Key

^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.

ladyislingering

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.

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.

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Josef K

Nice journal, will be following. Hopefully you stick with it long enough to get to Lil Beethoven - that's pretty solidly their best IMO.

ladyislingering

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.



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.



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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Pet_Sounds

Interesting, I had the same experience with Russell's voice, even as a huge Beach Boys/Brian Wilson fan. It just shows that no two falsettos sound quite the same.

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Everybody's dying just to get the disease

ladyislingering

Russell's speaking voice is a bit higher pitched than you'd imagine. He speaks so gently, it'll kill you.

This is my favorite interview because Russell seems really cranky the whole time. (He tells Ron to shut up at some point, doesn't sound like he's joking.) Circa 1986.



Here's a recent capture.



Ron's voice is a lot deeper than Russell's, and his shyness shines through with every nuance. He really is a gentle, anxious, beautiful person - don't ever let the glare of doom throw you off from understanding this.

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Oriphiel

It's really weird hearing them talk! I loved it when they picked up the fake television screen, and the upbeat music started playing and everyone was laughing and having a good time, while Ron just angrily glared at the camera like he was trying to make it explode with his mind.

Chula Vista

Is that downtown Julie Brown?

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“The fact that we live at the bottom of a deep gravity well,
on the surface of a gas covered planet going around a nuclear fireball 90 million miles away
and think this to be normal is obviously some indication of how skewed our perspective tends to be.”

ladyislingering

Ron has this way about him that makes one think that his central focus in life is homicide. But he's really the sweetest man in the world. Really.











That's correct.

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ladyislingering

This is the album that everyone gets really excited about when talking about Sparks. Even if it's not your absolute favorite, you'll always be delighted to mention "Kimono My House".

Ron and Russell relocated to London in 1973, hoping to get on the glam scene. Besides, their mother and stepfather were already there. They hired some major beauties for their new band:

Martin Gordon (bass guitar), who would later form the band Jet with John's Children's Andy Ellison (who previously worked with Marc Bolan, who was kind enough to invite Jet's latest incarnation, Radio Stars, to his television show in 1977) and remain one of glam rock's most bitter (yet brilliant) dudes.

Adrian Fisher (guitar), who was discovered after answering Sparks' ad in Melody Maker. Adrian passed away (to my memory he had lung cancer, but I could be mistaken) in 2000.

Dinky Diamond (drums), who I don't have much information on at the moment, I'll get back to you - his name was Norman. He passed away in 2003 from an apparent suicide.


John Hewlett, former producer of John's Children, became Sparks' new manager. He introduced them to Island producer Muff Winwood. Ron and Russell stayed with Mr. Hewlett for some time while they were getting the hang of London life. Sparks were considered a huge leap of faith, and what a leap it was. Sparks practically exploded overnight.

"Kimono My House" is a nod to Rosemary Clooney's "Come On'a My House". The album was released in May of 1974 and climbed all the way to #4 on the UK's album chart for the year.



Track listing:

Side A

This Town Ain't Big Enough for Both of Us
Amateur Hour
Falling in Love With Myself Again
Here in Heaven
Thank God it's Not Christmas

Side B


Hasta Mañana, Monsieur
Talent is An Asset
Complaints
In My Family
Equator

lesser-known bonus tracks we're gonna touch on:

Barbecutie
Lost and Found


"Kimono" opens with Sparks' best known song. Seriously, like ever. This is what everyone thinks of when someone mentions Sparks.

"This Town Ain't Big Enough for Both of Us" (often shortened to "This Town" by fans) reached #2 on the UK singles chart, beaten out (somehow, and tragically) by the Rubettes' "Sugar Baby Love". I know, I don't know how that happened either.

I've heard from many people who were young and aware in 1974 that Ron scared the shit out of them when they saw him on Top of the Pops:



And here's a live version from 1975ish, with the "new" band (we'll get into that later, though).



"This Town" was also covered by Justin Hawkins' (of the Darkness) band British Whale. Ron and Russell appear in the promo video.



...and it's also been loved up by Siouxsie Sioux.



Shit, even the Maels covered "This Town", in 1997. With Faith No More.



This song is kind of a big fuckin' deal. It's not the only hit on the album, but it's (almost) been loved to death by everyone who's been touched by the wonder of Sparks.

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