SPARKS

And that they are, if you ask this partisan reviewer. Singer and songwriter Russell Mael says and I quote, "There was a sense that we were rapidly accelerating into the future, and we wanted to represent that. Rock seemed so old..." Tall claims, you say. Well, those are fairly reasonable claims to be made on behalf of Kimono My House.

As you proceed from Amateur Hour, through Here In Heaven to Thank God It's Not Christmas, the music of Queen and ABBA and new wave in general comes to mind. And consider that Sparks had debuted in 1971 and had a headstart over both of those more popular acts. Even in a decade where the music changed rapidly, the Sparks must have seemed like they were from a different planet. Russell lends his very Mercury-esque, eccentric vocals (or should we say Mercury sounds like Russell?) to a colourful cocktail of 50s and 60s pop and rock and roll and the British glam rock scene of the 70s, adding up to a sound that's really quite unlike anything else you'd hear from that decade.

They also avoid the respective flaws of Queen and ABBA. Where Queen favoured a pastiche approach a bit too much, Sparks treat you to a veritable conveyer belt of unpredictable, smart, tight rock. Or is it pop? Your guess is as good as the band's; studio pop is the best they can manage. As for ABBA, so much irony overflows from the music of Sparks that they are in no danger of trying too hard to please.

At least I didn't have to try too hard to like this album, at any rate. Their first rate songwriting delivers ten slabs of utterly infectious pop that have me completely at their mercy. The 36 minute long album seems to whiz past in a trice and it's time to repeat all too soon. The production could be a bit better but it hardly feels worth complaining about with songs this good.

Some cuts like Falling In Love With Myself Again take a bit longer to grab me but that's about all I can hold against this masterpiece. Sparks are sometimes called postmodern pop and they could plausibly be proclaimed as the postmodern counterpart of the Beatles. If the Beatles expanded the frontiers of pop and rock music beyond anybody's wildest imagination, Sparks offer an alternative to bland, radio-ready pop that doesn't have to involve numerous time signature changes, multiple sounds, long instrumental passages or symphonic walls of sound. Entertaining AND engaging to the core. Five stars.

"Tips for Teens" has a great propulsive beat with a Queen-size chorus. Some hard advice is dished out here for younger generations to take heed from. It's the best song I've heard them create thus far. "Funny Face" should have been a radio hit, about a tale of a man who felt he was too beautiful to live. "That's Not Nastassia" could've been about Madonna's impact on pop culture in her early days, and how one person can influence the looks and attitudes of young people all over the world. These are just a few examples of the genius of Sparks, with lyrics that gives the listener something to think about while interjecting humor along the way.

There's only one caveat that I find annoying with the entire album, and that it sounds like it was recorded and/or mixed rather poorly. Vocals and keyboards are up front and clear (that's good), but the backing musicians' parts sound tinny and distant. The drums especially lack any kind of satisfactory dynamics. I know this was recorded in the early 80's, but compare this to even Kimono My House from nearly 10 years earlier and I think you'll agree that Sucker is lacking in this department. The CD I'm reviewing was re-mastered in the late 90's. I've noticed that there is a more recent re-master of the CD available, but it sounds like the trouble came from the original recordings.

...however, because the songs are so strong I must recommend this to anyone who loves Sparks.

Fave tracks: "Tips for Teens", "Funny Face", "Where's My Girl", "That's Not Nastassia"

I was unfortunately unable took partake in this truly historical event and only got around to hearing this new album somewhere in late July that same year. At first I really disliked this release because it sounded nothing like the previous two masterpieces. The melodies just weren't there and the whole album just felt flat due to the lack of the classic arrangements and the overall style seemed more like a digress of a sorts.

Fortunately, after a couple of spins, I actually started to get into the record more and more. There was definitely a change of style, but the magic was not yet lost and Sparks did in fact have a few real aces up their sleeves here. Still Exotic Creatures Of The Deep isn't even close to the two previous efforts but it does have some great moments like the first single Good Morning, This Is The Renaissance and the very appropriate song about Photoshop! Other compositions like I've Never Been High and (She Got Me) Pregnant are close to being great but lack the energy and passion that would have made them truly spectacular.

I'm still uncertain whether this album actually deserves more love from me, but it's this exact feeling of doubt that makes it a 3+ star recording in my album collection. Hopefully the next release will go back to the theatrics that made the previous releases as spectacular as they were!

***** star songs: Good Morning (3:53) This Is The Renaissance (3:45) Photoshop (4:01)

**** star songs: Intro (1:02) I Can´t Believe That You Would Fall For All The Crap In This Song (3:54) Intro Reprise (0:24) I've Never Been High (4:31) (She Got Me) Pregnant (4:13) The Director Never Yelled "Cut" (3:54) Likeable (6:13)

*** star songs: Strange Animal (5:45) Let The Monkey Drive (4:09) Lighten Up, Morrissey (4:14)

Just like with Lil' Beethoven, I got introduced to this album through the live performance of the entire album at exactly the same venue as last time. The only difference this time was the fact that, unlike Lil' Beethoven, Hello Young Lovers wasn't yet released here in Sweden when the band performed these songs. I remember getting my hands on a single version of Dick Around, which had a completely different feel to it compared to the studio version, but that's pretty much all I knew about this album before entering the live venue and hearing the entire performance.

The gig was just as mesmerizing as what I heard the last time and it was easy to fall in live with these songs even before hearing their studio versions. The biggest difference that Hello Young Lovers offered was a wider range of instrumental arrangements. Best example of this can be heard in the extensive use of a distorted electric guitar, which was only prominently used on one track on Lil' Beethoven.

Most of my favorite tracks come right at the end, which is in direct contrast of how things were on Lil' Beethoven, but other than that this album is a great piece of music very much worth exploring!

***** star songs: Metaphor (4:03) Waterproof (4:17) As I Sit Down To Play The Organ At The Notre Dame Cathedral (7:02)

**** star songs: Dick Around (6:35) Perfume (4:59) The Very Next Fight (5:18) (Baby, Baby) Can I Invade Your Country (5:56) Rock, Rock, Rock (5:10) Here Kitty (4:26) There's No Such Thing As Aliens (2:53)

The only legal way to go around the issue was to purchase the single of Dick Around, which actually had an earlier release than the studio album. I ordered the single not realizing that it would actually be an EP, so imagine my great surprise once I got the package in the mail. From what I can tell, this was the first time that Sparks released an expanded single, which made this release even more special.

The disc contains six music tracks and two CD-ROM bonuses. The first two compositions are the single version Dick Around and alternative version of (Baby Baby) Can I Invade Your Country. I'm actually one of the few people who happens to prefer the single version of Dick Around since it keeps a more even flow. The album version is two minute longer and features a prolonged bridge that kind of ruins the mood for me since it shifts gears in comparison to the rest of the composition.

I also found the alternative lyrics version of (Baby Baby) Can I Invade Your Country to be very interesting since it shows that Sparks were uncertain whether they wanted to release this somewhat controversial track in it's current form but ultimately still did! As you might know, the studio version consists of the US nation anthem lyrics during the verses and chorus consists of the lyrics "Can I invade your country, oh baby baby" that are put on repeat. It had an undeniable political message to it about the state of US foreign politics of its time and I'm sure the song would have sparked controversy have it been released as a proper stand alone single. It's interesting how music of a differences these alternative lyrics do make since the only proper way I can interpret this version is assuming that it's a love song of a sorts(?).

The rest of the release is filled with three live tracks of old '70s classics and a hilarious interview. Happy Hunting Ground and In The Future are easily the best tracks off the very uneven album Indiscreet and Bon Voyage is off the great Propaganda. These performances clearly show that the Mael brothers are still great live performers since these compositions sound just as vibrant as they did back in the day.

The final track is a loose interview of the brothers conducted by Steve Jones, of Sex Pistols fame, and I use the word interview lightly! In retrospect, this is a great EP very well worth having. ***** star songs: Dick Around (3:49)

**** star songs: (Baby Baby) Can I Invade Your Country (Alternate Lyrics) (6:36) Happy Hunting Ground (live) (4:33) Bon Voyage (live) (4:53) In the Future (live) (2:17) Interview Of Sparks By Steve Jones of Jonesey's Jukebox (6:44)

The duo dropped the synth-pop sound and began developing music based upon piano arangements and lyrics of Ron Mael and Russell Mael's vocals. New inspiration sources like a clear incorporation of classical music, distinct piano lines, synthesized orchestration and multi-tracking was brought in to completely change the band as we've known them for the last 30 years. This was clearly a huge leap into the unknown which most long lasting acts wouldn't even imagine of taking, but Sparks were clearly brave enough to undertake such a move!

The final result was a smashing success with the critics, something that Sparks haven't achieved since the early '70s! It was a bit unfortunate that the music on Lil' Beethoven was ignored by the mainstream audiences, although it is somewhat understandable since this album wasn't streamlined for anyone who can't handle Art Rock. This music might seem very simplistic at first, but this is far from a simple record that most people would associate with pop music, a weird contrast indeed!

A DVD produced by Demon Vision was also released of a live performance of the album. The live performance was filmed in March 2004 at the Södra Teatern here in Stockholm, Sweden and I was there to witness the even! Sparks performed the album in all its complete glory and followed it by a set of twelve older classics. Truly a magical once in a lifetime event.

I clearly have a soft spot for Lil' Beethoven, but it's not based on a completely sentimental level. There compositions are truly a spectacle to behold and I have no intention of ruining any surprises for you. Seek out this album and find the magic for yourself!

***** star songs: The Rhythm Thief (5:19) What Are All These Bands So Angry About? (3:32) I Married Myself (4:58) Ugly Guys With Beautiful Girls (7:07)

**** star songs: How Do I Get To Carnegie Hall? (3:50) Ride 'Em Cowboy (4:20) My Baby's Taking Me Home (4:42) Your Call's Very Important To Us, Please Hold (4:11) Suburban Homeboy (2:58)

Fortunately Mael brothers came to their senses and returned to music after a 6 years hiatus with another landmarks of an album Gratuitous Sax And Senseless Violins! I guess that it's safe to say that a break from music really got their creativity going and even though many people might dismiss this album for being merely a record of its time, with inspiration clearly borrowed from popular synthpop acts like Pet Shop Boys and Erasure, this is easily one of the most entertaining albums of the '90s!

Just look at this hilarious album cover and tell me that you're not even a bit intrigued of listening to it? The album is literally filled with great singles like When Do I Get To Sing "My Way, (When I Kiss You) I Hear Charlie Parker Playing and Now That I Own The BBC. Luckily even the album tracks are equally as entertaining. Two tracks that always are high on my playlist are the completely hilarious I Thought I Told You To Wait In The Car and the surprisingly energetic album closer Let's Go Surfing.

Sparks only released one proper new release in the '90s (not counting the remix album Plagiarism) and so they really made this one count! Gratuitous Sax And Senseless Violins is an excellent album and another career highlight for Sparks. Luckily this was only the beginning of a new stroke of genius for the duo.

***** star songs: Gratuitous Sax (0:31) When Do I Get To Sing 'My Way' (4:37) I Thought I Told You To Wait In The Car (4:20) Let's Go Surfing (5:02)

**** star songs: When I Kiss You ( I Hear Charlie Parker Playing) (5:13) Frankly, Scarlett, I Don't Give A Damn (5:03) Now That I Own The BBC (4:58) Tsui Hark (4:31) The Ghost Of Liberace (4:15) Senseless Violins (0:50)

*** star songs: Hear No Evil, See No Evil, Speak No Evil (5:37)

No. 1 In Heaven was the point when the band moved away from rock music and into the domain of Disco/Synth-Pop/Electronica. The band recruited the talents of the synthesizers wizard Giorgio Moroder (or maybe it was the other way around?) to help them with the transition. Unfortunately I don't think that the result of this collaboration truly bloomed until the follow up release Terminal Jive, which is why I decided to skip that release in favor of the only really major album that Sparks recorded in the '80s.

The album gets into a groovy mood with When I'm With You, which is a perfect intro to such a bouncy record! I actually like that this album is slightly less synthesizer oriented than No. 1 In Heaven since it gives space for interesting experiments with electric guitar sounds mixed within layers of all the Electronica. Speaking of instrumental arrangements, some might consider the addition of an instrumental version of When I'm With You a cheap way to prolong the album but I honestly consider it to be a brilliant move, especially since this instrumental version mixes in new layers of sounds which almost completely change my perception of the original piece!

Overall, I'd still have to rate this album just below the excellent mark since it's a fun and light little record that I can listen to just to chill out but it's really not a good example of why I love Sparks. We'll need to skip almost 15 years into the future for a proper glimpse of that phenomenon!

***** star songs: When I'm With You (Instrumental) (3:45)

**** star songs: When I'm With You (5:49) Just Because You Love Me (4:38) Rock 'N Roll People In A Disco World (4:48) Young Girls (4:51) Stereo (4:02) The Greatest Show On Earth (4:19)

*** star songs: Noisy Boys (3:55)