i love sparks

 

Sparks' musical style has changed dramatically over their forty-year career. In the beginning they attempted to emulate the sound of their English heroes, such as The Who, Syd Barrett-era Pink Floyd and The Kinks, sometimes even pretending to be an English band while on the LA club circuit. They relocated to England during the glam rock era where, despite cutting an odd figure on this scene, they found success with their polished brand of intricate pop tunes and convoluted lyrics. Early albums such as Kimono My House combined glam rock elements of bubblegum pop and baroque music. By the second half of the decade, they were concerned that the sound they had developed while based in England was in danger of becoming stale; they returned to LA, determined to adopt a more "West Coast" sound. This they achieved with producer Rupert Holmes on Big Beat and (sans Holmes) on Introducing Sparks. However the band were not satisfied with the results, which they felt lacked personality, perhaps because of the reliance on session musicians. This led to the most dramatic change of style the band would attempt, when they teamed up with Giorgio Moroder, dropped the band format altogether and produced the disco record No. 1 In Heaven.[38] This album is regarded as a landmark in the development of electronic music and greatly influenced bands which would emerge in the following years.[3][6] They soon returned to a more traditional line-up, which remained until 1988's Interior Design. There then followed a long hiatus until 1994's Gratuitous Sax & Senseless Violins, which was a foray into the techno dance world, which they had helped to spawn back in the late 1970s.... wikipedia

Sparks’ musical style has changed dramatically over their forty-year career. In the beginning they attempted to emulate the sound of their English heroes, such as The Who, Syd Barrett-era Pink Floyd and The Kinks, sometimes even pretending to be an English band while on the LA club circuit. They relocated to England during the glam rock era where, despite cutting an odd figure on this scene, they found success with their polished brand of intricate pop tunes and convoluted lyrics. Early albums such as Kimono My House combined glam rock elements of bubblegum pop and baroque music. By the second half of the decade, they were concerned that the sound they had developed while based in England was in danger of becoming stale; they returned to LA, determined to adopt a more “West Coast” sound. This they achieved with producer Rupert Holmes on Big Beat and (sans Holmes) on Introducing Sparks.
However the band were not satisfied with the results, which they felt lacked personality, perhaps because of the reliance on session musicians. This led to the most dramatic change of style the band would attempt, when they teamed up with Giorgio Moroder, dropped the band format altogether and produced the disco record No. 1 In Heaven.[38] This album is regarded as a landmark in the development of electronic music and greatly influenced bands which would emerge in the following years. They soon returned to a more traditional line-up, which remained until 1988’s Interior Design. There then followed a long hiatus until 1994’s Gratuitous Sax & Senseless Violins, which was a foray into the techno dance world, which they had helped to spawn back in the late 1970s…. wikipedia

 

 

 

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