Duraniversary — A Celebration of Arcadia’s So Red the Rose 40 Years On by John Kearns
The thing about side projects is this: if they don’t work, there’s no real harm done (“Hey, it was only a side project”). But if you strike gold — if you create something beyond even your most optimistic expectations — the satisfaction is immense. That certainly applies to Duran Duran offshoot Arcadia and their album So Red the Rose.
Side projects also mean more freedom to explore, more room to experiment, and a chance to step away from the usual routine. For Duran Duran, that routine was being one of the biggest bands in the world, constantly under a glaring spotlight. After their third album Seven and the Ragged Tiger and its huge tour, the band hit pause. John Taylor and Andy Taylor were first to wander, teaming with Robert Palmer and Chic’s Tony Thompson to form The Power Station.
Meanwhile, Simon Le Bon, Nick Rhodes and Roger Taylor (who had also drummed on The Power Station record) found themselves with time on their hands. They could have taken an extended break — and it must have been tempting — but instead they formed Arcadia… and So Red the Rose, the best record Duran Duran never made, was born.
The name Arcadia comes from Greek mythology — a place of peace and harmony — but was more directly inspired by Nicolas Poussin’s 1638 painting Et in Arcadia Ego.
Basing themselves at Studio Grande Armée in Paris, with producer and friend Alex Sadkin at the helm, Arcadia set out to make a record free from mainstream expectations. Incredibly, their original plan was actually a covers album with maybe a couple of new songs — largely driven by Nick Rhodes’ desire to record a version of The Temptations’ “Ball of Confusion” (a box that would be ticked a decade later).
Over the coming months, a procession of top-tier musicians walked through that Parisian studio, each adding their magic to what was quickly becoming an ambitious project — one that grew in artistic credibility with every new name added to the visitors’ book.
Simon Le Bon tells me with pride about the album’s remarkable cast:
“We had so many extraordinary collaborations on that record, it was just amazing! I mean people like Dave Gilmour, Sting, Herbie Hancock, Grace Jones, Masami Tsuchiya, Steve Jordan (as Roger Taylor wasn’t going to play on the whole album), Carlos Alomar, David Van Tieghem, Mark Egan and Andy Mackay!
It was incredible — and you know, it wasn’t meant to be like that. It didn’t start off that way at all! It wasn’t meant to be a collaborative record, but we were in Paris, which was a cool place to play, so when those artists came over to do shows, we’d call them up and say, ‘Fancy making an appearance on our record?’ That’s exactly what happened with Sting and Steve Jordan.
Some of the others we got in touch with because we needed someone to play guitar, so we called Masami and Dave. It was an absolutely extraordinary moment in time — and one I think never to be repeated. It’s a really great album. I’m going to dig it out now and give it another listen.”
With such a stellar cast, it’s no surprise the musicianship throughout is exceptional. But it’s the songs — their melodies, structures and atmosphere — that make So Red the Rose such a powerful listen. Its blend of atmospheric soundscapes, esoteric themes and Sadkin’s beautifully abstract production created something mystical, ghostly and gothic. Yet the album also had enough catchy choruses to retain a commercial edge — perhaps its neatest trick.
“Election Day,” the flagship single and opening track, features Grace Jones on spoken word and is packed with musical and vocal hooks. “Keep Me in the Dark” is another highlight — arguably one of the most “Duran Duran” choruses ever — a track that wouldn’t have been out of place on Seven and the Ragged Tiger, slotted between “(I’m Looking For) Cracks in the Pavement” and “I Take the Dice.”
“The Promise,” with Sting doing an excellent impression of himself, carries a strong Avalon-era Roxy Music feel thanks to Andy Mackay’s gorgeous contribution. It was issued as a single alongside “Goodbye Is Forever” (in the US) and “The Flame,” which again featured a menacing Grace Jones cameo and a cheeky John Taylor appearance in the video.
But for me, the deeper cuts are where So Red the Rose truly shines.
“Missing” is beautifully crafted — a sonic palette Nick Rhodes would revisit many years later on Duran Duran’s “Confessions in the Afterlife” from Danse Macabre. “El Diablo” is another dark, mysterious standout, blending violin, flute and Spanish guitar with funky fretless bass and ending on an abrupt, unsettling note.
My favourite track, though, is the bold and adventurous “Lady Ice,” a seven-and-a-half-minute epic of Sakamoto-style chimes, cinematic textures and cryptic lyrics — the jewel in an already sparkling crown.
Nick Rhodes agrees:
“Lady Ice is actually one of my personal favourite achievements in the songwriting category from our entire career.
When we were making the Arcadia record, we were holed up in Studio Grande Armée for 18 months on and off — a really long time to be making a record — but somehow we were striving for absolute perfection, which to this day I don’t think really exists… maybe I’ll find it one day.
We did many versions of many songs, and a couple started to shine early on. One of them was Lady Ice.
I worked on the intro for quite a short time on a Fairlight — a computerised synthesiser that had just come out — an extraordinary instrument I was still figuring out. The song just doesn’t sound like anything else, and that’s what I love about it.
It’s a song we’ve talked about playing live many times as Duran Duran, even though it’s an Arcadia song. John Taylor loves it too — but we haven’t got round to it yet. Maybe one day!”
“Lady Ice” also makes for a perfect closer to a record that exudes class, artistry and — above all — imagination.
Forty years on, Arcadia’s So Red the Rose remains in full bloom.
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