Less than a year after releasing their 1981 self-titled debut, Duran Duran returned with a bold, futuristic statement: 1982’s Rio. The Birmingham quintet was well-prepared going into recording, having already played several of the album’s songs live and even releasing a different version of “My Own Way” as a single in 1981. And so working once again with producer-engineer Colin Thurston, the band hunkered down at AIR Studios in London and crafted the perfect blend of rock ’n’ roll swagger and synthesizer-driven New Wave cool. The buoyant hit single “Hungry Like the Wolf” exemplified this balance. Andy Taylor’s glammy guitar riffs and Simon Le Bon’s theatrical vocals meshed perfectly with Nick Rhodes’ jaunty keyboards and the nimble rhythm section of bassist John Taylor and drummer Roger Taylor. Le Bon described romantic pursuit using elaborate metaphors and a dash of intrigue, both hallmarks of Rio’s lyrics. The synthesizer-driven title track was another optimistic revelation, between its percolating keyboards, a disco-meets-Motown bassline, and metaphorical lyrics that compared the excitement of touring America to a beautiful woman. That penchant for adventure permeated the music. Duran Duran ditched the sharp-edged disco strings found on the original take on “My Own Way” in favor of laid-back dance grooves; “New Religion” found Le Bon exploring the speak-sing cadences of the nascent hip-hop movement; and “Save a Prayer” was a pristine pop ballad with swooning keyboard lines and luxe harmonies. Rio ends with the gothic classic “The Chauffeur,” a departure from the rest of the album. The spooky song eschews guitars in favor of ghostly synthesizers, enigmatic lyrics, and even a trilling ocarina. Duran Duran never made another song that sounds like “The Chauffeur”—and they never duplicated the sound they achieved on Rio. Such singularity made the album feel that much more special and rare—a snapshot in time that also managed to capture the spirit and promise of the 1980s New Wave moment.