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Artist: Sparks: mp3 download
Genre(s):
Rock: Punk-Rock
New Age
Rock
Sparks’s discography:
Sparks
Year: 2006
Tracks: 11
Big Beat
Year: 2006
Tracks: 13
A Woofer in Tweeter’s Clothing
Year: 2006
Tracks: 11
Lil’ Beethoven
Year: 2003
Tracks: 9
Balls
Year: 2000
Tracks: 11
No. 1 in Heaven
Year: 1999
Tracks: 6
Angst in My Pants
Year: 1999
Tracks: 11
Whomp That Sucker
Year: 1998
Tracks: 10
Terminal Jive
Year: 1998
Tracks: 8
Pulling Rabbits Out of a Hat
Year: 1998
Tracks: 11
Plagiarism
Year: 1998
Tracks: 19
In Outer Space
Year: 1998
Tracks: 10
Propaganda
Year: 1994
Tracks: 13
Kimono My House
Year: 1994
Tracks: 12
Indiscreet
Year: 1994
Tracks: 16
Gratuitous Sax and Senseless Violins
Year: 1994
Tracks: 11
The Heaven Collection
Year: 1993
Tracks: 18
The Best of Sparks: Music That You Can Dance To
Year: 1990
Tracks: 8
Interior Design
Year: 1990
Tracks: 15
Just Got Back From Heaven
Year: 1988
Tracks: 10
Halfnelson
Year: 1973
Tracks: 11
Sparks were a vehicle for the skew pop smarts and weisenheimer paronomasia of brothers Ron and Russell Mael, Los Angeles natives populace Health Organization exhausted their childhood modelling young men’s room room wearing apparel for mail order catalogs. While attendance UCLA in 1970, the Maels formed their first group, Halfnelson, which featured ballad maker Ron on keyboards and Russell as wind isaac Merrit Singer; the band was rounded out by another geminate of brothers, guitarist Earle and bassist Jim Mankey, and drummer Harley Feinstein.
Halfnelson soon came to the care of Todd Rundgren, world Health Organization helped land the group a press with Bearsville and produced their self-titled 1971 debut. Their way-out, facetiously art pop failed to find an audience, however, and their managing director successfully convinced the Maels to change the group’s name. After becoming Sparks, they near reached the Hot one C with the unmarried “Wonder Girl,” and 1972’s sublimely gonzo A Woofer in Tweeter’s Clothing cemented the band’s cult condition, marking some other near-hit with “Young woman from Germany.”
While touring the U.K., Sparks were warmly received by the British music press, and ultimately, the Mael brothers relocated to London, departure the rest of the band behind; Earle Mankey after became a noted manufacturer, piece Jim later coupled Concrete Blonde. In need of a new support unit, the Maels placed an ad in Melody Maker, and with guitarist Adrian Fisher, bassist Martin Gordon, and drummer Norman “Dinky” Diamond hard in place, they recorded 1974’s glam-bubblegum piece of music Kimono My House, which reached the Top Five of the U.K. album charts and spawned deuce major British hits, “This Town Ain’t Big Enough for the Both of Us” and “Amateur Hour.”
With new guitarist Trevor White and bassist Ian Hampton, Sparks returned later that year with Propaganda, some other U.K. smash that scored with the hits “Never Turn Your Back on Mother Earth” and “Something for the Girl with Everything.” Overblown production from Tony Visconti derailed 1975’s Indiscreet, however, and when the record fared less successfully than its predecessors, the Maels returned to the U.S., where they recruited Tuff Darts guitarist Jeff Salen, sometime Milk & Cookies bassist Sal Maida, and drummer Hilly Michaels for 1976’s Great Beat.
By 1977’s ironic Introducing Sparks, recorded with a series of Los Angeles school term players, the Mael brothers were treading water, so they enlisted disco manufacturer Giorgio Moroder to helm 1979’s synth-powered dance-pop confection No. 1 in Heaven, which spurred the grouping to renewed success in England on the speciality of the strike singles “The Number One Song in Heaven,” “Quiver the Clock,” and “Tryouts for the Human Race.” Moroder’s sidekick Harold Faltermeyer took the production reins for the immediate follow-up, Terminal Jive, which scored a monumental French gain with “When I’m with You.”
Sparks left disco music in the dust with 1981’s Whomp That Sucker, recorded in Munich with a unexampled supporting band comprised of guitarist Bob Haag, bassist Leslie Bohem, and drummer David Kendrick (wHO also played in concert as the Gleaming Spires). After 1982’s Angst in My Pants, they recorded 1983’s Sparks in Outer Space; the marvelous “Cool Places,” a span with the Go-Go’s Jane Wiedlin, nigh reached the U.S. Top 40, and was the band’s biggest gain.
The disastrous 1984 LP Pulling Rabbits Out of a Hat derailed whatsoever chart momentum the band had collected at home, however, and after 1986’s self-explanatory Music That You Can Dance To, Sparks — once again reduced to the core duet of Ron and Russell — recorded 1988’s Interior Design, which was followed by a recollective reprieve. Outside of composing the music for a film by Hong Kong action master Tsui Hark, Sparks remained still until Gratuitous Sax and Senseless Violins, released in 1994. Plagiarism followed quaternity years later. With 2000’s Balls, the band ushered in a more than productive earned run average, cathartic Lil’ Beethoven in 2002 and Howdy Young Lovers in 2006.
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