Sparks (band)
From Wikipedia, the free encyclopedia
| Sparks | ||
|---|---|---|
 |
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| Background information | ||
| Origin | Los Angeles, California, USA | |
| Genre(s) | Rock, pop, Psychodelic pop | |
| Years active | 1970 - present | |
| Website | www.allsparks.com | |
| Members | ||
| Ron Mael Russell Mael |
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Sparks is an American rock and pop music band formed in Los Angeles in 1970 by brothers Ron (keyboards) and Russell Mael (vocals). Best known for their quirky approach to song writing,[1] Sparks' music is often accompanied by cutting and acerbic lyrics,[2] and an idiosyncratic stage presence, typified in the contrast between Russell's wide-eyed hyperactive frontman antics and Ron's sedentary scowling.[3]
The band's long career has seen them successfully adopt many different musical genres; including glam pop, power pop, electronic dance music and mainstream pop. Despite these many styles, a recognizable "Sparks sound" remains throughout, and they have enjoyed a large cult following since their first releases.[4] Sparks have been highly influential on the development of popular music,[3] in particular on the late 1970s scene, when in collaboration with Giorgio Moroder, they reinvented themselves as an electronic pop duo, and abandoned the traditional rock band line up.[5] In contrast to the esteem in which they are held by such peers as Depeche Mode, New Order and the Pet Shop Boys, who all cite Sparks as a major influence,[2][5] their almost constantly changing styles and unique visual presentations have sometimes seen them dismissed as a novelty act.[6]
The 2002 release of Lil' Beethoven, their self-described "genre-defining opus",[7] and 2006's Hello Young Lovers (their 20th studio album) have brought Sparks renewed critical and commercial success, and seen them continue to "steer clear of pop conventions."[8]
Contents |
[edit] History
The history of Sparks spans five decades, from inception in the late 1960s LA club scene, through adoption by English fans in the middle 1970s, electronic experimentation in the late 1970s, and finally breaking through in the US of the early 1980s, a cinematic sojourn at the end of that decade with a return to form in the mid 1990s which continues to this day as they continue to push the boundaries of pop music.
[edit] Inception in Los Angeles
Brothers Ron and Russel Mael grew up in Pacific Palisades, in western Los Angeles County, California,[9] during the “Golden Age” of the LA club scene, with The Doors, Love and The Standells regularly playing the Whisky-a-Go-Go on Sunset Strip and the Beach Boys playing the afternoon event Teenage Fair.[10] Both attended UCLA, Ron studying cinema and graphic art, Russell theatre arts and filmmaking. Detesting the folk music scene, which they considered "..cerebral and sedate and we had no time for that",[10] they developed a particular taste in English bands of the time such as The Who, Syd Barrett's Pink Floyd, The Kinks and The Move, which led their description of themselves as "Anglophiles".[10]
Forming Halfnelson in 1968, with rock critic John Mendelssohn on drums, they soon came to the attention of producer Todd Rundgren, at whose urging Albert Grossman signed the band to his Bearsville record label. Their self-titled debut - with the line-up consisting of college friend Earle Mankey on guitar, Mankey's brother Jim on bass, Harley Feinstein now on drums and Rundgren producing - sold poorly, but after switching labels to Warner Bros. Records and renaming themselves Sparks, a play on the Marx Brothers,[11] the re-issued debut spawned the minor regional hit "Wonder Girl".
Their follow up album, A Woofer In Tweeter's Clothing, led to a tour of the United Kingdom, including a residency at the Marquee in London,[5] which, despite much heckling during performances, helped them to secure a significant cult following.[9] An appearance on the BBC Television's Old Grey Whistle Test led to wider interest regardless of a cold reception from the show's host Bob Harris.[11]
[edit] Anglophiles in Albion
- Sparks "This Town Ain't Big Enough for Both of Us" (1974) (file info) — play in browser (beta)
- 20 second clip of Sparks's "This Town Ain't Big Enough For the Both of Us".
- Problems listening to the file? See media help.
Relocating to England in 1973 with a new manager, John Hewlett, founder of John's Children,[12] and a deal from Island Records, thanks in part to the exposure garnered by their Whistle Test performance,[5] they placed an ad in music weekly Melody Maker ("Wanted bass player for Sparks. Must be beard free and exciting")[13] and through this hired Martin Gordon. With Adrian Fisher on guitar and Dinky Diamond on drums, in the midst of power strikes and a threatened vinyl shortage,[14] they recorded their breakthrough Kimono My House in 1974, scoring a number 2 hit with the single "This Town Ain't Big Enough for Both of Us", despite Elton John betting producer Muff Winwood that the song wouldn't break into the charts.[14] This hit led to an appearance on the BBC's flagship music show Top of the Pops. Russell's hyperactive movements were in sharp contrast to the keyboard-bound, soberly-dressed Ron's expressionless squint. Ron Mael's toothbrush moustache and neatly parted hair prompted John Lennon to exclaim "Christ, they've got Hitler on the telly!"[14] Gordon was sacked the day after the bands appearance on the show with no explanation at the time, although years later, Hewlett admitted to him that the brothers had found him intimidating.[13]
The follow up albums, Propaganda and Indiscreet, produced by Tony Visconti, were similarly successful and produced the hit singles "Looks, Looks, Looks", "Never Turn Your Back On Mother Earth" and "Something For The Girl With Everything".[9]
[edit] Return home
- Sparks "Big Boy" (1976) (file info) — play in browser (beta)
- 14 second clip of Sparks's "Big Boy".
- Problems listening to the file? See media help.
1976 saw the Maels return home to LA. Concerned that their music may have become stale, they changed to a more "American" sound and recorded Big Beat with Rupert Holmes on production, followed by Introducing Sparks; both were mostly recorded with session musicians. This new "West Coast" sound was deemed a failure as they felt the results were "bereft of personality".[5] In 1976, Sparks made one of their first forays into the movie business, making a cameo appearance in the disaster film Rollercoaster, after Kiss turned down the role.[15]
After the disappointment of the last two albums, the brothers found themselves at "a 'what do we do now?' moment". By 1979 they had tired of the rock band format and determined to take their music in a more electronic direction. They had expressed admiration for Giorgio Moroder, creator of the iconic disco anthem I Feel Love performed by Donna Summer, to a German journalist who turned out to be a friend of his. As a result, they teamed up with Moroder and created No. 1 In Heaven, an album which would not only redefine the Sparks sound but would challenge the concept of what is meant by a band[5] and would be a major influence on emerging electro pop artists.[2] The follow-up in 1980, Terminal Jive, scored a massive hit single in France, "When I'm With You", which led to them staying in the country for a year promoting the album.[5][9] The single also hit the Top 20 in Australia, reaching #14.
Finding the electronic equipment they had adopted for their new sound too cumbersome to tour with, they returned to the more traditional band format for their next three releases, Whomp That Sucker, Angst In My Pants and Sparks in Outer Space. They finally broke into the US singles charts with "Cool Places" from 1983's ..Outer Space. The track was a collaboration with Go-Go Jane Wiedlin, who, at one time, ran her own Sparks fanclub,[15] and its success was in part thanks to LA's KROQ radio station, which hailed them as local heroes.[2]
The late 1980s and early 1990s saw the brothers concentrate on filmmaking, particularly an attempt to make a Japanese comic strip, Mai, The Psychic Girl, into a movie. Despite interest from Tim Burton and six years' work on the project, it came to nothing.[9][16]
[edit] Return to music
- Sparks "When Do I Get To Sing My Way?" (1994) (file info) — play in browser (beta)
- 15 second clip of Sparks's "When Do I Get To Sing My Way".
- Problems listening to the file? See media help.
1994 saw the Maels return with the release of Gratuitous Sax and Senseless Violins, providing the hit singles "When Do I Get To Sing My Way?" and "When I Kiss You (I Hear Charlie Parker Playing)". 1997 saw the release of Plagiarism, an album of cover versions of their own songs featuring collaborations with Faith No More, Erasure and Jimmy Somerville. Half of the album was recorded by Toni Visconti in London with the other half recorded by the brothers in their own purpose-built studio in LA, surrounded by busts of Elvis.[9][2] In 1998 they recorded the soundtrack for the movie Knock Off, starring Jean Claude Van Damme, directed by the acclaimed Hong Kong based producer/director Tsui Hark[6] (who had appeared on his own tribute song by the band on the album Gratuitous Sax and Senseless Violins). Balls, released in 2000, was generally perceived as Sparks treading water.[9]
[edit] Current revival
If Balls was greeted with apathy, 2002 saw the release of the album which the band themselves described as “their genre-defining opus”. Lil' Beethoven, featuring quasi-classical arrangements of strings and choirs,[9] led to renewed interest in the band, for instance Record Collector magazine named the album as one of its "Best New Albums of 2002" describing it as "... Possibly the most exciting and interesting release ever from such a long established act"[17] and later in 2003 saying "... it really does feel like one of the best albums ever made."[5] A UK and European tour had the band playing the entire album each night in the first half of the show, with fan favourites making up the second. The line-up now included Tammy Glover on drums and former Faith No More guitarist Dean Menta. Long time fan Morrissey invited Sparks to perform at the 2004 Meltdown Festival, of which he was curator. They choose to perform their breakthrough Kimono My House album followed by Lil Beethoven, both in their entirety.[7]
- Sparks "Perfume" (2006) (file info) — play in browser (beta)
- 23 second clip of Sparks's "Perfume".
- Problems listening to the file? See media help.
February 2006 saw the release of Hello Young Lovers, their twentieth studio album,[16] While the album is regarded as carrying on where Lil Beethoven left off, being described as "... cynical, intelligent and very, very funny",[18] it has not met with universal acclaim as some reviewers regard the constant use of wit, satire, and lyrical repetition as becoming wearisome or annoying.[19][20]
The brothers tend to be dismissive of the latest trends in popular music, seeing most current bands as lacking musical ambition and experimental drive.[7][3][8] Indeed the predictable trends in much of modern rock, as they see it, served as inspiration for their latest album.[8] However, they have expressed admiration for Eminem, Outkast, Franz Ferdinand and Morrissey.[7][10]
The pair appeared in the season 6 finale of the US TV show Gilmore Girls performing their new song Perfume from the album "Hello Young Lovers"
[edit] Style
Sparks' musical style has changed dramatically over their almost forty year career. In the beginning they attempted to emulate the sound of their English heroes, such as The Who, Syd Barrett-era Pink Floyd and The Kinks, sometimes even pretending to be an English band while on the LA club circuit. They relocated to England during the Glam rock era where, despite cutting an odd figure on this scene, they found success with their polished brand of intricate pop tunes and convoluted lyrics. By the second half of the decade, they were concerned that the sound they had developed while based in England was in danger of becoming stale; they returned to LA, determined to adopt a more "West Coast" sound. This they achieved with producer Rupert Holmes on Big Beat and Introducing Sparks.
However the band were not satisfied with the results, which they felt lacked personality, perhaps due to the reliance on session musicians. This led to the most dramatic change of style the band would attempt, when they teamed up with Giorgio Moroder, dropped the band format altogether and produced Number One in Heaven. This album is regarded as a landmark in the development of electronic music and greatly influenced bands which would emerge in the following years.[5][2] They soon returned to a more traditional line-up, which remained until 1988's Interior Design. There then followed a long hiatus until 1994's Gratuitous Sax & Senseless Violins, which was a foray into the techno dance world, which they had helped to spawn back in the late 1970s.[21] While their style has remained on the same path since Gratuitous Sax..., they have nonetheless continued to push the boundaries of conventional pop music and songwriting, remaining both innovative and highly influential.[3]
Lyrically, the band's style has been described as coming from "the school of Cole Porter, favouring caustic wit over trivial personal problems, …achingly clever lyrics seesaw between superficial gloss, profound sentiment and the incomprehensibly bizarre."[2] Repeated lyrical motifs have become a distinct feature on recent albums. On "My Baby’s Taking Me Home" off Lil' Beethoven (2002), the song title is repeated 104 times, with no other words being used, other than a spoken interlude.[5] Similarly, on the same album, "Your Call Is Very Important To Us", uses a corporation style call-hold message: "Your call is very important to us. Please hold" which is then sung with some additional words: "At first she said your call is very important to us, then she said please, please hold." The only other lyrics in the song are "Red light" and "Green light". These elements are layered with a simple piano line to create a highly textured effect.[20]
[edit] 2007 and beyond
The band plans to release a DVD of a show at the London Forum (recorded in September 2006) in 2007. It is alleged that the 1977 album "Introducing Sparks" will see an official release on CD on the band's own Lil' Beethoven Records. The band have talked about a Sparks musical in interviews, though it remains to be seen how serious they are about this.
[edit] Discography
[edit] Albums
| Year | Title | Label | UK | US |
|---|---|---|---|---|
| 1971 | Sparks/Halfnelson | Bearsville | - | - |
| 1972 | A Woofer in Tweeters Clothing | Warner Bros. | - | - |
| 1974 | Kimono My House | Island | 4 | - |
| 1974 | Propaganda | Island | 9 | 63 |
| 1975 | Indiscreet | Island | 18 | - |
| 1976 | Big Beat | Island | - | - |
| 1977 | Introducing Sparks | Columbia | - | - |
| 1979 | No. 1 In Heaven | Virgin | 73 | - |
| 1980 | Terminal Jive | Virgin | - | - |
| 1981 | Whomp That Sucker | Why-Fi | - | 182 |
| 1982 | Angst in My Pants | Atlantic Records | - | 173 |
| 1983 | In Outer Space | Atlantic Records | - | 88 |
| 1984 | Pulling Rabbits Out of a Hat | Atlantic Records | - | - |
| 1986 | Music That You Can Dance To | Curb | - | - |
| 1988 | Interior Design | Underdog | - | - |
| 1994 | Gratuitous Sax & Senseless Violins | Logic | - | - |
| 1998 | Plagiarism | Roadrunner | - | - |
| 2000 | Balls | Recognition | - | - |
| 2002 | Lil' Beethoven | Artful | - | - |
| 2006 | Hello Young Lovers | Gut Records | 66 | - |
[edit] Singles
| Year | Single | Label | UK Singles | US Hot 100 | FR singles | GER Singles | Album |
|---|---|---|---|---|---|---|---|
| 1974 | "This Town Ain't Big Enough for Both of Us" | Island | 2 | - | - | - | Kimono My House |
| 1974 | "Amateur Hour" | Island | 7 | - | - | - | Kimono My House |
| 1974 | "Never Turn Your Back On Mother Earth" | Island | 13 | - | - | - | Propaganda |
| 1974 | "Something For The Girl With Everything" | Island | 17 | - | - | - | Propaganda |
| 1975 | "Get In The Swing" | Island | 27 | - | - | - | Indiscreet |
| 1975 | "Looks, Looks, Looks" | Island | 26 | - | - | - | Indiscreet |
| 1976 | "Big Boy" | Island | - | - | - | - | Big Beat |
| 1976 | "I Like Girls" | Island | - | - | - | - | Big Beat |
| 1977 | "A Big Surprise" | Columbia | - | - | - | - | Introducing Sparks |
| 1979 | "The Number One Song In Heaven" | Virgin | 14 | - | - | - | No. 1 In Heaven |
| 1979 | "Beat The Clock" | Virgin | 10 | - | - | - | No. 1 In Heaven |
| 1979 | "Tryouts For The Human Race" | Virgin | 46 | - | - | - | No. 1 In Heaven |
| 1980 | "When I'm With You" | Virgin | - | - | 1 | - | Terminal Jive |
| 1980 | "Young Girls" | Virgin | - | - | - | - | Terminal Jive |
| 1981 | "Tips For Teens" | Why-Fi | - | - | - | - | Whomp That Sucker |
| 1981 | "Funny Face" | Why-Fi | - | - | - | - | Whomp That Sucker |
| 1982 | "I Predict" | Atlantic | - | 60 | - | - | Angst In My Pants |
| 1983 | "Cool Places" (with Jane Wiedlin) | Atlantic | - | 49 | - | - | In Outer Space |
| 1985 | "Change" | Curb | - | - | - | - | Music That You Can Dance To |
| 1986 | "Music That You Can Dance To" | Curb | - | - | - | - | Music That You Can Dance To |
| 1989 | "So Important" | Underdog | - | - | - | - | Interior Design |
| 1993 | "National Crime Awareness Week" | Finelex | - | - | - | - | - |
| 1994 | "When Do I Get To Sing 'My Way'" | Logic | 38 | - | - | 7 | Gratuitous Sax & Senseless Violins |
| 1995 | "When I Kiss You (I Hear Charlie Parker Playing)" | Logic | 36 | - | - | - | Gratuitous Sax & Senseless Violins |
| 1995 | "When Do I Get To Sing 'My Way'" (re-issue) | Logic | 32 | - | - | - | Gratuitous Sax & Senseless Violins |
| 1996 | "Now That I Own The BBC" | Logic | 60 | - | - | - | Gratuitous Sax & Senseless Violins |
| 1997 | "The Number One Song in Heaven" (re-recording) | Roadrunner | 70 | - | - | - | Plagiarism |
| 1997 | "This Town Ain't Big Enough for Both of Us" (re-recording with Faith No More) |
Roadrunner | 40 | - | - | - | Plagiarism |
| 2001 | "The Calm Before The Storm" | Universal | - | - | - | - | Balls |
| 2001 | "More Than A Sex Machine" | Universal | - | - | - | - | Balls |
| 2001 | "The Angels" | Universal | - | - | - | - | Balls |
| 2003 | "Suburban Homeboy" | Artful | - | - | - | - | Lil' Beethoven |
| 2006 | "Perfume" | Gut | 80 | - | - | - | Hello Young Lovers |
| 2006 | "Dick Around" / "Waterproof"" | Gut | - | - | - | - | Hello Young Lovers |
[edit] References and notes
- ^ Dye, David (2006). "Sparks: Elegantly Whimsical". npr.org. Retrieved on September 24, 2006.
- ^ a b c d e f g Alfvegren, Skylaire. ""Shooting Off Sparks"", LA Weekly, 1998-11-04. Retrieved on April 13, 2006.
- ^ a b c d McNair, James (2006). "Sparks: Creating mischief again with their latest album". Enjoyment. Retrieved on April 18, 2006.
- ^ Ashlock, Jesse (2003). "Sparks profile". Epitonic.com. Retrieved on September 24, 2006.
- ^ a b c d e f g h i j Easlea, Daryl (July 2003). "Sparks Interview". Record Collector Magazine Issue 287.
- ^ a b J.R. Taylor. "Lively Sparks", New York Press. Retrieved on April 13, 2006.
- ^ a b c d Sparks Interview "Melting Down Beethoven" on musicohm.com. Retrieved on April 13, 2006.
- ^ a b c "News", Billboard News. Retrieved on April 13, 2006.
- ^ a b c d e f g h Encyclopedia of Popular Music. "Sparks". BBC.co.uk. Retrieved on April 13, 2006.
- ^ a b c d Hodgkinson, Will. ""Sparks Interview"", Arts Guide, Guardian Newspaper, 2002-11-01. Retrieved on April 13, 2006.
- ^ a b Sparkography on allsparks.com. Retrieved on April 15, 2006.
- ^ Welch, Chris (1974). "Bright Sparks". Melody Maker. Retrieved on April 13, 2006.
- ^ a b (August 2003) "Hello, Goodbye 77 - Martin Gordon and Sparks". Mojo Magazine Issue 117.
- ^ a b c "Sparks of a revolution", Living Section, Scotsman Newspaper. Retrieved on April 18, 2006.
- ^ a b Black, Johnny (September 2006). ""Sparks Interview"". Mojo Magazine Issue 154.
- ^ a b Thirty chord wonders. Living Section. Scotsman Newspaper. Retrieved on April 13, 2006.
- ^ Various Staff Writers (January 2003). "Best New Albums of 2002". Record Collector Magazine Issue 281.
- ^ Hello Young Lovers review on bbc.co.uk. Retrieved on April 25, 2006.
- ^ Cairns, Dan. ""Hello Young Lovers Review"", Sunday Times (Ireland), 2006-02-05. Retrieved on April 25, 2006.
- ^ a b Hello Young Lovers review on StylusMagazine.com. Retrieved on April 25, 2006.
- ^ Sparks Profile on music.com. Retrieved on April 18, 2006.
[edit] External links
Official
Biographical or discographical
- Sparks at All Music Guide
- Sparks at Discogs
- Sparks at MusicBrainz
Fansites
- http://www.sparksfan.info
- SPARKS (fansite)
- Sparks Discography
- HALFNELSON SPARKS
- (French) Sparks - French-language site
- Sparks - Hello Young Lovers
Other
