I was recently introduced to the music of The Last Dinner Party, and one of the first things that I thought was that they sound kind of like Sparks would if they were all women. And then they did a cover of This Town Ain’t Big Enough For The Both Of Us, and it’s clear that the influence was a direct one.
The main connective element is the kind of staccato singing that runs up and down an impressive number of octaves, that is typical of Russ Mael, and defines the Sparks sound. They are classed on Wikipedia as “glam rock”, but I’ve never considered Sparks to be glam. Yes, the choruses of Complaints and Barbecutie sound a little like T Rex, and Here In Heaven sounds a little like the Queen of the time, but as I’ve mentioned before, glam to me also requires the visuals of silver flares, face paint, and platform boots, The enduring visual of Sparks is Ron Mael’s toothbrush moustache and terrifying stare that makes him resemble a certain failed Austrian painter. Hardly “glam”.
Given how much an impression Ron Mael makes, I think I was expecting something like the singer ‘n’ keyboard groups of the early-mid Eighties (like Erasure, Pet Shop Boys, Yazoo). But actually Ron’s keyboards are more of a background element. It’s guitarist Adrian Fisher who really lets loose on tracks like Thank God It’s Not Christmas and Hasta Mañana Monsieur, as well as some superb work from bassist Martin Gordon and drummer Norman “Dinky” Diamond who not only hold the songs together but embellish them with wonderful flourishes and fills.
At the end of the day, Sparks really are their own, unmistakable, sound, and the album feels very fresh even today. I was even surprised that this album was as early as it is. They’re somehow New Wave before there’s anything to be “new” from. It’s other bands that sound like them – I got an Altered Images vibe from the other biggest song on the album – Amateur Hour.
[Edit: When uploading these files, this one falls on Bonfire Night. Kind of appropriate - Sparks, on Firework Night ... eh, please yourselves].
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