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Old 04-19-2015, 11:35 AM   #21 (permalink)
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1973 brought us "A Woofer in Tweeter's Clothing", and there's an excellent fact that make this album dear to my icy little heart.

Todd Rundgren also produced this gem - alongside the Electric Prunes' (a psychedelic rock group that's got a hold on my soul) Thaddeus James Lowe.

Let's have some Prunes in the undercut, because everyone should be familiar with them if they're familiar with 1960s psychedelic rock. The Electric Prunes were weavers of delicate doilies of tunes dressed with gorgeous lyrical imagery.

Spoiler for "Antique Doll":



Larry DuPont took the boys down to the basement of the UCLA Ethnic Arts Museum for the album cover. Drummer and hooligan Harley Feinstein tipped Ron Mael's chair the second this shot was taken. In true Sparks style, it remained.



Track listing!

Side A

Girl From Germany
Beaver O'Lindy
Nothing is Sacred
Here Comes Bob
Moon Over Kentucky

Side B

Do Re Mi
Angus Desire
Underground
The Louvre
Batteries Not Included
Whippings and Apologies

Sparks' delightful second album opens with a real head-ripper ... well, actually, it'll just make you shake your head with a dumb smile on your face, all the while thinking "oh my god, did you really go there with this song?"

"Girl From Germany" is precisely what it sounds like - on the surface. Our protagonist is about to take his German girlfriend to meet his Jewish parents, who are still quite sore at Germany some 30 years after the war.



I feel as if I should mention, in good faith, that this might actually offend some people - and if you're one of those people, maybe Sparks aren't the right band for you to wrap your head around. Maybe you should listen to Air Supply instead. Or Barry Manilow.

Spoiler for LYRICS BELOW:
How I wished my folks were
Gracious hosts and not dismayed
But wit and wisdom take a back seat, girl
When you're that afraid

Oh, no! Bring her home and the folks look ill
My word, they can't forget, they never will
They can hear the storm troops on our lawn when I show her in
And the Fuhrer is alive and well, in our paneled den

Oh, no! Bring her home and the folks look ill
My word, they can't forget that war, what a war

My word, she's from Germany
Well, it's the same old country
But the people have changed
My word, Germany
With its splendid castles and fine cuisine

Well, the car I drive is parked outside
It's German-made
They resent that less than the people
Who are German-made

Oh, no! Bring her home and the folks look ill
My word, they can't forget that war
What a war, some war

My word, she's from Germany
Well, it's the same old country
But the people have changed
My word, Germany
With its splendid castles and fine cuisine

Its lovely German women
And its wonderful rivers
That do flow from her hills

My word, she's from Germany
Well, it's the same old country
But the people have changed
My word, Germany
With its splendid castles and fine cuisine

Its lovely German women
And you and me
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Old 04-23-2015, 05:13 PM   #22 (permalink)
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I'm gonna come right out and say it: who doesn't like a cleverly-worded, hand-clapping, chanting song about masturbation and dark, filthy thoughts?


At this point you ought to be used to the peculiar quiver in Russell's voice, but just in case you're not, now's as good of a time as any to acquaint yourself with it.

"Beaver O'Lindy"



Spoiler for LYRICS BELOW:
I'm one minute older and I'm doing all right
I'll gain valuable experience in front of you tonight
They say my voice is going to change
I'm one minute older, I'm doing all right
I'll gain valuable experience with you tonight
They say my voice is going to change
It cracks like Arctic ice-flows then it croaks like old-folks homes

B-E-A-V-E-R O'-L-I-N-D-Y
Well, I'm the London that is dead, I'm the boy in your bed
B-E-A-V-E-R O'-L-I-N-D-Y
Well, sure you've seen me before,
No doubt you'll see much more

Well, I'm the girl in your head but the boy in your bed
The trash man’s valet, the words that you say
You've seen me before, you'll see me much more
Well, I'm as big as can be, as big as TV

I'm the words that you say, the words that you say
The trash man’s valet and the words that you say
Well, you've seen me before, you'll see me much more
Well, I'm as big as can be, as big as TV

I'm your wallet-sized friend, your wallet-sized friend
The London that's dead, the London that's dead
Well, you've seen me before, you'll see me much more
Well, I'm as big as can be, as big as TV

B-E-A-V-E-R O'-L-I-N-D-Y
Well, I'm the girl in your head but the boy in your bed
B-E-A-V-E-R O'-L-I-N-D-Y
Well, sure you've seen me before,
No doubt you'll see much more


"Beaver O'Lindy" is almost like a warm-up to prepare you for the falsetto in "Nothing is Sacred" - both tunes are of similar tempo, but of slightly different lyrical matter, almost as if the next song is an afterthought.



Spoiler for LYRICS BELOW:
Nothing...no nothing, is...is, sacred ...no sacred, any more
Adding some of this to some of that madame science wins again
We are now forever people, we'll outlive our will to live

Nothing is sacred any more
Nothing is sacred any more
Nothing is sacred any more

I remember when i needed you several billion years ago
If you'll hang on just a trifle more i might need you once again

Nothing is sacred any more
Nothing is sacred any more
Nothing is sacred any more

I am sure you will appreciate your new found leisure time
I am sure we will appreciate our new found leisure time

Nothing is sacred any more
Nothing is sacred any more
Nothing is sacred any more
Nothing is sacred any more

Well, if you have the money i've got time
And if you know a honey i've got time

If you have the money i've got time
And if you know a honey i've got time

Nothing is sacred any more
Nothing is sacred any more
Nothing is sacred any more...


I adore the next track. It's one of those songs that make Weird Al's allegiance to Sparks highly understandable because it's just that clever. I also used this song to gently tease my significant other (who could very well be a "Bob" if it suited him) when he was learning to drive.

This isn't the first time you've heard strings in a Sparks song and it certainly won't be the last.

"Here Comes Bob"



Spoiler for LYRICS BELOW:
When I spot a driver worth a second glance
Foot to floorboard, impact soon achieved
Here comes Bob!
I ain't subtle in my ways of making friends

Girl, this rubbled mess was caused by my neglect
Of course, I'll pay and by the way, my dear
Here comes Bob!
I ain't subtle in my ways of making friends

Sometimes I'll stoop to hitting Two-door coupes without the frills
But that's just for casual acquaintances, For stripped-down thrills
Your car, girl -or mine? It doesn't matter, doesn't matter, no
But for affairs with staying power I go after limousines.
It's always nice if something big Is acting as your go-between
And for group encounters I'll hit buses,
Mobile homes, or trains to Pittsburgh, Pennsylvania

It's hard to make acquaintances in our big town
Most (guys scare?) eyes stare at nothing much at all
But here comes Bob!
I ain't subtle in my ways of making friends

Friends, acquaintances!

Instant adulation comes to some at birth
Born to queens or corporate entities
But here comes Bob!
Someday they'll put me away
I'll think back on active days
Most were worth the minor scars
Some were worth the damaged cars
And the judge will say to me:
"Bob, you've got a bad means to a worthwhile end"

Well, here comes Bob!
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Old 04-23-2015, 06:08 PM   #23 (permalink)
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Quote:
When I spot a driver worth a second glance
Foot to floorboard, impact soon achieved
Here comes Bob!
I ain't subtle in my ways of making friends
Ahahaha! I love it!
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Old 04-26-2015, 10:49 AM   #24 (permalink)
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Quote:
Originally Posted by Oriphiel View Post
Ahahaha! I love it!
I'm always cracking up when I'm listening to Sparks. Loads of high-brow humor packed into just a few minutes of utter ridiculousness.

"Moon Over Kentucky" took me a while to get my head around, personally, but I had adored the biting edge of Russell's vocals on the track, as well as the haunting organ throughout (particularly at the end). Highly bass-heavy; a great rocker of a song.



With gorgeous lyrics, written by Ron after having seen the film "Death in Venice".

Spoiler for LYRICS BELOW:
I heard somewhere that they're stamping, trampling all upon you
Your pocked face remains impassive though I know it hurts you

Moon over Kentucky
Take me with you
Full moon over Kentucky
Leave this mooring and seek some new rendezvous

Cut your ties with this possessive mother, she'll destroy you
Cut your ties and find another one who will respect you

Moon over Kentucky
Take me with you
Full moon over Kentucky
Leave this mooring and seek some new rendezvous

You've been waiting for your first encounter, what a letdown
I'm just finishing my first encounter, what a letdown

Moon over Kentucky
Take me with you
Full moon over Kentucky
Leave this mooring and seek some new rendezvous


I absolutely love the intro to side B of this album. You won't see an awful lot of covers in Sparks' catalogue, but they always get it right.

Here's their rendition of the Sound of Music's "Do Re Mi".



I don't think it's necessary to post the lyrics to this song, as most living humans already know this song by heart as it is.
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Old 05-02-2015, 10:43 PM   #25 (permalink)
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Our next selection is a song about seeing nude models or figures in art class at school and being rather conflicted about the feelings that ultimately erupt from such an experience. A nice, cool jam.

"Angus Desire"



Spoiler for LYRICS BELOW:
See private parts in public school
They look so odd, try something else
Unnatural acts, consent implied
No one objects to Angus Desire
No interviews please, no interviews please
Life's not so free for stockyard femme fatale
Nor is my life carefree and serene
All this comes free with Angus Desire

Summer heat ebbs, romance denied
It's back to school, that good-old college try
Why don't you stay with your own kind
Let's not admire Angus Desire

Angus in the summer waltzing with her friends


For some reason I couldn't find an actual video of the next song, "Underground", but here's a full version of "Woofer", fast-forwarded to the track in question, for your absolute pleasure:

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Old 05-03-2015, 09:20 AM   #26 (permalink)
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Hey Lil, I think I may have been a bit over the top in plug last night. Sorry if I offended in any way. (I seriously don't remember any details)

Or maybe I wasn't. Damn, haven't had a blackout like that in ages.

Loving Sparks BTW. Can definitely see why you dig them with their T-Rex, Sweet, early Bowie-ish kinda vibe.
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Old 05-03-2015, 11:57 AM   #27 (permalink)
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^Yeah, Sparks are great. It took me a little while to get used to Russell's use of the higher vocals, but once you get used to it, you realize how talented they truly are.
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Old 05-03-2015, 12:39 PM   #28 (permalink)
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Quote:
Originally Posted by Chula Vista View Post
Hey Lil, I think I may have been a bit over the top in plug last night. Sorry if I offended in any way. (I seriously don't remember any details)

Or maybe I wasn't. Damn, haven't had a blackout like that in ages.

Loving Sparks BTW. Can definitely see why you dig them with their T-Rex, Sweet, early Bowie-ish kinda vibe.
I don't actually remember. I've been so drunk, day and night, for the past few days that I can hardly remember how my week went, let alone a plug session. You're ok.

When Sparks moved overseas, they were actually compared to Bowie and Roxy Music quite often (I think Ron and Russell actually brushed shoulders with the boys of Roxy in an airport during that time and nobody said a word to one another - but I could be mistaken) for their theatrical, quirky value alone.

Quote:
Originally Posted by Ki View Post
^Yeah, Sparks are great. It took me a little while to get used to Russell's use of the higher vocals, but once you get used to it, you realize how talented they truly are.
One of my favorite things about Sparks is that the Mael brothers didn't actually set out to be musicians in their youth. It was just something they thought they'd try (I think both of them were actually set for art school after they finished high school but I'd have to refresh my memory yet again to be absolutely certain) and it turned into a lifetime career. They'd had no special training whatsoever before they started their journey.

Speaking of which, at the time "The Louvre" was recorded, Russell Mael didn't know how to speak French (later in his life this would improve substantially - Russell is now fluent in the language) and the song had been originally written in English. Being the Anglophiles they were, they felt it necessary to have Josée Becker (whose musical career began and ended just there) translate the lyrics into French.

It's just a song about a statue that's bored with being a statue and would very much like to leave the museum.



Spoiler for LYRICS BELOW:
Le guide me montre et explique
"Celui ci est le changement"
Les touristes s'en donnent à coeur joie
Ils touchent mon marbre froid
Mais mes yeux sont fixer sur la porte

Je sais pourtant que j'dois rester
Parmis tous ces héros tués
Protegeant leur liberté de vivre dans des musées
Mais mes yeux sont fixer sur la porte

Essayer donc de m'enlever
Je voudrais voir si vous oser

Quelqu'un a entendu ma supplique
Depuis quelques heures, je vole
Mais à l'aurore elle me quitteras
Et les murs se refermeront sur moi
Il ne restera plus que le marbre froid

The tourist guide explains my aims
"This one's a monument to change."
The tourists do marvel, they touch my cold marble
But my eyes are fixed upon the door, upon the door

Let's see you lift me
I dare you to try
Let's see you lift me
I dare you to try
Let's see you lift me
I dare you to try
Let's see you lift me
I dare you to try
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Old 05-03-2015, 02:25 PM   #29 (permalink)
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Nice journal, will be following. Hopefully you stick with it long enough to get to Lil Beethoven - that's pretty solidly their best IMO.
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Old 05-03-2015, 07:54 PM   #30 (permalink)
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Quote:
Originally Posted by Josef K View Post
Nice journal, will be following. Hopefully you stick with it long enough to get to Lil Beethoven - that's pretty solidly their best IMO.
It'll come.

L'il Beethoven was a bizarre, incredible album - yet another sharp turn for Sparks' musical style, but they managed to pull it all together as if it wasn't anything new to them. We'll get there, man.

I think we'll wrap up Woofer tonight.

Here's a sweet bundle deal:

"Batteries Not Included/Whippings and Apologies"



"Batteries Not Included" is a brief reflection of childhood rage.

Spoiler for LYRICS BELOW:
I brought it home and I opened it up
And a smile came to my face for the first time in a while
Yes a smile came to my face for the first time in a while
I turned it on
But nothing happened when I did
Nothing happened at all
I kicked it down the stairs
I threw it at the wall

Hey kid, batteries not included


Then follows "Whippings and Apologies" - a blunt nod to nutso Christian parents and child abuse, daughter in question perhaps pursuing a boy her parents didn't think was holy enough.

Spoiler for LYRICS BELOW:
Whippings and apologies
Over and over they did it to her when she disagreed
Whippings and apologies
Over and over and over and over
You know it's not right
For she has holy water running through her veins
And now it's me that she hates, it's me that she hates


Both Halfnelson/Sparks and A Woofer in Tweeter's Clothing were, to put it gently, unsuccessful in the united states. Ron and Russell would soon part ways with the Mankey brothers and Harley Feinstein in order to relocate to London - their mother's homeland. Having grown up especially amorous of the English way, it seemed the perfect plan.

By the way, Ron and Russell actually did visit the Louvre a couple years later.
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