before playing two sold-out shows at Madison Square Garden, achieving their goal they had made when they signed to EMI in 1981. The Sing Blue Silver Tour continued through late March and April 1984 around the US. By the final dates in California, John was doing drugs on stage. Footage from the shows at Oakland, California were compiled for the concert film Arena (1985). The tour concluded in San Diego in mid-April. A planned European leg was cancelled due to the band's exhaustion. It was the final tour of the 1980s with the original line-up. Following its end, the band filmed more material using studio sets for the Arena concert film, which was released in late 1984 along with a documentary about the tour, Sing Blue Silver. Live recordings from across the tour, along with a new studio song, the Rodgers-produced "The Wild Boys", were compiled and released by EMI on a live album, also titled Arena, in late 1984. Legacy Seven and the Ragged Tiger was Duran Duran's final studio album with the original five-piece line-up until 2004's Astronaut. The band members mostly collaborated on different projects from 1984 to 1985: Andy and John worked with singer Robert Palmer and former Chic drummer Tony Thompson as the Power Station, while Le Bon, Rhodes and Roger recorded a studio album, So Red the Rose (1985), as Arcadia. Duran Duran briefly regrouped to record the title song of the James Bond film A View to a Kill (1985) before Andy and Roger departed the band shortly before the recording of their Rodgers-produced fourth studio album Notorious (1986). The album continues to receive mixed reactions in later decades. In a retrospective review, DeGagne found Seven and the Ragged Tiger fails to match the "unrestrained pop/rock ebullience" of Rio with weaker songwriting, as well as favouring synthesisers over Andy's guitar stylings, but still displays strong singles and enough musicality to equal a "bright, energetic and effectual" record. Writing for The Daily Telegraph in 2010, Thomas H. Green described Seven as "opulently produced", with "their new romantic origins blooming into lush decadent pop". On the other hand, Chris Gerard found the album more uneven in Metro Weekly but also stated Seven predicted the musical direction of both Arcadia's So Red the Rose (1985) and Notorious (1986). In his biography of the band, Malins wrote that the album's primary flaw is a "lack of punch