Duran Duran
Big Thing

THE REVIEW

There are stereotypes so absurd that they become necessary for understanding and comprehension. Once, as the fan of the Pet Shop Boys that I am, I specified that I don't like 'It's A Sin'. Someone not very clever retorted with, "Ah! How is that possible? It would be like an U2 fan not liking 'One'."

What the hell does that mean? Should we feel guilty about it? Well, in the Durannies domain, I have two: I don't like 'Rio', I love 'Big Thing'.

A contrarian who blesses the departure of the unnecessary Taylors, Andy and Roger, and welcomes the arrival of synthetic-dance-pop-soft/house session musicians and producers.

'Big Thing' arrived in Italy because it only resonated and found an audience there in the wake of 'E’ qui la festa' and 'Pregherei', just to illustrate.

Furthermore, labeling the album (as those who don't care to delve deeper do) as 'house' isn't accurate. The work contains synthetic undertones here and there, but it's not a dance album. It keeps up with the times but inevitably winks at the past.

Just because 'All She Wants Is' has an acidic base doesn't mean the entire work should be stigmatized by one label.

'Big Thing' is much more than that.

It's the bland yet heavy irony of the title track, the well-crafted sobriety of the leading single ('I Don’t Want Your Love'), the exquisite sweetness of 'Too Late Marlene', 'Land', and 'The Edge Of America', the heartrending melancholy of 'Palomino', the pain of 'Do You Believe In Shame'.

If I listen to 'Hungry Like The Wolf' I say: meh. Bah. What is it? It doesn't engage me, I don't like it, it doesn't appeal to me.

'Big Thing' instead reflects in a pensive manner. Because if you delve deeper, you'll get it: as often happens, Rhodes is the only one present. Taylor, by his own admission, is out of it. Lebon is fixated on the Drum, intended as the boat with which he travels around the world every so often, risking his life more often than not. He sings without ceasing, sings because he must. The heart only makes rare appearances.

Creating masterpieces absentmindedly. Like the stroke of a champion.

This, for me, is 'Big Thing'.

Anyway, to show the radio stations that they were no longer aiming at teenagers tearing their hair out, the three sent "The LSD edit" to the radios in advance, signing as 'The Krush Brothers', which is nothing more than an edit of "The Edge Of America" and the instrumental "Lake Shore Driving" that closes the album.

A message partially received. The album flopped, but that's gold compared to the subsequent 'Liberty'.

A voice crying in the wilderness, a preacher in the desert: this record is either disliked or liked by few.

And I am not worthy to tie your sandal straps, oh purists of "Rio", and where do you think you're going without Andy, and hey, Duran Duran are for girls. Commonplaces, a malady inherent in my generation.