Sparks Still Have Some Left

Never loved by radio, Ron (b. 1945) and Russell Mael (b. 1948) AKA Sparks have managed to stay off the charts and working steadily since 1967. Their highest charting successes were in 1974. And even without charting, they’d gotten plenty of shout-outs from those that did: New Order, Depeche Mode, The Smiths, Siouxsie and the Banshees, Sonic Youth, Nirvana, and Björk have all credited them as influences. Their “quirky” sound, launched on the rocket fuel of darkly humorous and cynical lyrics, is like no one else’s. It’s a sound that spins on the axis of songwriter Ron’s melodies and the athletic castrato registers that vocalist Russ lifts them on.

Interesting note: The sound was born on Ron’s limited skills as a keyboardist which prohibited him from transposing the songs into keys more suitable for Russ’ register – by Russ’ admission – forcing Russ to accommodate.

A miniature Sparks history:

• As teens growing up in Los Angeles, they’d see The Doors, Love, The Byrds, Buffalo Springfield, etc. playing at the clubs in town.

• They moved to England to record second and third Sparks albums – Kimono My House, Propaganda – in 1974 where they enjoyed their greatest chart successes.  Their sound was exalted by the glam scene of the time. Since then, these albums have generally achieved classic status.

• In 1976 they returned stateside and retooled for a more “American,” hard rock sound. They appeared in a roller coaster disaster movie performing songs from the album.

• In 1977 they transitioned again, this time into a more electronic sound and recorded two albums with Giorgio Moroder

• By the 80s their sound transitioned yet again, getting tossed in with the New Wavers.  During this period they’d enjoy some of their greatest radio and television exposure. The songwriting would now be credited as collaborations.

• At the end of the 80s and early 90s they worked on collaborations with other artists and personalities and attempted to make a movie. The band concept was dispensed with entirely. Some songs got some chart interest in various European countries. They’d be compared to The Pet Shop Boys.

• In the 2000s they replaced the electronic club sound with a more orchestral sound, Russ’ vocals were presented in a wall of choruses. They received praise and attention. A very prolific musical period but nothing charting.

“Handcuffed to a Parking Meter” was their 2019 collaboration with French musician SebastiAn. Of his working philosophy, SebastiAn has said: “The brain is the enemy of music — you can use it, but way after you've finished working.”

As for the actual creation of “Handcuffed to a Parking Meter”: SebastiAn said that this line was something Sparks had come in with. Russ told him “...‘I don't need another sentence. This sentence is cool...OK, let’s go.’”

Sparks: Not Boomers; Old School.