NEW DURAN DURAN IS BETTER BETTER
Published: Thursday, January 26, 1989

by Mark Faris, Beacon Journal staff writer

Duran Duran is the band so nice they named it twice. At least that seemed to be the prevailing sentiment of the fashion-plate yuppie-punk set that elevated the blow-dry limey ensemble to platinum pop prominence in the decade's early years.

Swinging, sweating and looking swell in exotic videos that did as much to glamorize the group as its music, Duran Duran rode the crest of such massively popular albums as Rio and Seven and the Ragged Tiger to big bucks superstardom that held firm until the mid-' 80s, when two of the five members (Andy and Roger Taylor) split.

When the outfit re-emerged in `86, singer Simon LeBon, along with keyboardist Nick Rhodes and bassist Roger Taylor, had assumed full control and set about the task of popping its teen-dream bubble-gum image for a more streamlined approach emphasizing mature, avant garde musical styles. And by the looks of things TuesDAY, at the Coliseum, they've succeeded.

Despite a relatively scant turnout of about 5,000 (the band drew about 15,000 for its Coliseum debut Feb. 27, 1984), Duran Duran pumped out a slick and surprisingly entertaining, two-hour set of hard-edged techno-pop rock that had folks bobbing in their seats and bopping in the aisles throughout most of the show.

Backed by a high-grade cast that included guitarist Warren Cuccurullo, drummer Sterling Campbell, saxophonist Stan Harrison, trombonist Spike Edney and a couple of lithe, microminiskirted singers doing business as Melanie Redmond and Jaquie Copland, the band opened with a surging version of the title track from its current Big Thing LP that pretty much set the pace for the rest of the session.

With their short, semipsychedelic frocks riding higher with every step and kick, the women attracted plenty of attention as they worked through an occasionally mimelike choreography that meshed almost ethereally with the throbbing rhythm.

So did LeBon's awkward, yet strangely appropriate gyrations, which often resembled the kind of moves Michael Jackson might conjure during a siege of cramps. Or something.

Similarly, LeBon's singing was nothing to phone home about. But, coupled with Rhodes' decadent keyboard work (not to mention his tomato red suit and gaunt, cadaverous visage) and Campbell's firecracker time-keeping, it worked. Well enough.

Do You Believe in Shame -- also from the new album -- was another of the show's early highlights, as was a blast-from-the-past pass at Hungry Like the Wolf. Although the contrast between the old Duran Duran and the new, improved version is hardly staggering, it is apparent. And welcome.

But even though the boys may be growing up and flexing new musical muscles, make no mistake -- they're still plenty groovy. And, judging by the extra macho bandanna LeBon saw fit to tie around his head after the third tune, pretty apt to stay that way.

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