Dismissed by American rock critic Robert Christgau as being made by “twerps’ (his slagging off is usually a good sign- just ask Iggy Pop) the fourth studio album saw Sparks expanding upon their trademark baroque pop sound, forever torn between arch and urbane (Something For The Girl With Everything) and sincere (the beautiful Never Turn Your Back On Mother Earth).
Yet again, the cover art was wilfully provocative. Who kidnapped the brothers? What did they want? Pop nous? The secret to achieving a really good scowl, as in Ron’s case? Moustache tips? Piano tips? The perfect falsetto?
Merch: a Propaganda tour T shirt
As stated on Edgar Wright ‘s wonderful recent documentary, The Sparks Brothers, Russell and Ron Mael’s singular style kept them sidelined as perennial pop outsiders, but for those in the know, their witty, always shapeshifting sound was starting to find an audience hungry for something unique and thoughtful. They always sat quite apart from the MOR radio of the time, or fashionable, disposable chart fare. Ironically, this is why they’ve lasted so long, but back then in 1974, the band’s frustration at a lack of success was increasing.
Those expecting This Town Ain’t Big Enough For Both Of Us 2.0 would have to be disappointed. The Maels set their own rules. They were just getting started.
Hit The North 