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Sparks Spectacular: Halfnelson (1971)

By Tim Collins

“One song down. 255 to go.”

Now that’s a phrase that can’t have been used much in the history of live music. It’s possible that Wire or Napalm Death might have got through a few hundred songs in a couple of hours back in the day, but if that happened it went unrecorded.

Approaching the rock concert medium with the inventiveness and work ethic they’ve applied in the studio over the years, Sparks decided to play all twenty-one of their albums in over twenty nights at Islington Academy and one at Shepherd’s Bush Empire.

So when he finished opener “Wonder Girl,” Russell Mael didn’t really need to remind us how unusual this whole undertaking is. Anyone who’s ever been involved in live music will appreciate the scale of the task here—the months of rehearsal, the endless possibility for fluffs.

Will Ron’s poker face crack under the pressure? Will Russell be reduced to staggering around on stage with crumpled lyric sheets like a vintage Shaun Ryder?

Nope. Sparks pounded through their wonderful 1971 debut as though this was their current set. In fact this rendition of a record that’s almost four decades old proves how much of the Sparks idiosyncrasy was there right out of the box—the falsetto, the keyboards, the arch lyrics, the eclectic stylings.

Russell hit the high notes with ease although there were a few noticeable mistakes from the band. Ron’s keyboards were slightly too low in the mix, which robbed songs like “Fa La Fa Lee”’ and “Roger” of some of their charm.

Not that this mattered to the audience, who sang along to “Slowboat” and “Fletcher Honorama” with all the enthusiasm you’d expect from a fanbase finally getting to share their private obsession.

Their energy wasn’t lost on the group and by the closer “No More Mr. Nice Guys” and surprise encore “England,” the atmosphere is celebratory as it dawns on band and fans that this whole improbable project is actually going to work.

One album down. Twenty to go. I could make a habit of this.

By Craig Irving

Sparks performed their Sparks Spectacular earlier this year and I was lucky enough to have the opportunity to achieve my lifelong goal of seeing the band live over and over again across multiple nights. . . and to see my favorite of their albums no less. “Wonder Girl?” “Whippings and Apologies?” “Biology 2?” The entire Island Records trilogy?

This was going to be insane. . . I flew to London from Toronto with a friend.

The anticipation was killing me and I really had no idea what to expect in terms of venue-size and popularity. Knowing their largest crowd would be drawn from London, I was nervous. I wanted the most intimate experience I could get. Selfish, I know. . . but I had to be up close. Walking into the club I was relieved. Even at the back I would’ve been totally happy, but we made our way to the very front of the stage. It filled up quickly, but I had my spot and I was happy as hell.

Photo © Daniel Gray @Dead By Sunrise

When they started playing “Wonder Girl” I was immediately blown away; this was going to be really really really good. I didn’t even care that the sound needed a little tweaking and correcting; I was totally engaged with how impressive Russell’s vocals were and how he matched the original album’s delivery so impeccably. Watching Ron work his genius and Steven McDonald enjoying himself greatly kept a smile plastered across my face for the entire night.

“High C” was hilarious, as the audience filled in those weird melodies. “Simple Ballet” and “Slowboat” were both beautifully delivered by Russell, but the real acclaim should be saved for “Biology 2.” Wow. I can’t wrap my head around the fact that it would’ve been about 40 years ago that this song was written and Russell sang it exactly the same way, not a single note was off. That’s an insane accomplishment, and a serious testament to Russell’s talents.

There were definitely songs that made an amazing impression on me live. “Fa La Fa Lee” was awesome and fun and definitely set the mood for the night. The killer song for me though, was “Big Bands.” By this point in the set, the sound mix was perfected and the song sounded. . . big. Jim and Marcus definitely helped make that happen, but my amazement was watching how great Steven Nistor played drums. Everything already sounded so perfect to me at this point, and they played this song damn well.

If Sparks were going to put any songs from the Halfnelson show onto a DVD, I would hope it would be “Big Bands,” “Biology 2” and “(No More) Mr. Nice Guys.”

The conversation between my friend and I as soon as the show ended was full of short, self-contained statements like, “I’m soooooo happy” or “Exceeded expectations.” What else could we say?

We walked away from the venue in utter glee, as we rambled on and on about this historical night we just experienced: how exciting it was watching Steve McDonald play with Sparks, and how happy we were that we would get to relive this experience four more times! It’s saying quite a bit, I think, when a band you travel halfway around the world to see doesn’t disappoint you in the slightest. I was ready for more. . .

By Albert Resonox

First off, meeting everyone in The EdVI (Edward The Sixth to the uninitiated—only 20 seconds away from the Islington Academy) was a treat: Sparks music blaring, meeting friends old and new, absolutely everyone smiling, lots of hand shaking and kissing. There were so many pictures being posed for and taken that there should’ve been a flash photography warning. Rolf deserves a great big thank you for getting that arranged! It was really nice to see Sparks guitarist Jim Wilson there meeting the hoi-polloi (nice fella).

Queuing outside any venue is usually a bit of a pain, but not that night. People were all talking and joking with one another like they had known each other for years, including the bouncers (sorry, “security staff”). The merchandise stall was selling retro T-shirts as well as brand new 21 x 21 ones (amongst various other items) but the glossy Programme on sale for a piddling £10.00 was an absolute snip. The hall itself was initially very dark, but in my opinion, that only gave a more intimate feeling to the night.

Photo © Daniel Gray @Dead By Sunrise

I would’ve thought that an opening act on the first night of such an historic occasion would’ve been very well-known and at least adequate for the task. Although young Rod Thomas was not well-known, I’m sure he soon will be. And as for being adequate, he surpassed that goal in spades. His was a tough crowd to please but he did a first class job of pleasing us whilst we waited (some more impatiently than others) for the main event. Sparks bassist Steve McDonald was in the crowd enjoying Rod’s set, a testimony indeed!

Then after a short, but seemingly endless wait, a cheer spread through the crowd, and on came Sparks: Ron as pristine, neat, and business-like as ever; Russell in a bright red suit. The others in the group were wearing shirts with the Halfnelson car picture on them.

Russell warmly welcomed the crowd and outlined the plans for the tour, explaining that they were a prelude to the premiere of the new album Exotic Creatures Of The Deep. At this point he gave us an impromptu “Good Morning” falsetto (just those two words) then said that was a “preview.” Big audience laugh.

Russell chatted and joked throughout the whole set, after the first song commenting “one down” before saying “Oh Christ, what have we let ourselves in for?” Ron was laughing a lot, as well as really belting away on those keys. He did his trademark not-moving-anything-higher-than-the-wrists maneuver. By George, those hands worked like they were demon-possessed to compensate, though! The drum-kit looked massive but Steven Nistor was more than man enough to handle it. He had incredible energy as did Steve McDonald and Jim Wilson. Marcus Blake guested on two tracks and Russell promised we’d see more of him at future dates. Together the band was really tight and well-rehearsed, and in fact, relaxed in each other’s company.

The Halfnelson/Sparks album played in order was unbelievable. Each song was my favorite one because each individual performance was so powerful. I honestly couldn’t pick a top track as every single one was perfection! Russell dedicated “(No More) Mr. Nice Guys” to Todd Rundgren (as well as expressing his gratitude for giving Sparks the benefit of the doubt and allowing them to record the album in the first place) and boy, did it rock.

After the show, the bands left the stage to tumultuous applause and shouts of “more more!” When they returned to the stage—again to thunderous applause—Russell introduced the band members and explained about voting online for the encore of the Exotic Creatures show before launching into “England,” to another great cheer (and ironically the biggest cheer was from the Scots). Then they departed for the last time to even more cheers.

I have never seen or sensed such immense joy and sheer pleasure from the band as I witnessed that night. The audience were still smiling and buzzing as they made their way to various homes, hotels or pubs and clubs. In fact, I’m still smiling. . . what a night indeed!

Sparks Spectacular: 21 Miracles of the Modern Age

From May 16 through June 11 of 2008, Sparks played all 20 of their albums in a row, one per night, at Carling Academy Islington in London. This astounding series of shows, from a band who’s been around for 37 years, was followed by the live premiere of their twenty-first studio release, Exotic Creatures of the Deep, on June 13 at Shepherd’s Bush Empire. Fans from around the world submitted reviews for each night of the show to Popshifter, and we have published them in this issue.

Click on the album art to read reviews for each live performance.

And scroll down to read a review of the entire concert series.

Thanks to all the writers and photographers who contributed to this feature or graciously allowed us to use their words and photos: a-anne, Nick Barber, Mike Bennett @Hablo Ennui, Noisy Boy, Tim Collins, Daniel Gray @Dead By Sunrise, Alex Gabriel-Bayston, Alex J. Geairns @Cult TV, Timothy Hall, Here Kitty, Angie Holmes, Craig Irving, Janina, Louise Lee, Rachel Lipsitz @littlepants, Elizabeth McCarthy, Musicalsushi, DP Nixon @Playlouder, Michael Pearson, Albert Resonox, Michael Row, Miss Missy Tannenbaum, and Will Vigar

Popshifter would also like to thank the following for their help and support in producing this feature: Alex Robertson and everyone at the AllSparks.com forum, Ned Raggett and everyone at the Mael List, and Sue Harris at Republic Media

And extra special thanks go out to Ron and Russell Mael for continuing to inspire music fans everywhere.

By Tim Collins

Looking at the price information at the bottom of the live ad I see the option to buy a “Golden Ticket” that gets you into all 21 shows for £350.

“What kind of person buys that?” I think.

That person ends up being me. I don’t plan to see Sparks play all their albums in order. I just get caught up in the whole thing. It’s a bit like one of those nights when you go out for a quick pint and end up staying out until two, except that it happens over the course of a month.

I have tickets for the first few shows, including the albums from the band’s mid-seventies commercial peak, which sell out fast and are attended by celebrities such as TV host Jonathan Ross and Joe Elliot from Def Leppard (a man who seems to have puzzlingly good musical taste given his output).

I mean to return to normal life after 1979’s Giorgio Moroder collaboration No. 1 in Heaven, but I can’t stop. I’m hooked on the narrative of the Sparks discography as it moves through glam to disco, through eighties synthpop to nineties dance, to arrive at the band’s exquisite late period.

Plus, as I explore deeper into the Sparks back catalogue I begin to realize how good their quality control has been. Some of their eighties output is blighted by brash production, but the songs themselves have been consistently great—loaded with counter-intuitive ideas and sly double meanings.

I buy one ticket from a tout and one on the door before finally giving in, getting a Golden Ticket and accepting the Maels as part of my nightly routine.

Five nights a week I arrive at Islington Academy just before nine, buy a lager from the bar, and push my way to the front. Sparks then play that night’s album in full, followed by a rare track that may or may not be from the same era.

Later on, I get on the tube and listen to the album they’re doing next on my iPod.

It starts to feel more like one long show with 23-hour breaks between encores than a series of gigs. The atmosphere inside the shows is unusual, too. More like a fan convention than a typical gig, especially at the shows for the less well-known albums.

It can’t be easy to play a totally different set every night. I start to wonder why Sparks are putting themselves through this.

Partly, I think, they want to do something PR-worthy to draw attention to new album Exotic Creatures of the Deep. And that’s fair enough. The album completes a trilogy of lush orchestral pop that began with 2002’s Lil’ Beethoven and continued with 2006’s Hello Young Lovers. Although subject to a cult following and a critical reputation, especially here in the UK, these innovative works still got a little lost in the modern rock clutter. And if this London marathon helps to push the new one, then so much the better.

Or maybe this is just the Maels applying their studio work ethic to their live shows. The brothers are apparently driven to mammoth sessions while crafting their meticulous pop. So maybe playing every single one of their albums live is the only way they can make their rehearsal schedule as grueling as their studio routine. I wonder if they’re losing money on all of this. When I put this query to David, a Canadian fan who’s taken a month off work to come to the shows, he responds, “They’re not doing it for money. They’re doing it for art.”

So is that it? Are we all part of some conceptual piece here, a commentary on the nature of modern rock fandom, or an effort to destroy the tendency for nostalgia in modern music by taking it to its logical conclusion?

Possibly. But I think the real reason Sparks want to do this is the same reason they’ve done a lot of things throughout their career—because it shouldn’t work, but it does. Over the past four decades Sparks have been drawn to unusual creative choices through a mix of contrariness and inventiveness, and here they’re applying the same spirit to live performance.

And it’s this brilliantly perverse spirit we all have to thank as we file out of the final show at the Shepherd’s Bush Empire after three hours and three encores and slowly admit to ourselves that this time the show really is over