Let’s move on to Duran Duran and going to Montserrat to record Seven and the Ragged Tiger. It was awesome. The studio was a little island onto itself. We never saw anyone or went into town. Duran Duran was in a separate house from where the backing vocalists were staying. We had the studio completely to ourselves. We could go in at any point in the day or night. We had our own cooks. We didn’t have to go into town for anything. It was amazing to just be on this island. We were there for a few weeks.
Duran Duran were a lot younger than the Police, so different things were going on. But for me, it was a hoot to go down there and perform vocals and to have this luxury where it felt like being on vacation.
Tell me about recording “The Reflex.” That gave me a chance to explore the upper parts of my voice. That was interesting. I welcomed it. I said, “This is what you want; this is what you’re going to get.”
That whole intro part of “ta-na-na-na, ta-na-na-na” is you, right?
And now tell me about “Union of the Snake.” Again, they knew what they wanted. They wanted stratosphere vocals. And B.J. is a soprano, but it was challenging for me. I loved it, though. It gave me a vocal exercise.
Did you tour with them? Yes, but only for a short time because the Police were there. I kind of left them to do the Police tour.
Tell me about the Duran Duran shows you did play. They were exciting. It felt like the Beatles to me with all the young girls. That whole vibe felt like what it must have been like for the Beatles.
It’s funny you go from Chic at their absolute peak to the Police, Duran Duran, and Roxy Music at their peaks. Yeah. The Eighties was really an amazing time for me. That was my era, at least until rap came around.