to be grappling with the remnants of their previous decade's prominence.[32] He acknowledged their influential role in the music industry—such as pioneering the music video era and their significant album sales—but also observed that their new material was an attempt to reconnect with their audience after a period of diminished impact.[32] Clark Collis of Select offered a more nuanced view, acknowledging the album's success with singles like "Ordinary World" but suggesting that it fell short in other areas.[36] Collis noted that the album was better than some of the band's previous efforts and praised tracks such as "Breath After Breath" and "Sin of the City" for their experimentation.[36] However, he also criticised some aspects of the album, including a lack of significant innovation and a somewhat inconsistent quality, remarking that the album rarely exceeded the high point of "Ordinary World."[36]

Retrospective reviews of Duran Duran have been more positive. Stephen Thomas Erlewine of AllMusic praised the band for their return to prominence with a sound that blended their classic style with a more mature approach.[24] He noted that Duran Duran showcased the band's ability to adapt to the 1990s music landscape while retaining elements of their earlier appeal.[24] Erlewine specifically highlighted "Ordinary World" and "Come Undone" as standout tracks, describing them as "wonderful pop singles" and noting that, despite a few weaker moments like the cover of the Velvet Underground's "Femme Fatale", the album was a successful return for the band.[24] Chris Gerard of Metro Weekly hailed the album as a significant comeback for the band after the disappointing performance of their previous album, Liberty (1990).[13] Gerard highlighted the album's success in revitalising the band's career during a period dominated by the raw alternative rock of Nirvana's Nevermind.[13] He praised the single "Ordinary World" for its "dreamy, acoustic quality" and commercial success, noting it was the band's highest-charting hit since "Notorious".[13] Gerard also commended the album for its "confident" sound and noted that it produced other standout tracks such as "Come Undone", "Too Much Information", "None of the Above", "Love Voodoo", and "Femme Fatale".[13] He appreciated the album's ability to restore the band's prominence, suggesting it was "overflowing with great tunes" and served as a "jolt of electricity" that revitalised Duran Duran.[13] Gerard's enthusiasm for Duran Duran led him to rank it higher than the band's earlier albums, such as Rio and their debut album.[13] However, this assessment was not universally accepted, as seen with other retrospective and contemporaneous critics who found the album to be lacklustre compared to the band's earlier work. Andrea Odintz of Rolling Stone offered a mixed review.[18] Odintz acknowledged the band's effort to evolve by integrating new styles and sounds, such as the influence of Prince and techno elements.[18] However, Odintz suggested that Duran Duran was more compelling when exploring their own distinctive style.[18] While she praised the album's lead single, "Ordinary World," for its spiritual and dreamy qualities, Odintz criticized the album for relying too heavily on contemporary trends and not fully capitalizing on the band's own strengths.[18] The review noted that while some tracks displayed the band's enduring appeal, others seemed less effective, and the overall effort did not live up to their earlier successes.[18]

Track listing

All tracks are written by Duran Duran, except where noted

No.TitleWriter(s)Length
1."Too Much Information" 4:56
2."Ordinary World" 5:39
3."Love Voodoo" 4:58
4."Drowning Man" 5:15
5."Shotgun" 0:54
6."Come Undone" 4:38
7."Breath After Breath"
4:58
8."UMF" 5:33
9."Femme Fatale"Lou Reed4:21
10."None of the Above" 5:19
11."Shelter" 4:25
12."To Whom It May Concern"Nick Rhodes4:24
13."Sin of the City" 7:14
Japan bonus tracks
No.TitleLength
1."Time for Temptation" (Alternate version)3:46
2."Stop Dead" (Edit)3:52
Deluxe Edition bonus tracks
No.TitleLength
14."Falling Angel"4:35
15."Stop Dead"4:31
16."Time for Temptation"4:09
17."A View to a Kill"3:33
Bonus disc (UK tour edition)
No.TitleLength
1."Falling Angel"4:35
2."Stop Dead"4:31
3."Time for Temptation"4:09
4."Come Undone" (12" mix – Comin' Together)7:21
5."Ordinary World" (Acoustic version)5:07
6."Too Much Information" (David Richards 12" mix)4:14

Personnel

Adapted from the album's liner notes.[37]

Duran Duran
Additional personnel
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

Certifications

Certifications for Duran Duran
Region Certification Certified units/sales
United Kingdom (BPI)[58] Gold 100,000^
United States (RIAA)[59] Platinum 1,000,000^

^ Shipments figures based on certification alone.

Notes

  1. ^ The album's release in the UK suggests that the release date was likely 15 February 1993, as the majority of music releases in the UK were typically launched on Mondays before transitioning to Fridays in 2015.[1][2] Despite this, various sources differ in listing the release date of the album. Music databases such as the BPI and the RIAA indicate 15 February as the release date, but other sources cite dates both before and after the 15th. Forbes and Duran Duran's official website state that the release date is 11 February,[3][4] while AllMusic lists it as the 23rd. Other recent sources present a combination of these dates or simply February 1993.[5][6]

References

  1. ^ Wright, Lisa (25 November 2014). "Retailers and independent labels call for weekly worldwide album release day to be Monday". NME. Archived from the original on 7 September 2023. Retrieved 15 July 2024.
  2. ^ Summers, Nick (10 July 2015). "Music releases move from Monday to Friday in the UK". Engadget. Archived from the original on 27 March 2023. Retrieved 15 July 2024.
  3. ^ a b c d Chiu, David (11 February 2023). "Duran Duran's Pivotal Comeback 'The Wedding Album' Marks 30 Years". Forbes. Archived from the original on 30 March 2023. Retrieved 8 June 2024.
  4. ^ "Duran Duran (The Wedding Album)". Duran Duran. Archived from the original on 3 December 2023. Retrieved 15 July 2024.
  5. ^ Wardlaw, Matt (16 December 2023). "30 Albums That Turned 30 in 2023". Ultimate Classic Rock. Archived from the original on 13 April 2024. Retrieved 15 July 2024.
  6. ^ a b c d e f g h i j Zaleski, Annie (15 February 2023). "30 Years Ago: Duran Duran Makes a Comeback With the Wedding Album". Ultimate Classic Rock. Archived from the original on 29 October 2023. Retrieved 8 June 2024.
  7. ^ a b c d e f "December 1992: Duran Duran Launch Comeback for the Ages with ORDINARY WORLD". Rhino Entertainment. 19 December 2022. Archived from the original on 22 September 2023. Retrieved 8 June 2024.
  8. ^ a b c d e f "Interview with TOMMY MANZI, manager at Umbrella for Eagle-Eye Cherry, Neneh Cherry, Grant Lee Buffalo". HitQuarters. 7 May 2001. Archived from the original on 9 June 2012. Retrieved 6 May 2011.
  9. ^ a b c d Duran Duran rediscovers success in the 'Ordinary World' of the '90s. The Baltimore Sun. 26 July 1993. Archived from the original on 3 March 2024. Retrieved 3 March 2024.
  10. ^ a b c d e f g h Lindores, Mark (2 July 2021). "Making Duran Duran: The Wedding Album". Classic Pop. Archived from the original on 8 June 2024. Retrieved 16 July 2024.
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  23. ^ a b c d e Elliott, Mark (11 February 2022). "Why Duran Duran's "The Wedding Album" Kickstarted An Enduring Union". Dig!. Archived from the original on 19 May 2024. Retrieved 3 September 2024.
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  30. ^ "Official Singles Chart Top 100: 30 January 1993 – 5 February 1993". Official Charts Company. Archived from the original on 2 July 2024. Retrieved 9 July 2024.
  31. ^ "Billboard Hot 100 – Week of February 20, 1993". Billboard. Archived from the original on 5 June 2024. Retrieved 1 April 2024.
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  33. ^ Larkin, Colin (27 May 2011). The Encyclopedia of Popular Music (5th concise ed.). Omnibus Press. p. 825. ISBN 978-0-85712-595-8. Archived from the original on 13 July 2024. Retrieved 12 July 2024.{{cite book}}: CS1 maint: date and year (link)
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  35. ^ Sheffield, Rob (2004). The New Rolling Stone Guide (4th revised ed.). Simon & Schuster. p. 261. ISBN 9780743201698. Archived from the original on 13 July 2024. Retrieved 12 July 2024.
  36. ^ a b c d Collis, Clark (April 1993). "Duran Duran: Duran Duran". Select: 74. Archived from the original on 31 July 2023. Retrieved 5 September 2017.
  37. ^ Duran Duran (booklet). Duran Duran. Parlophone. 1993. 0777 7 98876 2 0.{{cite AV media notes}}: CS1 maint: others in cite AV media (notes) (link)
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  59. ^ "American album certifications – Duran Duran – Duran Duran 2". Recording Industry Association of America. 18 June 1993. Retrieved 13 January 2019.
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