Sparks Spectacular: Hello Young Lovers
Posted in Concert Reviews, Music, Reviews, Sparks Spectacular |The wonderful “Waterproof” is next, with its erudite musical variations and witty lyrics, sung by Russell with such vigor that one can only remain in awe at his vocal abilities, which show no signs of flagging during the course of the 21 nights and which have only improved with age (whatever age he’s admitting to that is, as Ron wryly noted during the Exotic Creatures of the Deep show). “Here Kitty” follows, accompanied by projections of figures with the heads of cats and recorded meow loops. . . once again convincing me that this is one of Sparks’ creepiest songs. . . don’t ask my why. . . the answer is clearly too embedded in my unconscious mind for me to want to know the answer.
When “There’s No Such Thing As Aliens” begins I know it’s all nearly over. Perhaps this adds to the melancholy feeling the song has. . . especially when performed live with the projected images of Ron and Russell holding their hands out in front of them and slowly evolving into alien forms; an image that starkly contradicts the song’s lyrics which demand that dreamers stop dreaming and realize such otherworldly creatures do not exist.
Photo © Daniel Gray @Dead By Sunrise
The final song, “As I Sit Down To Play The Organ At The Notre Dame Cathedral,” is a fitting end to proceedings. Ron places himself in front of the projection screen and plays a virtual church organ. . . Russell paces back and forth. . . spitting out lyrics which (like Hello Young Lovers‘ predecessor, Lil’ Beethoven) turn mundane terms and trite interactions into operatic expressions, which through constant repetition become increasingly menacing: “bye bye bye my baby now it’s time time time for me to go to work work work so you might want make your way from here. . . ”
The song then shifts onto another level as the harsh guitar sound of “Dick Around” insinuates itself into the rhythm. Doleful organ sounds then appear, followed by a madly frenetic organ arrangement not unlike something Lon Chaney might have cranked out as The Phantom of the Opera. Ron mimes this on the projected organ as it shakes and swells. . . and yes, the sexual innuendo does not go unmarked by the lyrics, which lament the confusion of religious faith with the organ player’s desire to impress a woman in the congregation. But his efforts seem futile. . . he knows he will be upstaged by HIM. At this moment Russell points to the sky. . . HIM is God. . . The religious ceremony is in fact a courting ritual, with God as the ultimate romantic rival. But having made his sexual conquest, our organ player has FAITH, a deep abiding faith. And the audience of Carling Academy responds with appropriate joy, “Hallelujah!
The night ends, as all of the previous 20 shows have, with an encore song that in some way merits as an obscurity. Although judging by most of the audience, there’s no such thing as an obscure Sparks song. Many of the encore songs were connected with the album featured that night, but this time around there was no connection. The song was “Profile,” the b-side to “Get In The Swing” from the album Indiscreet. And it was a cracking finish to a fantastic night and a perfect way to bid bon voyage to Carling Academy Islington. The fact that the song careened us all back to Sparks circa 1975 was an apt reminder of the musical innovation as well as longevity of the band.
As always, the night ended with Russell giving a well-deserved mention and thanks to the musicians: Steve McDonald, Steven Nistor, Jim Wilson, Tammy Glover, Marcus Blake, “and the principal song writer, my brother, Ron Mael.” He also thanked the audience, “Thank you, thank you so much. Thanks for making this month something we are always going to remember.” We’ll always remember it, too. Thank you Sparks.
Click to read. . .
The first part of Elizabeth McCarthy’s review
Claire Schofield’s review