Sparks: "A Steady Drip, Drip, Drip" Double 45 rpm 12" Vinyl, 2020 (BMG))

Sparks is the portrait of Dorian Gray.  As they go on, their music never ages, yet I, as a listener, is clearly getting older.  Their bite is still energetic, and the melodies that they make seem effortless. "A Steady Drip, Drip, Drip" is a remarkable work, due that its excellence is forward-thinking but without tainting their past.  For me, Sparks's albums are just a chapter in a long (and so far endless) novel.  Ron Mael's lyrics are the most literate in pop; in a sense, one notices the craft that goes into his writing, and then beyond that format, which makes it art.  I never think of Sparks in the terminology of rock n' roll.  To me, their work belongs to the Great American Songbook tradition of songcraft and writing.  Each Sparks album is a multi-media presentation, but for the ears.  Sitting in front of my speakers, I can see the entire show taking place.  "Lawnmower" is one of those Mael's Raymond Queneau type of songs, where the words are playful as well as adding a catchy beat.  Russell Mael's voice takes character and is clearly one of the great vocalists of the last 40-something years. 

There are no 'weak' cuts on this album.  The songs flow from one to the other as if they all belong to the same and close family.   What I do hear that is new is a sax here and there, and some songs have a loud acoustic guitar driving the melody hard.  "A Study Drip, Drip, Drip" is an exceptional album in horrific times.  May Sparks bring light to our world. 

Sparks - "A Steady Drip, Drip, Drip (BMG)

Sparks - "A Steady Drip, Drip, Drip" (BMG) Streaming

The brilliant aspect of Sparks is not only their way of writing the most catchy melodies, but how they take a subject matter and make it with weight and profound intelligence. "A Steady Drip, Drip, Drip" is such a work that touches greatness with no great effort. Take "Lawnmower," for instance. A song about the love of owning and riding on a lawnmower: it's the obsession of having an object is similar to John Cheever's short story "The Swimmer," where the character goes into the pool after swimming pool to get home, which of course, he never makes it. In all cases, there is a world without Sparks, which is a very blue and bleak world indeed, and then there is a presence where you have Sparks among your favorite items, so the lawnmower is Sparks.

The songs of Ron and Russell Mael, in theory, play in the medium of pop or rock, but in actuality, I think of them as songs set as a chamber piece or a theatrical piece of staging, without the stage. When I sit down in front of a pair of speakers, or on my computer earbuds, I feel like I'm reading either a short story collection or an absurd novel of some design. To me, Sparks doesn't really have a collection of songs, but more of a singular piece of work where the songs fit into a specific format. Like their other albums, all the songs on "A Steady Drip, Drip, Drip" flow one to another in an organic sensibility as of putting peanut butter and jam together.

The sound that rings out to me on this album is the sound of the acoustic strumming guitar. The album is beautifully orchestrated with textural sounds of what sounds like un-electronic instrumentation. Or the sound of a synth that is very Moroder-like in touches here and there. On the other hand, Sparks are masters of illusions, but what I hear is beautiful oriented pop music, in its most natural existence. Perfection is an art, but for Sparks, their music is also business as usual. The big mystery is, how do they keep up their standard of excellence, for so many decades?

This is a big album full of more massive sounds. If one makes comparisons, I would think of the theatrical songs by Weill/Brecht or even Stephen Sondheim. The articulate words meet the well-defined melody, and that, in a nutshell, is Sparks' sense of magic. - Tosh Berman

Sparks - "Gratuitous Sax & Senseless Violins" Yellow Vinyl, Remastered, Reissued, 2xCD, 2019/1994 (BMG)

It's no secret that I'm a Sparks' fanatic. My love for this crazed duo is as immense as the oceans and deep into the distant stars. For me, there is no such thing as a bad Sparks' album, but "Gratuitous Sax & Senseless Violins" is one of my faves among their recorded masterpieces. There is not another haunting song as "Let's Go Surfing," or "When Do I Sing My Way." Sparks made masterpieces in the 1970s and 1980s but disappeared amid the later 80s, and returned to magnificence with the above album. 

Hardcore electro-pop, this is music made by two men, and it's a tight album with no wasted space. It's a specific and focused set of songs that focuses on some aspects of pop culture, as seen through the Mael brothers. "Gone with the Wind," Sinatra's and Sid's "My Way," Charlie Parker, The BBC, Liberace, and Hong Kong filmmaker (who is on the album as well) Tsui Hark all share space in this work. They bounce off each other, and in some sense, there is communication or sharing between these iconic figures/institutions. 

CD-1 is a compilation of remixes from "Gratuitous Sax & Senseless Violins." What stands out is Bernard Butler's mix of ("When I Kiss You) I Hear Charlie Parker." He adds guitar textures that give the song a different feel than the standard version. Also of great interest is their version of "Little Drummer Boy," and a great unknown Sparks song, "She's An Anchorman." What makes this reissue a must for the fan is CD-2, which is unreleased (until now) great unknown Sparks songs, which I presume was recorded around the same time as "Gratuitous Sax." 17 songs here and not one is a dud. Also noted are the songs sung by Christi Haydon. She was their live drummer in the 1990s, and it seems at one point and time, was set-up to sing the songs of Sparks. Similar to Serge Gainsbourg working with Jane Birkin/Brigitte Bardot or Lee Hazelwood's work with Nancy Sinatra. All great, especially "Katharine Hepburn," which is an unknown Sparks masterpiece song and her excellent version of The Who's (John Entwistle) "Boris the Spider." Superb packaging and music. A must for Sparks' fans, but also proof of their greatness. 

The Quick - "Mondo Deco" Vinyl, LP, Album, Reissue, 2009/1976 (Radio Heartbeat)

My introduction to The Quick came about due to the writer (and filmmaker, among other things) Dennis Cooper, who in his magazine of the 1970s, "Little Caeser," raved about this band and their debut album "Mondo Deco."   Whenever Dennis recommends a writer, film, or music, one should pay attention.  On the other hand, due to my nature, I pretty much ignored The Quick when they existed, and only became interested in them this past four weeks.  I tracked down their album, purchased it, and find myself loving the music.

Since I'm a lover of Sparks (the band, or Ron and Russell Mael), I was put off with the sound of The Quick being very close to the sound of the Mael brothers.  I remember feeling the same way about the band Japan sounding too much like Roxy Music.   Their similarities are there for sure, and obviously influenced by the parent bands, but both Japan and The Quick have their own vibe.  With respect to The Quick, and since I was semi-raised in the San Fernando Valley, I sense that region's aesthetic on the band.  Sparks are a hard band to pin down on the map, but The Quick is for sure are American, and there is nothing more American than a teenager in the Valley. 

The songwriter for the band is guitarist Steven Hufsteter, who on this album, has an understanding of what makes a song happen concerning melody and a catchy chorus.  I don't see how its possible for one not to hum "Hillary," or "No No Girl" while taking a shower or being moody in a bathtub.  The other highlight is "Anybody," which is catchy as heaven, and then it goes into this crazed Yardbirds-style rave-up that's magnificent.  Incredible drum sound, maracas, and chaos.  Yet contained in that catchy melody.   Hufsteter is also a great guitarist, and the arrangements tend to the sound of his guitars, the drums (Danny Benair) and voice of Danny Wilde.  And Billy Bizeau's Ron Mael like minimalism on the piano, and bassist Ian Ainsworth.  Also, I think there is a robust Cheap Trick influence on the band as well.   Earle Mankey produced the album, along with Kim Fowley (hmm) and Mankey who was a member of Halfnelson (Sparks) does give that early Sparks' sound to the mix.   An enjoyable album.  

Morrissey - "This is Morrissey" Vinyl, LP, Compilation, 2018 (Parlophone/Regal)

This is the Morrissey I love.   Not the guy who is giving opinions out like he's a Donald Trump, but the brilliant songwriter, performer, and quite aware of recorded music history.  "This is Morrissey" is a new compilation of music of his the late solo 1980s/early 1990s material.  Seeing this album, I know there are traces of the great wit/artist that is still with us.  As if one who either reads Discogs as a narrative or is a fan of Morrissey, there are a lot of compilations of his music out in the market.  On one level, and on a surface one at that, it seems he floods the market of releases perhaps for the financial stake in doing so.  Which may be true, but it is also the aesthetic of Morrissey to do a compilation album like this.

The label, Regal is very old school compilation where they released music by an artist, and usually not expensive to purchase on a consumer front.  "This is Morrissey, just cost me under $20, and the selection of his music is excellent.  I'm not sure if Morrissey himself selected the songs/tracks or someone from his record label/management, but whoever did an excellent job.  The key tracks to purchase "This is Morrissey" is the Ron Mael/Russell  Mael remix of "Suedehead," which is really the bastard child of Sparks and Morrissey. It's already a beautiful song, but Ron and Russell give it another dimension, and in their mix, they make it into a Sparks piece - but still in spirit, very much of Morrissey.  It is one of the great re-mix recordings, just because it's not a DJ overshadowing the artist, but another artist's approach to something that is already fantastic. It is never meant to replace the original.  The other great song here is "Whatever Happens, I Love You," which initially was on another compilation album, and I'm not sure if it was ever released as a single, or b-side, but it is one of the Morrissey classics.  Beautiful production, and just a wonderful Alain Whyte collaboration with the singer. 

Morrissey's brilliance is not always just the music.  His witty appreciation for the practices of record labels from the 1960s and so forth is very much honored here with this release.  It's Morrissey looking back at his past, and his habitual record buying practices.  So yes, one may have these songs in different formats, but I feel Morrissey is sincere in that he wants to present these collections as an art object, or a work to be admired or thought of in such manner. Even the liner notes which are in French shows an absolute love for the medium.  And this is the Morrissey I love.  

Sparks - "The Seduction of Ingmar Bergman" Box Set, LP, Album, 4 x Vinyl, CD, Limited Edition, 2009 (Lil' Beethoven Records ‎)

It's always been my opinion that Sparks music or roots don't necessarily go back to rock but to theater music.   Ron Mael and Russell Mael are in the same school as the Gershwin brothers, Cole Porter, Rodgers & Hart and Stephen Sondheim.  Although their medium can be considered, and more likely pop or rock, but I have always thought of them as the American brothers of Bertolt Brecht and Kurt Weil.  "The Seduction of Ingmar Bergman" is very much in line with something similar to Brecht/Weil's "Three-Penny Opera." 

The narration of this radio and stage musical (and hopefully film) is about Bergman being trapped in Hollywood and dealing with the nightmare of working in a film factory of not his choice or temperament.  Isolated from his world, he plots his escape, but can one flee from a living nightmare? This is the first theater project that came to fruition by the Mael brothers, and it's an essential Sparks' recording.   The album is truly a soundtrack to the entire production, including some dialogue.   Still, the music is excellent, and of great wit and beauty.   The melodies are perfectly beautiful, but it also serves as a critique or commentary on the nature of an artist dealing with an industry that seems supportive, but in actuality, it's restricting the filmmaker's vision.  

Ron Mael who is usually silent sings lead as the Limo Driver, but the rest is sung by Russell, as well as actors singing various roles, such as Jonas Malmsjö as Bergman, and a beautiful vocal from Elin Klinga as the ghost of Greta Garbo singing the heart-stopping "Garbo Sings."  Superb brilliance. 

The Move - "Something Else From The Move" Vinyl, LP, Compilation, France, 1979 (Cube Records)

Has there ever been a band such as The Move, who moved from psych-pop to heavy, and then at times, something operatic and more significant than big?   Never on my top ten list of loves, because I keep forgetting that they exist, and that is apparently a shortsighted position on my part.  Roy Wood is not only an incredible songwriter, but the eccentricity of his stance in the pop music world is one to admire. He's an artist who accepts the abscess of too much, and often I think how is this even possible?  

The Move has two lead singers Carl Wayne and Wood.  Wood writes the material, and Carl Wayne, in a Roger Daltrey manner, takes the material like a grand actor.  If one has to compare the band with another, I have to imagine it will be The Who.  Both groups are melodic as well as thrashing, and there is a sophistication in the mix that makes it a couple of notches better than the standard pop of its era.  It's not surprising that The Move influenced Sparks because they both share the density of the overall sound, as well as songs that are double-edged in imagery and presence. 

"Something Else From The Move" is a compilation album from France.  Side one is their early singles, but including "Brontosaurus" a song when The Move was a trio featuring Jeff Lynne.  Still, this collection is Roy Wood orientated, and side two is a live set from the Marquee Club in 1968.  The reason I purchased this album is that of the live side. One can find this material in various formats, including an EP, but it's pricey to locate.  Here The Move covers Eddie Cochran ("Something Else"), as well as Spooky Tooth, The Byrds, and surprisingly Love.  Besides Cochran, which is music from the past, the other artists they covered were contemporary and very much in force still in 1968. 

The secret of The Move is that they were very baroque orientated in their arrangements, but played the material in a heavy manner.  So there are layers of sound and textures within the three-minute pop single, but also they were able to stretch out in more extended material as well.  As a compilation, it didn't take that much imagination in putting this collection together; still, it is such an enjoyable listening experience. 

Jun Togawa (戸川 純) - "Suki Suki Daisuki (好き好き大好き) Vinyl, LP, Album, Japan, 1985 (HYS)

Without a doubt one of the great albums from the 1980s, and a work that is still as fresh as the first day of spring.  For one, the production does yell out the 1980s, but like Sun Records is from the 1950s, this is almost a militant version of that era.  Jun Togawa is a vocalist that is very difficult to explain because she is a rare artist that goes beyond her limitations of the pop (Japanese) world.  Most Japanese pop music exists to please, but there is something dark and disturbing about the Togawa sound, which is hyper-emotive and one feels traces of Bi-polar expressions within its groove.  

One thing that is very noticeable is that a Jun Togawa recording is very unique.  There is nothing like it in this world.  To make comparisons is always a fun sport, but I'm not sure if comparing her to other artists would be accurate.  Saying that "Suki Suki Daisuki" has traces of French Yé-Yé sound, but updated to the 80s, and she does cover Serge Gainsbourg's  "Comment te dire adieu," yet it sounds very much like her own material.   The song is sung in Japanese, and I'm not sure if it's just translated lyrics from French to Japanese, or she may have written her own words to the song.  The sound is more Togawa than Gainsbourg, yet respectful of the original melody/song.  

She also does a beautiful, but a bizarre cover of "Angel Baby" the great Rock n' Roll ballad of the 1950s originally recorded by Rosie and the Originals.  The original version is a fantastic time-piece of out-of-this-world pop, and Togawa does this song in English, that reminds me of Yoko Ono if she did a cover of this song.  I'm not saying that due that they are both Japanese women, but their voices have a similar vocal range.  Togawa can go for the lower notes to the highest, and she is an amazing singer. In the nutshell, I think of her work as a combination of Sparks, Yoko Ono, French Yé-Yé with a touch of Kate Bush ambition.   I know that both John Zorn and Jim O'Rourke think of her work highly, and it's a shame that she is not better known in the West.  Then again, I suspect that she could care less about the music market outside of Japan.  Truly a unique music artist.  Also, she did the design work for this album, and it's a great package. 

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Nöel (Sparks) - "Is There More To Life Than Dancing?" Vinyl, LP, Picture Disc, UK, 1979 (Virgin)

I only heard about Nöel's "Is There More To Life Than Dancing?" in whispers.  Recorded sometime between Sparks' "No. 1 in Heaven" and "Terminal Jive" during their exploration of the electronic dance medium, the Nöel album is an enticing part of the trilogy.   Perhaps Giorgio Moroder inspired, during, or after working on "No. 1 in Heaven, Ron Mael and Russell Mael had put together their own project where they wrote and produced songs for another artist.  I know nothing about the mysterious Nöel, and to be frank, it is not her that is of interest, but of course, Sparks.  

In a time of countless 12" remixes and the interesting aspect of the Disco era, this album exists only in that framework.  I wasn't aware of the album until the 1990s, and even that, I only heard about it, and not heard one note of it.  On my recent trip to Tokyo, I found a copy at Vinyl Records in Shinjuku, and I couldn't pass it up.  For a Sparks' fan, this Nöel album is a must, but beyond that, this is a very good album.   As a friend once noted to me "there is no such thing as a bad Sparks' album or song."  Which is a strong statement to make, but also perfectly true.   The picture-disc release (did it ever come out as just black vinyl?) is non-stop music, and there is technically five songs, yet, it builds up as a work of one piece.  What comes through is Sparks' brilliance or trademark sound whatever they do.   They can't help themselves being Sparks, and even when they're writing songs for another, it is still a Sparks record.  And that includes them remixing/re-recording other's records, such as Morrissey's "Suedehead."  

There is not a bad moment on this album, but the masterpiece is "I Want a Man" which I think is up there in Sparks' melodic genius work.  The one thing that strikes me as odd, is that they use a real saxophone in the mix, due that the rest of the album is electronic.  At the moment, I can't think of them ever using a solo saxophone in their songs or arrangements.  Although the album yells out 1980 Disco, there are textures here that can only belong or made by Sparks.  Which makes this an essential listening experience. 

Sparks - 'Mael Intuition: The Best of Sparks 1974-76" CD, Compilation, 1990 (Island)

I was living in Japan in 1989/1990, and I purchased a lot of CDs at the time.   I bought the Sparks compilation of their first three Island releases "Mael Intuition" because I didn't bring any Sparks' music from Los Angeles with me on this particular visit.   At the time, I didn't even know if I was going back to Los Angeles, due to visa issues and finances.  Nevertheless, due to my budget, this was one of the great buys in Japan.   Released in the UK and Europe, "Mael Intuition" focused on the albums, "Kimono My House," Propaganda," and "Indiscreet."  Interestingly enough, there are no b-side songs on this collection, which is a mystery to me, because all were excellent.  

For a lot of long-term fans of Sparks, or those of that generation,  this is probably the best introduction to their work, especially focused on when they were on Island Records.  First of all, there is no such thing as a bad Sparks' song or album.  So, with four decades of music, there is a lot to choose from, and most are in print, or not that difficult to find used or new.  Still, I would disagree with the subtitle saying this collection is the best of Sparks 1974-76, because there are essential Sparks' songs that were released as b-sides at the height of the Island years, and for all purposes, it should have been included in this compilation.  On the other hand, it's a great snapshot of what makes Sparks so fantastic.    Also, if I wasn't thousands of miles away from my Sparks' albums back in Los Angeles, I would never buy this CD.  It's the distance from home, and I wanted a memory, or at the very least, have some excellent music in my new world. 

Within two years or less, Sparks made huge jumps from "Kimono" to "Indiscreet."  A band that never gave the listener the same thing twice, yet their sound was always Sparks because that is within their DNA.  Ron Mael and Russell Mael (and their band) worked in an environment that had no outside influences, at least nothing obvious.   There are traces of music hall music, or bands like Move, that one can hear within their world, but Sparks manages to twist their songs into something that is not only unique but with incredible original melodies.  I'm sure one can find 'another song' in Ron's songwriting, but I personally can't find it.  It seems that their originality is always based somewhere inside their (Ron and Russell's) collective mind. 

Sparks to this day make perfect music, and yet, for history sake, one looks back to the Island years as of one of great importance.  It's interesting to note,  that there are no songs from "Big Beat" on this compilation because in the UK there were four Island albums, not three.  Whatever it's record business mishaps or a creative choice, the three original albums make sense in a stand-alone 'greatest hits' album.    The changes between the albums are not great, but it's the joy of its subtle differences between the three albums that make this collection a perfect joy.   For me, I run into people who don't know Sparks' music at all, which of course, is a sin.  On the other hand, I find "Mael Intuition" a very good welcome mat to the Sparks' world for these new listeners.  There are quite a few compilations of Sparks music out there in the world, but they may be too large for a new listener.  This, of course, is a subjective choice, but if one can't pass this collection, then I have no hope for them. 

Les Rita Mitsouko - "Rita Mitsouko" LP, Vinyl, LP, Album, France, 1984 (Virgin)

Les Rita Mitsouko is my favorite band.   At first, I thought that they are my favorite French rock n' roll band, but the truth is they are my number one favorite band.   If one can call them a band.  Les Rita Mitsouko was a couple:  Catherine Ringer and the late Fred Chichin.  Both were multi-instrumentalists and wrote the songs together.  Like The Cramps and Sparks, they were a perfect individual unit who used outside players, but the main core is always the two of them. "Rita Mitsouko" is their first album.  I loved them by the first note on the first song of side one "Restez Avec Moi."   The rhythm is very much a Bal Musette dance, and it's a combination of electronics and guitar that makes this song irresistible.   If one can fall in love with a human, then inevitably a listener can fall in love with Les Rita Mitsouko.  

Catherine Ringer is one of the significant figures in contemporary music, and the fact that she's unknown in the United States is apparently a crime against culture.  Her voice and even more important, her stance, is a beauty to behold.  There are individuals that for no other reason that they just have that "it" quality, which is a rarity, and Ringer oozes personality and talent.   She's up there with her country's Juliette Gréco or Edith Piaf but is obviously both a traditionist as well as a standout in any category of popular music.   Chichin and Ringer have a robust sexual aura as well as classic groove chops, and I can never resist their sensual pull to their music. 

If I have to make a comparison to their sound, I think of Iggy Pop's "The Idiot" as the closest album that kind of resembles Les Rita Mitsouko's sound and world.   There is a strong "I don't give a damn" quality in their work, that's is essential rock n' roll spirit.   Wonderfully unique, and equally charming at the same time.   Their first album "Rita Mitsouko" captures a freshness that I find so enticing that their work is close to falling in love for the first time. 

Tosh Berman's 2017 Favorite New (for me) Albums

For the world, a total nightmare of a year.  For me, standing near my turntable and stereo speakers, an excellent year.  Here, and in no special order, are albums that I  have heard for the first time in 2017.  Some of the releases are very old, and some came out this year - but all, were first listening experiences for the year 2017.  The Ork Records and Webern box sets, I may have heard some of the music some years ago, but these are new packages for me.  Even though I believer the Webern box set came out in the 1960s.   The majority of the albums (all vinyl) I purchased are used, but some I did buy if they were reissued, or I was lucky finding it online or more likely in a record store, either here in Los Angeles or in Tokyo.   Nevertheless, for me, this was totally new music for the year 2017.  So, again, in no special order, here are the albums.  And keep in mind, that I did write reviews of some of the titles, but there are albums here that I haven't had a chance to write on, or about the recordings.  So here it is:

Sparks - "Big Beat" CD, Album, 1994/1976 (Island Masters)

A really good album that could have been great, if say, someone like Mick Ronson produced "Big Beat."   It's an unusual (well, they all are in a sense) Sparks album because it's very 'rawk' with a great pinch of glam in its mixture.   The driving force of the sound is Russell's vocals, the drums, and snarly guitar.  The album, recorded in 1976, has one eye looking at that time, the current CBGB's 'punk' aesthetic, and yet, still keeping the songwriting to that perfect pitch, which is consistently brilliant and unique. 

"Big Beat" as mentioned, I think Mick Ronson was planning to take over the production or at the very least be part of the band at the time.  Instead, the album is produced by Rupert Holmes with assistance from Jeffrey Lesser.  If it was another Sparks project, I could see Holmes being involved, because of his work, although Holmes has strong middle-of-the-road songs, lyrically there is something else going on in his world.  Holmes reminds me of 10cc, in that the humor can go over a lot of listeners' heads and ears, due to the pop perfection of the production/sound.   What doesn't fit with the Holmes aesthetic, is that this album is very much of a rock album, with the genius songwriting/lyrics of Ron Mael.    Ronson, in theory, can give the songs on this album a great meeting ground between glam and rock 'n roll.   Holmes I think is more comfortable in the AM radio world of easy pop. 

Beyond the weak production, this is a wonderful collection of songs, that are satirical, witty, and comes off to me as a Voltaire/Johnathan Swift sensibility in political/social humor.   One can be offended by some of the songs here, for instance, "Throw Her Away (And Get A New One)," but again it's a work of satire, and commenting on a landscape that's pretty disgusting.  On this CD release, there are two fantastic bonus cuts:  "Tearing the Place Apart" and "Gone With The Wind." It's worth to find this specific CD for those two songs.   

Sparks - "Hippopotamus" 2 x Vinyl, LP, Album, 2017 (BMG)

Sparks equal perfection.   I can never fully understand how someone can write beautiful melodies and equally write words to these songs that fit perfectly, yet are jarring in their meaning and juxtaposition of the melody and lyric.  It's supernatural forces at work, yet, I do know them, and what they do is meet every day, except maybe on Sunday's, to work on their writing/recordings.   A lot of people do that, yet they come up with crap.  Sparks come up with works of genius.

"Hippopotamus" is a collection of songs, for whatever reason, I find moving. There's the humor, but it has a foundation in everyday life, and it reflects on the follies and disappointments that come with the world that we live in.  Russell Mael's singing/voice is the perfect instrument to Ron's words.  It is not only Russell's vocal abilities (which are great) but the knack to get into characters, and not come off as sounding cold, or smart-alecky.  There is a lot of soul in these set of songs by Sparks. 

The title song "Hippopotamus" is like a John Ashbery (or some other New York School of Poet) set to music.  Although nothing alike, the spirit is very modern with the ability to explore the potential of language.  Reading the lyrics to all the songs on this album is interesting because you can see the craft that is put into the works, and it doesn't lack passion, but the appreciation of the songwriting craft.   Bowie always struck me as a songwriter that is schooled in a craft, and that they are not only artists but incredible craftsman in their work.   Sparks is like a master shoemaker.  They know how to take your foot and measure it correctly to make one the perfect pair of shoes.  This whole album fits perfectly into my consciousness.  

My favorite cuts on this album are not the obvious great hits here, and there is plenty of that - but songs like "A Little Bit Fun" is a beautiful meditation on joy, fun, and love.  Its sentiment is simple, but with the minimal melody, psychedelic underneath texture, and Russell's tonality, it's a masterpiece.  I have a top ten Sparks fave list that keeps changing, but this song is on that list for sure, and not only that, I played this song six times in a row today!  "Life With The Macbeths" is another sonic beauty of a song.  A perfect closing to this album.    A humorous lyric, but the music is pure deadly.   Haunted melody; kind of perfect to play around 3 in the morning, and playing it loud.  

The single from this album should be a huge hit.  "Edith Piaf (Said It Better Than Me)" is a mood piece yet entirely in the pop format.  I wonder if a song with such feeling/wit, can ever truly be a hit. It's the album of the year, but even more important than those stupid ways of acknowledging an album's worth, this is a major work of art. 15 songs, not a weak link anywhere.   You can hang this album right next to "Mona Lisa."  - Tosh Berman

Les Rita Mitsouko - "The No Comprendo" CD, Album, France, 1987 (Virgin)

In 1987, I was visiting my friend Erik Blum in his studio in Los Angeles, and he played this album by Les Rita Mitsouko, and I was immediately transformed into a  hardcore fan.  At the time, or that first listening experience, I thought to myself T Rex meets Sparks, but singing in French.   It's a very confining album made by a couple, who were totally self-contained.  And with help and assistance from Tony Visconti.   Somehow a friend of mine made me a VHS tape of their videos off this album, and that was another little explosion that went off in my body. I must have been the only person in the United States that had a copy of all their videos at the time.  I have never seen such a visually appealing and seductive band like Les Rita Mitsouko.  In two words: Catherine Ringer.

Ringer is what one would call "the real deal."  She's the gift that keeps on giving.  I want to say she resembles or perhaps even influenced by Edith Piaf, but that's wrong.  I think she is even better than Piaf!  This woman can walk across a room and cause an emotional riot within me.  For me, she represents everything that is good regarding a musician and the perfect set of songs.  "No Comprendo" is perfection as practiced by a skilled duo (with her husband the late and great Frank Chichin) with the right attitude, and performance (of what I have seen on numerous live videos) that is perfectly made out of our elements.  She's too good to walk among us, humans!

"No Comprendo" is a combination of chanson and synth-pop, with rock overtures.  Catherine and Frank played most of the instruments, with the help of Visconti, and Ringer's vocals are exceptionally heartbreaking, fun, and of course, erotic.  Ringer, who worked with Sparks and told Serge Gainsbourg to fuck off is clearly a hero of mine.   Why Ringer is not the biggest star in the English speaking world is beyond my brain.   In three words:  I love her. 

Halfnelson (Sparks) - "Halfnelson" Vinyl, LP, Album, 1971 (Bearsville)

The first time I heard Sparks' music was in 1974, and the album "Kimono My House."  It was like someone shot me in the heart, and I survived the bullet wound.  One of the few albums that had such a strong effect/influence over me, that to this day, is hard to shake off.  Once I bought this album, I immediately tracked down the first two Sparks' albums.  Both (all) are excellent.  

"Halfnelson" is Sparks, but before they changed their name due to Albert Grossman's request to do so.   A good record company/manager type of decision.   Halfnelson (Sparks) from the very beginning showed an off-beat vision of pop.  The genius level of Ron Mael's songwriting was apparent from their first album.   "Wonder Girl" "Fletcher Honorama," and others show a sophistication that's a mixture of wit and the perfect melody.  Russell Mael's songs were a total winner as well.   Also when we think of Sparks, we mostly focus on Ron and Russell Mael, but in the early days, before they hit the U.K. (Kimono and afterward) they were a functioning five-man band. One can't ignore the importance of Earl and Jim Mankey, as well as the drummer Harvey Feinstein.  A perfect unit at the time who found the perfect producer Todd Rundgren.  As the producer, he kept the Sparks/Halfnelson eccentricity in place and allowed a sense of exploration within the band's arrangements and sound.  The album to me is very tight as if it was recorded in a room with no windows, and therefore perhaps they were stranded in the studio, with nothing to do, but to make this fantastic album.  

Listening to this album in 1974, (and recorded/released in 1971) it struck me as a work of originality, and it was like getting music from Mars from actual Martians.  I always felt Sparks were outside artists, in the sense that they didn't belong to any scene or music moment.   One can think of them as the Los Angeles band or glam (Kimono), but the truth is they went beyond those categories.  Love the band, is Los Angeles.  The Beach Boys are Los Angeles.  Sparks live in Los Angeles, but the music they made came from another world or culture.  European perhaps?   They could easily be a band from France, Germany or Sweden.  Ziggy Stardust came from Mars, but Sparks/Halfnelson actually do sound they came from another galaxy.  

It is now 2017, and they are still that band from 'somewhere' else and are releasing provocative and excellent music.   

On a side note, I did write a book "Sparks-Tastic" (Rarebird Books) about my experiences of seeing this band play 21 concerts in London, each show devoted to one of their albums.  It was a life-changing experience for me, and, hopefully, my book expressed that sentiment as well as the adventure. 

Sparks - "Islington N1" CD Single, Special Edition, 2008 (Lil' Beethoven Records)

Perhaps my most prized music object.  The very limited edition of Sparks' "Islington N1."  Not sure how many were made.  I got one because I got the Gold Ticket to their series of concerts that took place in Islington London in 2008.   I wrote all about it in my book "Sparks-Tastic."  Which is more of a memoir of a Sparks' fan than a Sparks bio - but it does cross that line within the book.   Besides having such a special CD, the song is one of the great tunes from Ron Mael and Russell Mael.  It's dramatic, it's funny, and somewhat moving.  Perhaps because it is a song dealing with a real time, with respect to the area around the concert hall where these concerts took place.  It's a snapshot of a time and place, and anyone who received this CD at that particular time, it's very much like watching an event on Live TV.  Listening to it now, it brings back memories of all the shows and even what my mood was like at that time.   On another level, it's a drag that this song is not more available to the masses.   You can find the recording on YouTube, but the time of its release (or giveaway), it seemed no one posted it on the Internet.  Which was unusual, because everything gets posted as soon as possible.  It seemed that the fans who did receive this CD pretty much kept it to themselves.  

The song is brilliant.  Lyrically it's in the Noel Coward/Cole Porter world.   No one writes songs like Sparks.  I often mentioned it (maybe too many times) but their music harks back to a literate world - especially in songwriting.  There is nothing abstract in their writing, nor is it realistic. It's impressionistic that people can tie themselves into the narrative or wordplay.   I have come upon music that is inspired by Sparks, and even some imitated them, yet, their originality is unique and of course, rare.   Sparks is an endless amount of interest for me because what they do is delicate like eating sashimi with chopsticks, not stabbing food with a fork.  It's music that is sensitive and perfectly balanced.  I often wonder how they can keep it up.  In one word: Genius. 

Sparks - "The Rest of Sparks" (Sparks The Island Years) LP, Vinyl, Album, 2015 (Island Records)

For the first fifteen minutes or so at the record store I thought I was carrying around "The Best of Sparks" - but alas, I was wrong.  It's the same cover as "The Best Of..."  but it's actually "The Rest of Sparks."   This album is part of the vinyl box set "Sparks The Island Years."    Someone at the store separated the albums within the box, and here I'm with this new purchase of an essential Sparks' vinyl album.   "The Rest of Sparks"  is a collection of all the b-sides during their years at Island Records.  Like the A-Sides and albums, they never put out a bad recording.   So, for the first time, you have Sparks classics like "Barbecutie," "Lost and Found," and the totally absurd "The Wedding of Jacqueline Kennedy to Russell Mael."   From 1974 to 1976, Sparks couldn't fail.  Well, to this day, they never failed.  But for many, the Island Records era for this band was like catching lightning in a glass jar. 

I have always had a fond taste for b-sides. My favorite habit (of many) is when I get a 45 rpm single, to play the B-side first.   For many, it's usually a throw-away song to make one focus on the A-side, but alas, I would argue that the masterpieces are usually on the flip side.   "The Rest of Sparks" is one of my favorite Sparks' albums.  If there is a weak cut, it's probably "I Want To Hold Your Hand," which is oddly enough my least favorite Beatles song.  Still, "Lost and Found,"England," and others here are essential Sparks' recordings.  To have these songs on one piece of vinyl is something that makes me extremely happy.   

One of the rare cuts here is "Tearing The Place Apart," which is brilliant songcraft writing.  One would think that Cole Porter or Noel Coward wrote the song, but alas, Ron Mael is one of the great songwriters of not only his generation but in the history of the American Song Book.   Which I know from me sounds like over-loving a songwriter's work, but he's clearly on the same genius mode as Porter.  

A1	Lost And Found
A2	Barbecutie
A3	Alambamy Right
A4	Marry Me
A5	Profile
A6	The Wedding of Jacqueline Kennedy to Russell Mael
B1	I Want To Hold Your Hand
B2	England
B3	Gone With The Wind
B4	Intrusion/Confusion
B5	Looks Aren't Everything
B6	Tearing The Place Apart

Simon & Garfunkel - "Bookends" (Vinyl) Columbia Records

Although the design is not the same, but I believe the same label in the United States, Sparks had their photograph done by Richard Avedon for their "Big Beat" album, who also took this iconic image of Simon and Garfunkel for "Bookends."  After that, the comparisons end.  Still, I never heard this album till I bought it yesterday at my fave record shop, Mono, bordering on Silver Lake/Echo Park.   To be honest, the only reason why I bought it was for the song "A Hazy Shade of Winter," which has an incredible sense of energetic pop.  Still, I know so many people who had this album in their home, yet, I totally ignore it when it came out.   Either the music was too sophisticated for me, or their image was totally bland.  Now, I find it quite interesting.  And this is the only Paul Simon item in my collection as of now.

The beauty of the album is the arrangements but also the songwriting skills of Simon and the blending of both their voices.  They must have used the studio as a laboratory of sorts.  For sure, there is a Beatle influence that runs through the album, especially Sgt. Pepper.  Side one is very much a concept narrative of childhood to old age - but so fragmented one can miss it.  And I think it's rather a poor side of songs, except for their classic "America," which is awesome.  Not as great as Bowie's live version of this song, it is still a work of mystery and yearning, that is very romantic.  I find it very sincere in its mixture of early 1960s American fiction in that Richard Yates notion - everything is good till the disappointment which will happen shortly.  You can sense it in that song. 

Side two is the hits side. "Mrs. Robinson," my beloved "A Hazy Shade of Winter," and "At The Zoo."  To hate "Mrs. Robinson is not really possible.  Any songs that have 'hey hey' in it, are always good, if not classic pop songwriting.   As this album was being recorded, somewhere within the five miles radius, Velvet Underground were making their second ("White Light White Heat") or third album.  In theory, and for some odd reason, I think of the Velvets when I hear "Bookends."   Lou Reed and Paul Simon are both hardcore New Yorkers, and both are observant songwriters.  So the territory is the same, but perhaps the people are different in that landscape.  But the time is the same, and I find that intriguing.   Simon & Garfunkel, at least on this album, is not smooth, there are rough edges in their music.  The arrangements have a lot of space - not everything is filled with sound.  "At The Zoo" reminds me of a sad Lou Reed tune.   At one time, they did share a record producer, the legendary and quite mysterious Tom Wilson.   "Bookends" is very much a New York 'pop' album.  Lovin' Spoonful, the Velvets - they cover the same territory - and it's fascinating how an artist portray that location and time. 

- Tosh Berman