Duran Duran (1993 album)

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Duran Duran
Duran Duran - The Wedding Album - Cover.jpg
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 Dance-pop
Length62:35
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 theWedding Album) 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.

Contents

Background

By the early 1990s, Duran Duran's career appeared to be in decline. [5] Their 1990 album Liberty , despite debuting at number eight in the UK Albums Chart, quickly fell out of favour, struggling commercially and critically in both the UK and the US. [5] Singles such as "Violence of Summer (Love's Taking Over)" and "Serious" failed to make significant chart impacts, while much of the album's material was met with indifference or outright criticism from the press. [5] Reflecting on this period, band members Nick Rhodes and Simon Le Bon admitted to a lack of focus during the creation of Liberty, with Le Bon noting, "There were times when everyone in the band felt like giving up." [5]

After the commercial disappointment of Liberty, Duran Duran entered a period of uncertainty. [5] Drummer Sterling Campbell departed the band quietly, later joining Soul Asylum. [5] The remaining members faced personal and professional challenges: John Taylor struggled with his mental health, Rhodes was navigating a difficult marital breakup while caring for a young child, and Le Bon expressed a desire to escape to a quieter life by the sea. [5] In contrast, guitarist Warren Cuccurullo emerged as the driving force behind the band during this period. [5] Reflecting on his determination, Cuccurullo stated, "I was the hungriest. I wanted success. I wanted to go beyond where I had gone. All I had was my music." [5] He converted the living room of his house in Battersea, London, into a makeshift studio, which became the primary workspace for the band's next project. [5] Rhodes supported the idea, commenting that the space had a more inviting atmosphere compared to traditional studios. [5]

Development and recording

In January 1991, Duran Duran began work on their next album at Privacy Studios. [6] The home studio offered freedom from both the high costs of traditional facilities and the pressure of deadlines. [7] "We'd never recorded in a home studio before," recalled Taylor, noting that while the songwriting process remained largely the same as on previous projects, the relaxed setting meant they no longer had to "keep looking at the clock". [6] Still, Taylor admitted that the lack of deadlines came with drawbacks. "Artists don't do well with time on their hands," he wrote, adding that without a fixed schedule, creative energy could wane. [8] Initial working titles for the project included Here Comes the Band and Four on the Floor, [6] [7] the latter referencing their habit of sleeping at the studio after late-night sessions. [7]

At this stage, the band worked without a producer. Using sequencers, drum machines, synthesisers, and Cuccurullo's guitar rig, they began writing and jamming. [6] Rhodes later recalled that they wrote continuously, sometimes producing interesting material, other times struggling to make progress. Le Bon noted that for the first time in the band's career, lyrics were entered into a PSION Organiser handheld computer and printed for studio use. Recordings were also made directly onto a hard drive, marking a shift toward digital production techniques. [9] EMI, the band's label, remained involved but adopted a more cautious approach. Rather than provide a large upfront advance, the label, under the new A&R head Nick Gatfield, opted to release funding incrementally, evaluating the band's songwriting progress on a monthly basis. According to Taylor, this marked the first time Duran Duran had been "tightly A&R'd". [5] [8]

John Jones produced the album with us, and he was a great 'ear' to have around. He had a great knowledge of classical structure of songs. With what we were trying to do, he was the right inspiration to have around. he helped steer some of the songs and generally contributed a good sense of direction for the album's arrangement.

—Nick Rhodes, 2013 [9]

After several months of initial writing, the producer and engineer John Jones was brought in to help shape the project and demo the band's ideas. [6] [9] Jones had a prior history with the band, having first collaborated with them on the B-side "This Is How a Road Gets Made", released with the Big Thing (1988) single "Do You Believe in Shame?". He also contributed programming to the 1989 single "Burning the Ground" and Liberty. [10] Jones recalled that the band wanted both creative freedom and a way to avoid the expense of a traditional studio. They asked if recording in a living room was possible, and Jones replied that it was, and that they could at least begin with demos to see how far the approach would take them. [6]

Recording for Duran Duran began with a makeshift setup centered around an Akai MG1214 console with its built-in 12-track recorder. Studio monitors included AR Red Boxes and an Auratone, while each member worked from their own station: Cuccurullo's guitars and sequencers, Rhodes' keyboards, and Taylor's bass, all feeding into the system through Yamaha DMP7 mixers. Jones worked with an Atari computer running Notator sequencing software, using Akai S1000 and S900 samplers alongside a Roland D-50 synthesizer. For initial takes, the band recorded live together, each member equipped with a Shure SM58 microphone to communicate and capture rough vocals. [6]

The band's first goal was to demo about 15 songs, and although they had total creative control, it was felt the album should be made with input from the record company. After tracking "Ordinary World" and three other songs on the analogue 12-track, they transitioned to a more advanced system, bringing in two Akai ADAM digital 12-track recorders and a DDA DMR12 console. According to Jones, the experience of playing together in a shared room was essential: the musicians often gathered around a single microphone in the center of the room, singing or clapping spontaneously, with Le Bon recording lead vocals in the same informal manner. Many of these early takes were retained for the final album, reflecting the group's desire to preserve the immediacy of their demos rather than polish away imperfections. Le Bon later explained that this approach marked a shift from the band's earlier preference for highly polished production: "We never used to like leaving rough edges on, but now that's changed." [6]

Between January and April 1991, the group wrote extensively, generating much of the material that would comprise the album. Le Bon later reflected that they had finally found "a rhythm of working and an attitude we have been aiming for since 1985". By July of that year, they had composed songs such as "Love Voodoo", "Sin of the City", "Too Much Information", "UMF", and "Ordinary World". [5] Taylor's idea to make the album dance music based resulted in "Drowning Man". [9] "Breath After Breath" was a collaboration with the Brazilian singer Milton Nascimento. According to Jones, the track began as an instrumental demo created by himself and Cuccurullo. A cassette of the demo was sent to Nascimento, and after a period of silence, the band eventually received a tape in return containing his vocal ideas. Nascimento's contributions, which included melodies and vocal lines, impressed the band immediately. Without having heard Nascimento's recording, Le Bon had also written his own vocal parts. When Nascimento arrived in London, both artists recorded their sections on the same day. As Jones described it, the session captured "unbelievable magic". [10]

The closing track, "Sin of the City", reflects the band's decision to embrace rougher, less polished elements in their music. The song ends with an extended jam section that arose spontaneously during recording. According to Taylor, a drum machine pattern slipped out of sync while he and Cuccurullo were playing, prompting them to change key and continue improvising until they gradually stopped and set down their instruments. Rather than edit the passage, the band chose to keep the entire take, allowing the track to run until the drum program finished. [6]

After a week's break in mid 1991 [5] and some attempts to mix a couple of tracks on the newly acquired console, the band decided to move part of the process to a professional studio. [6] Live drums, commissioned for "Ordinary World" and "Too Much Information", were recorded within a few hours at Maison Rouge Studios in South-West London by the drummer Steve Ferrone and the engineer Tony Taverner. [6] In addition to the drum work, Rhodes and Jones finalised the string and keyboard arrangements for "Ordinary World" during sessions at Maison Rouge. Further refinements were made using the Akai DD1000 digital recorder, including amendments to the drums and acoustic guitar parts. [6] A personal milestone near the end of 1991 would later influence the album's commonly used nickname. On Christmas Eve 1991, Taylor married Amanda de Cadenet. Jones referred to their wedding as a "shotgun wedding", a remark Taylor disliked. As a response, he named one of the instrumental tracks they were working on "Shotgun" saying it was "as if to say, 'And proud of it, you fucker.'" That indirectly led to the band naming the album The Wedding Album. [8]

In May 1992, Le Bon sustained an injury in a motorcycle accident in Dyfed, Wales. Rhodes recalled being horrified by the incident. During this time, the band explored additional recording ideas, including a cover of the Velvet Underground's "Femme Fatale", reportedly suggested by Frank Zappa through his friendship with Cuccurullo. The song was recorded in a grand, echoey style and was ultimately included on the album. [5] "Come Undone" was another late addition, conceived and recorded after Duran Duran was already complete in June 1992. The song stands out as the only track on the album to which Taylor didn't contribute bass, as he already went home to Los Angeles. [10] [11]

Mixing

After the final additions made by Jones and Rhodes, mixing for "Ordinary World" was attempted by Steve MacMillan in the United States, by Jones and Dee Long in the United Kingdom, and by David Richards in Switzerland, but the results were not considered satisfactory. David Leonard was then brought in, and Jones later recalled that he did "a fantastic job". Leonard's mix was cut at London's Townhouse Studios, though the final release took an unexpected turn. While in London for The Freddie Mercury Tribute Concert, Richards revisited the track on his own initiative, producing a new mix that the band ultimately preferred and issued commercially. [6] Richards' involvement extended beyond "Ordinary World". He mixed the majority of the album from Mountain Studios, a process Cuccurullo remembered as transformative, praising Richards for creating sonics that felt "like you'd taken drugs before having a listen". [9] [12] According to Cuccurullo, Richards was suggested by Taylor to do some mixing. [9] Leonard's contributions also remained part of the album: he mixed "Drowning Man" and "Femme Fatale". [12]

Composition

Musically, Duran Duran is a dance-pop [13] [14] album that incorporates elements of rock, electronica, and experimental music. [10] It was also widely noted for presenting a more mature and confident version of the band. [5] [13] [15] Stephen Thomas Erlewine of AllMusic noted that although the group sounded "more relaxed and mature" than during its early-1980s peak, "not all that much has changed". Instead of the synth-driven dance-pop, the band delivered what he called "smooth dance pop for the '90s", which he considered as effective as their first three studio albums. The Independent described it as "an album of maturity and confidence", [5] a view echoed by Chris Gerard of Metro Weekly , who contrasted it with the uncertainty of Liberty. [15] Andrea Odintz writing for Rolling Stone also remarked on the sense of evolution, noting that the album abandoned both the "computerized lustfulness" of Big Thing and the "generic soulfulness" of Liberty. [16]

The biographer Steve Malins emphasised the richness of its production, built on programmed beats but layered with organic textures. Taylor's bass was said to ground the songs with warmth, while Rhodes' keyboards played a reduced role, though his electric piano contributed a cinematic tone to the band's cover of "Femme Fatale". Malins noted Cuccurullo's prominent guitar work throughout, from the "dense, Fripp-like" textures of "Too Much Information" to the Brazilian-inspired acoustic instrumentation of "Breath After Breath". His playing was also cited as central to the ballads "Ordinary World" and "Come Undone", as well as the atmospheric textures of "Love Voodoo". [5] In The Philadelphia Inquirer , Sam Wood highlighted a lyrical transformation, observing that the "strings of ridiculous non sequiturs" in earlier hits like "The Reflex" and "Union of the Snake" were replaced by songs engaging with themes such as American decline, moral outrage at slumlords, and even criticism of MTV. [14]

Artwork

The sleeve of Duran Duran was designed by Nick Egan with Eric Roinestad. Its concept grew out of a chance encounter: Taylor had mentioned to the actor Billy Zane that the band was looking for Egan to design the cover, and Zane revealed that he and his wife Lisa were friends with him. Zane also told Taylor that Egan was in London at that very moment, which quickly led to a meeting at Taylor's house. There, Taylor outlined the band's idea of using photographs from their parents' weddings, a deliberate break from the elaborate photo shoots that had defined the band's earlier covers. Egan was convinced by the concept and felt it demonstrated Duran Duran's unpredictability and creativity. In approaching the design, Egan said his immediate concern was avoiding the kitsch qualities often found in wedding imagery, such as lace, confetti, and other traditional motifs. Instead, he turned to the work of the artist Robert Rauschenberg, who Egan said "laid seemingly random images on top of each other with the faintest hint of off register color as if the whole thing was screen printed". Drawing from this influence, Egan arranged the sepia-toned family wedding photographs into a collage. The final sleeve featured these images overlaid by a solitary gold Duran Duran logo. [9] [17]

Release and singles

The unexpected leak of their song "Ordinary World" to radio stations in Jacksonville, Florida caught the band off guard. [18] [19] [20] 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. [18] [20] 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. [18] [19] The positive feedback led to Capitol Records advancing the song's release as a single. [18] "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 [22] and number three in the US. [23]

Duran Duran was released two months later on 15 February 1993. Its already successful lead single propelled it high onto the UK Albums Chart, debuting at number four. The album would not appear on the US Billboard 200 until the week of 13 March, where it debuted at number seven. [24] This notably gave the band another top-ten hit in the US since their 1984 live album Arena . [4] Unlike their previous album that suffered poor album sales and had fallen off the charts within weeks of release, [5] Duran Duran was able to maintain a stable amount of sales for months in both their homeland and the US, fluctuating between the top 20 and 30 weeks after release.

Critical reception

Professional ratings
Contemporary reviews
Review scores
SourceRating
Calgary Herald C [25]
Entertainment Weekly D [26]
Music Week Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [1]
The Philadelphia Inquirer Star full.svgStar full.svgStar full.svgStar empty.svg [14]
Select U+25A0.svgU+25A0.svgU+25A1.svgU+25A1.svgU+25A1.svg [27]

Duran Duran received mixed reviews upon its release, with opinions reflecting on the band's attempt at a comeback. Sam Wood of the Philadelphia Inquirer described the album as a potential "second coming of the Duranies", praising the shift toward "pop respectability" with tracks like the ballad "Ordinary World". [14] He commended the thematic maturity of the lyrics, the inclusion of Brazilian artist Milton Nascimento on "Breath After Breath," and the album's strong dance-pop influences, likening its quality to 1986's Notorious. [14] Alan Jones of Music Week offered a positive assessment, giving the album four out of five stars. [1] He noted that the band had put considerable thought and care into the album's production, highlighting its diversity. [1] He concluded that the album demonstrated unexpected strength and affirmed that Duran Duran remained "a force to be reckoned with." [1]

In contrast, Jim Farber of Entertainment Weekly gave the album a "D" rating, criticising its production as "overproduced" and the songwriting as lacking the memorable melodies of the band's earlier work. [26] He described "Ordinary World" as a weaker derivative of its influences and singled out the cover of the Velvet Underground's "Femme Fatale" and the collaboration with Nascimento as ineffective. [26] Dave Obee of the Calgary Herald observed that the band struggled to distance themselves from their 1980s success while attempting to reconnect with audiences. [25] He noted their influential role in the music industry but remarked on the challenge of maintaining relevance. [25] Similarly, Clark Collis of Select acknowledged the success of singles like "Ordinary World" but criticised the album for inconsistent quality and a lack of innovation, suggesting that it rarely matched the high points of its standout tracks. [27]

Retrospective assessments

Professional ratings
Review scores
SourceRating
AllMusic Star full.svgStar full.svgStar full.svgStar full.svgStar empty.svg [13]
The Encyclopedia of Popular Music Star full.svgStar full.svgStar full.svgStar empty.svgStar empty.svg [28]
Rolling Stone Star full.svgStar full.svgStar empty.svgStar empty.svgStar empty.svg [16]
(The New) Rolling Stone Album Guide Star full.svgStar full.svgStar half.svgStar empty.svgStar empty.svg [29]
Spin Alternative Record Guide 4/10 [30]

Retrospective reviews of Duran Duran have been mixed, with critics reflecting on the album’s strengths and its place in the band's career. Stephen Thomas Erlewine of AllMusic praised the album for blending Duran Duran's classic style with a more mature approach, describing it as a successful adaptation to the 1990s music landscape. [13] He highlighted "Ordinary World" and "Come Undone" as standout tracks, calling them "wonderful pop singles", but noted weaker moments, such as the cover of the Velvet Underground's "Femme Fatale". [13]

Andrea Odintz of Rolling Stone offered a more reserved perspective. [16] She acknowledged the band's effort to evolve by incorporating elements of Prince and techno but felt the album was more compelling when the band leaned on their own distinctive style. [16] While she praised "Ordinary World" for its spiritual qualities, Odintz criticized some tracks for following contemporary trends too closely and suggested that the album was uneven in quality compared to their earlier successes. [16]

Track listing

All tracks are written by Duran Duran, except where noted.

No.TitleWriter(s)Length
1."Too Much Information" 4:55
2."Ordinary World" 5:40
3."Love Voodoo" 4:58
4."Drowning Man" 5:14
5."Shotgun" 0:54
6."Come Undone" 4:38
7."Breath After Breath"
4:57
8."U.M.F." 5:32
9."Femme Fatale" Lou Reed 4:21
10."None of the Above" 5:18
11."Shelter" 4:23
12."To Whom It May Concern" Nick Rhodes 4:23
13."Sin of the City" 7:14
Total length:62:35
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. [12]

Duran Duran
Additional musicians
Production

Charts

Certifications

Certifications for Duran Duran
RegionCertification Certified units/sales
United Kingdom (BPI) [50] Gold100,000^
United States (RIAA) [51] Platinum1,000,000^

^ Shipments figures based on certification alone.

Release history

Release history for Duran Duran
CountryDateLabelFormat(s)Catalogue number
Europe15 February 1993 Parlophone CD CDDDB 34 [1]
United Kingdom Cassette TCDDB 34 [1]
LP DDB 34 [1]

Notes

  1. ↑ Contemporary sources cite 15 February as the release date, [1] along with the BPI and the RIAA. Despite this, Duran Duran's official website state that the release date is 11 February, [2] while AllMusic lists it as the 23rd. Other recent sources present a combination of these dates or simply February 1993. [3] [4]

References

  1. 1 2 3 4 5 6 7 8 Jones, Alan (13 February 1993). "Market Preview: Mainstream - Albums — Pick of the Week" (PDF). Music Week . p. 20. Retrieved 29 January 2023.
  2. ↑ "Duran Duran (The Wedding Album)". Duran Duran. Archived from the original on 3 December 2023. Retrieved 15 July 2024.
  3. ↑ 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.
  4. 1 2 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.
  5. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 Malins 2013, chap. 10.
  6. 1 2 3 4 5 6 7 8 9 10 11 12 13 Buskin, Richard (April 1993). "John Jones & Duran Duran: Recording 'Ordinary World'". Recording Musician. Archived from the original on 9 July 2024. Retrieved 25 January 2024.
  7. 1 2 3 Lindores, Mark (12 April 2025). "Making Duran Duran: The Wedding Album". Classic Pop . Archived from the original on 23 June 2025. Retrieved 16 July 2024.
  8. 1 2 3 Taylor 2012, chap. 62.
  9. 1 2 3 4 5 6 7 "Reflections on Duran Duran's "The Wedding Album"". Duran Duran. 20 February 2013. Archived from the original on 18 January 2024. Retrieved 29 November 2024.
  10. 1 2 3 4 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 22 June 2025.
  11. ↑ Taylor 2012, chap. 63.
  12. 1 2 3 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)
  13. 1 2 3 4 5 Erlewine, Stephen Thomas. "Review of Duran Duran (The Wedding Album)". AllMusic . Archived from the original on 3 October 2023. Retrieved 12 July 2024.
  14. 1 2 3 4 5 Wood, Sam (27 April 1993). "The Philadelphia Inquirer – A Trumpeter Breaks Out of Marsalis' Shadow" . The Philadelphia Inquirer . p. 44. Archived from the original on 2 September 2024. Retrieved 1 September 2024.
  15. 1 2 Gerard, Chris (24 April 2015). "Duran Duran: Ranking their albums Worst to First". Metro Weekly . Archived from the original on 12 August 2025. Retrieved 30 August 2025.
  16. 1 2 3 4 5 Odintz, Andrea (26 April 2001). "Duran Duran: Duran Duran (The Wedding Album)". Rolling Stone . Archived from the original on 9 November 2006. Retrieved 12 July 2024.
  17. ↑ Dineley, Andrew (3 June 2021). "Pop Art – Duran Duran". Classic Pop . Archived from the original on 11 August 2023. Retrieved 17 July 2024.
  18. 1 2 3 4 "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.
  19. 1 2 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.
  20. 1 2 Kent, Anderson (7 April 2023). Friday Song: "Ordinary World". The Geyser. Archived from the original on 3 March 2024. Retrieved 3 March 2024.
  21. ↑ Zaleski, Annie (18 December 2022). "30 Years Ago: Duran Duran Begins a Second Act With 'Ordinary World'". Ultimate Classic Rock . Archived from the original on 2 March 2024. Retrieved 10 July 2024.
  22. ↑ "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.
  23. ↑ "Billboard Hot 100 – Week of February 20, 1993". Billboard . Archived from the original on 5 June 2024. Retrieved 1 April 2024.
  24. 1 2 "Billboard 200 – Week of March 13, 1993". Billboard . Archived from the original on 15 April 2023. Retrieved 8 September 2024.
  25. 1 2 3 Obee, Dave (21 February 1993). "Calgary Herald – Recent Releases" . Calgary Herald . p. 24. Archived from the original on 2 September 2024. Retrieved 2 September 2024.
  26. 1 2 3 Farber, Jim (26 February 1993). "Duran Duran". Entertainment Weekly . Archived from the original on 31 July 2023. Retrieved 12 July 2024.
  27. 1 2 Collis, Clark (April 1993). "Duran Duran: Duran Duran". Select . p. 74. Archived from the original on 31 July 2023. Retrieved 5 September 2017.
  28. ↑ 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.
  29. ↑ 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.
  30. ↑ Weisbard, Eric; Marks, Craig, eds. (1995). Spin Alternative Record Guide . New York City: Vintage Books. pp. 119–120. ISBN   0-679-75574-8.
  31. ↑ "Australiancharts.com – Duran Duran – Duran Duran (The Wedding Album)". Hung Medien. Retrieved 13 January 2019.
  32. ↑ "Austriancharts.at – Duran Duran – Duran Duran (The Wedding Album)" (in German). Hung Medien. Retrieved 13 January 2019.
  33. ↑ "Top RPM Albums: Issue 0992". RPM . Library and Archives Canada. Retrieved 13 January 2019.
  34. ↑ "Dutchcharts.nl – Duran Duran – Duran Duran (The Wedding Album)" (in Dutch). Hung Medien. Retrieved 13 January 2019.
  35. ↑ "European Top 100 Albums" (PDF). Music & Media . Vol. 10, no. 10. 6 March 1993. p. 18. OCLC   29800226 – via World Radio History.
  36. ↑ Pennanen, Timo (2006). Sisältää hitin – levyt ja esittäjät Suomen musiikkilistoilla vuodesta 1972 (in Finnish) (1st ed.). Helsinki: Kustannusosakeyhtiö Otava. ISBN   978-951-1-21053-5.
  37. ↑ "Le Détail des Albums de chaque Artiste". InfoDisc (in French). Retrieved 13 January 2019.Select "DURAN DURAN" from the drop-down menu and click "OK".
  38. ↑ "Offiziellecharts.de – Duran Duran – Duran Duran (The Wedding Album)" (in German). GfK Entertainment Charts. Retrieved 13 January 2019.
  39. 1 2 3 "Top 10 Sales in Europe" (PDF). Music & Media. Vol. 10, no. 11. 13 March 1993. p. 24. OCLC   29800226 – via World Radio History.
  40. ↑ "Album Top 40 slágerlista – 1993. 20. hét" (in Hungarian). MAHASZ. Retrieved 15 January 2019.
  41. ↑ デュラン・デュランのアルバム売り上げランキング [Duran Duran's album sales ranking] (in Japanese). Oricon. Archived from the original on 1 August 2013. Retrieved 14 January 2019.
  42. ↑ "Swedishcharts.com – Duran Duran – Duran Duran (The Wedding Album)". Hung Medien. Retrieved 13 January 2019.
  43. ↑ "Swisscharts.com – Duran Duran – Duran Duran (The Wedding Album)". Hung Medien. Retrieved 13 January 2019.
  44. ↑ "Official Albums Chart Top 100". Official Charts Company. Retrieved 13 January 2019.
  45. ↑ "The RPM Top 100 Albums of 1993". RPM. Vol. 58, no. 23. 18 December 1993. ISSN   0033-7064 – via Library and Archives Canada.
  46. ↑ "1993 Year-End Sales Charts – Eurochart Hot 100 Albums" (PDF). Music & Media. Vol. 10, no. 51/52. 18 December 1993. p. 15. OCLC   29800226 – via World Radio History.
  47. ↑ "Top 100 Album-Jahrescharts – 1993" (in German). GfK Entertainment. Retrieved 13 January 2019.
  48. ↑ "Top 100 Albums 1993" (PDF). Music Week . 15 January 1994. p. 25. ISSN   0265-1548 – via World Radio History.
  49. ↑ "Top Billboard 200 Albums – Year-End 1993". Billboard. Archived from the original on 13 January 2019. Retrieved 13 January 2019.
  50. ↑ "British album certifications – Duran Duran – Duran Duran (Wedding) Album". British Phonographic Industry. 1 April 1983. Retrieved 25 January 2022.
  51. ↑ "American album certifications – Duran Duran – Duran Duran 2". Recording Industry Association of America. 18 June 1993. Retrieved 13 January 2019.

Sources

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