October 5th 2006: Sparks played the ABC, Glasgow, an old cinema that had at one point been known as the venue for Hengler’s Circus. In the basement assorted wild animals (bears, giraffes, lions apparently) had once been kept for what was then considered entertainment. Legend has it these animals were on occasion given a day out, led up Garnethill to the famous Art School for the students to draw. Both buildings have since, sadly, been destroyed by fire.

That fall evening, Sparks played a blinder. One of the best concerts I’ve ever seen. I wasn’t alone in that thought. A young lad dancing dementedly beside me in the packed arena said it was the best “fucken concert” he’d seen.
“Seen a lot of concerts?”
“Aye, hunnerds, fucken hunnerds, man. Ah didnae ken who these cunts were, Ah only came wi’ ma mate, but fucken hell they’re fucken brilliant, man, fuc-ken brilliant.”

He was too young to be Irvine Welsh, tho I wondered if he could sell me some E’s, but still I knew what he meant. There was something special that night—even Ron Mael smiled and seemed to be having fun. Maybe it was because the fifth was Russell Mael’s birthday? Maybe. It could explain why he put so much energy, passion, and artistry into his performance—but then again that could just be great talent. Before the show finished, the whole auditorium erupted in a rousing version of “Happy Birthday to Russell” as he was presented with a candle-lit cake. Maybe. But more likely, or at least what I like to think, this was Sparks, Ron and Russell batting a new century into touch by producing some of their best, nay greatest, and most original work to date.

It all kicked off in 2002 when Sparks released one of their best albums Lil’ Beethoven. This was a record like nothing that had come before. Though to be fair, there were some hints in their album Gratuitous Sax & Senseless Violins in 1994 and the single “Wunderbar” in 2001 anticipated elements of this epic work of sheer artistic brilliance. From the opening track “The Rhythm Thief” we ain’t in Kansas anymore, Toto, the album’s like a John Adams opera meets the Beatles meets repetitive, hypnotic, minimalist electronica all filtered through the talents of Ron and Russell.  Take a listen to tracks like “I Married Myself,” “My Baby’s Taking Me Home,” and “Suburban Homeboy,” and you’ll see what I mean. Lil’ Beethoven was a massive critical success, but not so great commercially, alas. Then in 2006, the brothers Mael released Hello Young Lovers, another album of show-stopping songs which deservedly brought the brothers their biggest commercial success in quite a few years. A single off this album “Dick Around” was banned by the horse’s arses at the BBC who were offended by the word “dick.” Which says more about the minds that work there than what the term actually means.

But the Maels weren’t finished or even sitting on their laurels. While other bands start treading water or retiring when they hit their sixties and seventies—which in a sidebar moment always makes me wonder do these dark-haired septuagenarians dye their pubes to match their hair? It would look odd if they didn’t…—Ron and Russell Mael were putting out one masterpiece after another.

Following on from Hello Young Lovers came Exotic Creatures of the Deep in 2008, which proved as successful as the previous release and was notable for the singles “Good Morning” and “Lighten Up Morrissey.” This was great, catchy, leftfield pop but nothing compared to the utter brilliance, nay genius, of The Seduction of Ingmar Bergman in 2009. Here was a pop opera about the famous Swedish film director invited to Hollywood to make movies. The storyline about Bergman’s artistic integrity in battle with commercial success—or selling out—applied as much to the filmmaker as it did to Sparks. Commissioned by Sweden’s national broadcasting service, Sveriges Radio, the brothers were at first reluctant to accept the gig, but eventually did accept thinking it might be something to work on between albums. As it turned out, The Seduction of Ingmar Bergman proved to be much bigger than that.

Yet again talent is an asset, but doesn’t always bring the rightful rewards.
 

Sparks and audience, O2 Glasgow, May 2018 (I’m in there somewhere….hidden by hands)
 
After their pop opera came the brothers’ “electrifying collaboration” with Scots indie band Franz Ferdinand under the name FFS. An album and tour followed, and garlands of praise. If you don’t know it, do give it a listen.

In 2017, came Hippopotamus, Sparks’ biggest hit (and deservedly so) in the UK (#7 in the album charts) since the 1970s. While most people know Sparks from the singles “This Town Ain’T Big Enough For the Both of Us” or “Amateur Hour” or perhaps “Number One Song on Heaven” or even “I Predict,” they fail to appreciate the quality, diversity, and utter brilliance of the brothers back catalog over the past five decades which prove Sparks to be a very rare and exceptionally talented band.

Last year, I saw Sparks again in Glasgow (see photo above) where they were even better than they’d been on that night in October 2006. Last year, I also saw the Rolling Stones. While the Stones are like rock royalty and can put on one helluva show, they haven’t produced any new material since 2005 with A Bigger Bang. Though it’s wrong to compare to and contrast, yadda-yadda, Sparks have been putting out new, brilliant, and cutting edge music almost every other year since 1971 when they were briefly known as Halfnelson. Film director Edgar Wright is currently making a documentary about Sparks, which I hope sells the band to as many people as possible for their music deserves to reach as big an audience as possible. And going by Ron and Russell’s present form, their best is yet to come.

In March 2017, Sparks one were of the headliners at the BBC 6 Music Festival. During an hour’s performance Sparks played a selection of their hits and best known songs and premiered some of the music from the 2018 album Hippopotamus. Track Listing: “At Home, At Work, At Play,” “Good Morning,” “When Do I Get to Sing ‘My Way’,” “What the Hell Is It This Time?” (live debut), “Hippopotamus” (live debut), “Dick Around,” “Never Turn Your Back on Mother Earth,” “Edith Piaf (Said It Better Than Me)” (live debut), “Missionary Position” (live debut), “My Baby’s Taking Me Home,” “The Number One Song in Heaven,” “This Town Ain’t Big Enough for Both of Us,” and “Amateur Hour.”
 

Previously on Dangerous Minds:
When Sparks formed a band with Franz Ferdinand: The best of FFS live
When Sparks Met Comedy Genius Jacques Tati in 1974
‘Maelstrum’: Ronald and Russell Mael star in their own Sparks comic strip
‘Kimono My House’: Sparks’ audio guide to the Los Angeles rock scene of the Sixties
First Class Mael: Sparks release ultimate box set collection ‘New Music For Amnesiacs’
That time Peter Cook plugged Sparks with a hidden message on their singles
A whole bunch of flamboyant clothing worn over the years by Russell Mael of Sparks
Big Beat:  Watch a complete Sparks concert from 1976