Duran Duran
Continued from Page 11
“At the end of the day, you want to
geuhrough to people,” Rhodes said.
“Whatever we were doing was
reaching a lot of people and causing
a lot of hysteria, and we just rolled
with it ... Eventually, the dust just
settled.”
Reaching such a peak in the early
’80s put the band in a difficult situa
tion, Rhodes said. By 1984, they had
seen the top of the mountain and were
headed down.
Fans from Duran Duran’s Bop
Magazine, “Hungry Like the Wolf’
days are attached to the Rhodes, John
Taylor, Andy Taylor, Roger Taylor,
LeBon line-up. However, the current
group has been together for longer
than the three-Taylor line-up.
When Roger and Andy left the
group, Rhodes said, Duran Duran
had three options: carry on, replace
them or disband. They chose to carry
on.
“The first phase was over,” he
said. “It was time to start getting into
other things.”
Cuccurullo started playing with
the band in 1989.
“It took us from 1986 to 1990 to
actually recover from losing those
two members and integrate Warren,
our new guitarist, properly,” Rhodes
said.
During that time, he said, the band
lost ground with radio stations and
record buyers.
In 1993, they resurfaced with
“Duran Duran” (nicknamed “The
Wedding Album”) and its hit single,
“Ordinary World.” “Ordinary World”
made people who had supported
Duran Duran in the ’80s and then
moved on realize that Duran Duran
had moved on, too, Rhodes said.
“We’d been through the same
things as them,” he said.
The song also won new fans for
the band, fans who had heard the
song on the radio and had no pre
IIIIM
Tuscadero
“The Pink Album”
TeenBeat Records
Grade: B
Wrapped in the facade of irre
vocable cuteness, Tuscadero
chums out gem after gem of sweet
and simple pop artistry on their
debut, “The Pink Album.”
But the simple sound and ap
peal of Tuscadero’s music is col
ored with an underlying penchant
for the wicked. Like a group of
hormonally imbalanced teen-agers
giggling over a human-growth and
development film, songs such as
“Latex Dominatrix” and “Holly
wood Handsome” revel in the
naughtiness of kids who know too
much for their own maturity to
handle.
Fronted by Melissa Farris and
Margaret McCartney, who share
guitar and vocal responsibilities,
and backed by Jack Hordany on
drums and Phil Satloff on bass,
Tuscadero puts forth its childlike
image with a smug grin rather than
an apologetic pout.
/vna it s tnis orazen immaturity
in approaching music that, for the
most part, makes Tuscadero such
an endearing band to listen to.
Images of a “queen of the damned
... dressed in black rubber,” are
interspersed with those of a girl
who is despondent because her
parents threw away her collection
of Nancy Drew books.
“Mt. Pleasant” almost borders
on social commentary, telling the
tale of a “Beaver-Cleaver neigh
borhood” that is littered with bro
ken liquor bottles and lottery tick
ets. liie suburbia that spawned
these artists is an always-present
and occasionally harsh memory,
and is a reminder that today’s pop
musicians reflect their audiences
like never before.
“Candy Song” and “Game
Song” use the objects of their titles
as the basis for most of each tune’s
lyrics, comparing boyfriends to
chocolate bunnies, peanut butter
cups and Monopoly.
“Dime a Dozen” conjures the
image of a little girl telling off her
first boyfriend with the words “your
daddy must have married his first
cousin and guys like you are a
dime a dozen.”
Ultimately, though, the same
simplicity that makes this album
so easy to listen to proves equally
harmful. It’s just too easy, but that
may be just the way Tuscadero
likes it.
—Jeff Randall
Danzig
“Danzig 4”
American Records
Grade: A
White Zombie
“Astro-Creep: 2000?
Geffen Records
Grade: B
The new albums by Danzig and
White Zombie are gloriously
frightening examples of a style of
music that can best be described as
horror comic rock. This is music
hellbent on impressing the listener
with Lovecraftian fear of the un
known but with a “Tales from the
Crypt” style of gallows humor
thrown in to lighten the ever
present gloom.
The brand of supernatural evil
these bands sing about is straight
out of 1960s comic books. It is no
surprise that frontmen Glenn
Danzig and Rob Zombie are both
self-professed fans of pop culture.
Danzig can still be found occa
sionally haunting the halls of
comic-book conventions to this
day, possibly looking for the inspi
ration to new songs.
The most important ingredient
for horror comic rock is satanism.
Danzig allies itself to the dark
forces on the song “Son of the
Morning Star,” an ironic title in
light of the fact that the Bible
refers to both Satan and Christ as
“son of the morning star.”
White Zombie sings about the
devil in their heads in the song
“Super-Charger Heaven.” To in
crease the blasphemy level, they
play a distorted riff over a Latin
Catholic mass that ends in the lines
“It is not heresy. I will not recant.”
The second most important in
gredient for horror comic rock is a
lead singer who unleashes inhu
man wailings. Glenn Danzig’s
wordless moanings resemble a wolf
howl and most often end up some
thing like
Whooooooooooooooooaaaaa! ”
Rob Zombie’s wordless intona
tions resemble a dragon’s growl
and most often end up something
like “Ahhhhhhhrrrrrrrrrrrrrrgg!”
Other ingredients for horror
comic rock include distorted gui
tar leaning toward the punk end
and unidentifiable atmosphere
noises.
Danzig and White Zombie both
have songs about torture that in
clude whip sounds and screaming
(“Sadistakal” and “Electric Head,”
respectively). Both bands use si
tars to evoke an Eastern otherness
(“Bringer of Death” and “Blood,
Milk and Sky,” respectively).
The main difference between
these albums is that “Danzig 4”
displays a range of songwriting
style and depth that hearken back
to the experimental days of
Samhain, whereas “Astro-Creep:
2000” is tedious and unchanging.
It is hard to imagine that a better
horror comic rock band than
Danzig will ever rise from the void.
— Jason Gildow
conceptions about Duran Duran.
There will be no reunion with the
“Rio” line-up. Roger Taylor does
drum on “Thank You” (“Perfect Day”
and “Watching the Detectives”).
However, Cuccurullo is the Duran
Duran guitarist now, Rhodes said,
and Duran Duran has never needed
two guitarists.
Within a year, Duran Duran will
release an album of original songs.
It’s working title is “Medazzleland”
(they don’t have a working spelling).
It’s the name of the place where
the band sounds like it’s coming from
on the album, Rhodes said. The al
bum should feature simple, hooky
tunes with a wall of sound.
Rhodes said he looked forward to
pushing Duran Duran into new direc
tions. Regardless of how they are
perceived by the media or the public,
they will continue to redefine Duran
Duran.
“You never know,” Rhodes said,
“if it will be successful or spiral you
into three years of obscurity.”
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