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[ambient synth music playing]
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♪ Fanfare
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00:00:50,267 --> 00:00:52,487
[throat clears]
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♪ The opening film fanfare
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♪ Documentary film fanfare
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♪ Edgar Wright film fanfare.
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-And look right in the camera?
-Yeah. Yeah, yeah.
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-Okay. Okay, great. -Just talk
to me through the camera.
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-Speeding.
-Beck. Take one. Mark.
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BECK: Throughout all the years
that I've been making music,
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if you get on a tour bus
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and you sit on a long drive
with a bunch of musicians,
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eventually, the conversation
will go to Sparks.
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My good friends, Sparks.
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-Sparks. -Sparks.
-Sparks. -Sparks.
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FLEA: I remember just
seeing them all the time
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and like, "Who are those guys?"
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They are an anomaly.
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JASON SCHWARTZMAN: I don't feel
like they purposely
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have been
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trying to be mysterious, right?
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They don't really
look like a band.
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They do just look like people
who've been sort of
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let out for a day.
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♪ And it ain't me
who's gonna leave... ♪
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CREW:
Look into camera.
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-You want to look in the lens.
-Yeah.
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Damn you
and your three-quarterness.
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-[laughter]
-It's a damn mole!
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Two members of like mind,
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and they're conspirators.
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It's a very clever thing
they've got going on.
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KATIE PUCKRIK: They really
tiptoe through the tulips
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between beauty
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and revulsion.
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What's going on? Oh, my God.
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It's insane,
but it's fantastic.
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[crowd cheering]
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They would make
really good Muppets.
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♪ Daily, except for Sunday...
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PATTON OSWALT: You have
this snaky lead singer--
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you know,
something for the ladies.
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And then you got Adolf Hitler
on-on the keyboards.
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It is a little strange.
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Why has that bloke got
a Hitler mustache?
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That's a good look.
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DAVID KENDRICK:
Dean Martin was hanging out,
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and he would always, like,
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look at Ron like,
"What the...?"
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♪
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[vocalizing]
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CHRIS DIFFORD:
When I first discovered Sparks,
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I never thought of them
as being American at all.
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I thought of them
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just being this, like... Sparks.
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They're otherworldly.
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ALEX KAPRANOS: I always thought
Sparks were a... a British band.
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PAUL MORLEY: They're the best,
uh, British group
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ever to come out of America.
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Je suis américain.
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♪ Everywhere, heartbeat,
increasing heartbeat... ♪
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They are a total enigma to me.
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They are a band who
you can look up on Wikipedia
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and know nothing.
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Who the fuck are these guys?
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Ron has a huge
snow globe collection.
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Like... [gasps] Really?
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LES BOHEM:
It's quite special and, um...
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odd.
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APRIL RICHARDSON: If you try
to describe them to people,
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it's like, what do they
sound like? Sparks.
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The work speaks for itself,
so I don't have to know them.
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JACK ANTONOFF: All pop music
is rearranged Vince Clarke
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and rearranged Sparks.
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That's the truth.
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So we have influenced everyone.
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SCHWARTZMAN: Honestly,
I don't want to see this movie.
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I don't want to learn
too much about 'em.
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Um, I'll watch it
because I'm in it.
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EDGAR WRIGHT:
What do you think about me
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calling the documentary
The Sparks Brothers?
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[laughter]
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-Um, in lieu of anything
better... -Yeah, yeah.
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RUSSELL MAEL:
We hate that name.
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We are Sparks.
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Sparks are a band.
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Next question.
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-We are not an English band.
-Dude.
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I'm the singer.
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I'm not the singer.
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BOTH:
We are not identical twins.
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We are brothers.
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We are brothers.
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We do not live together.
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We are from
a middle-class background.
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My sexual persuasion is
slightly horny.
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There are 25 Sparks albums.
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With advances
in medical technology,
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hopefully there will be
200 to 300 more Sparks albums.
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[crew laughing]
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WRIGHT: Sparks-- how did
this glam rock anomaly
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become a band with a career
spanning five decades?
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How can Ron and Russell Mael
be successful, underrated,
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hugely influential
and overlooked
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all at the same time?
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How do two brothers survive
in a rock and roll world
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without killing each other?
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And where does one even start
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with 25 studio albums
and nearly 500 songs?
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Join us as we
pull back the curtain
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to shine a light
on the brothers Mael
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and crucially offer
a window into the psyche
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of these
extraordinary musicians
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and, through their music,
paint a long overdue portrait
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of them as real artists.
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Our story begins
not in gloomy old England
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but in sunny California.
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♪ Gonna tell Aunt Mary
'bout Uncle John ♪
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♪ He claim he has the misery,
but he has a lot of fun ♪
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♪ Oh, baby, yeah, baby
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♪ Whoo, baby...
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To a kid seeing them on TV,
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they just came
from another world.
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♪ Well, long tall Sally...
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They weren't supposed
to come from anywhere.
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I think, originally, I did
think they were a British band.
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I'm still not convinced
that they're American.
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JOHN CONGLETON: I always
sort of thought of them as like
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Cheap Trick in a way, like,
oh, they're probably
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from the Midwest somewhere.
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RON:
We're kind of the rare breed
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of native-born Californians.
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RUSSELL: I was born in
Santa Monica, California.
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00:06:40,748 --> 00:06:43,533
He was born in
Culver City, California.
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00:06:43,577 --> 00:06:46,710
Our father was an artist,
a painter
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and was also
a commercial artist
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00:06:48,712 --> 00:06:50,671
for theHollywood Citizen-News.
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♪ Well, I saw Uncle John...
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RON: Some of the images
that he painted were
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places that we would go to
quite a bit.
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One of them was
the Santa Monica Pier.
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We would spend days
fishing for perch.
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00:07:02,900 --> 00:07:04,728
And kind of-- the pier, to me,
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looks like that painting,
not like the real thing is.
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♪ Have some fun tonight...
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RUSSELL: He always had
these records from Elvis
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and Jerry Lee Lewis
and Little Richard.
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Him introducing us
to cool music
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was something that
we kind of retained.
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♪ One, two, three o'clock,
four o'clock rock... ♪
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RON:
It really was an amazing time
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because we were exposed to the
first seismic shift in music.
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I remember the first time
I went to see
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Blackboard Jungle.
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One instance of hearing
the title music
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changed my whole DNA.
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This kind of music
was really overturning
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that staid
Eisenhower-era lifestyle.
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This was wrong but in
all the kind of right ways.
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KAPRANOS:
If you want to understand
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Ron and Russell,
you need to see them
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through one prism,
and that-that prism is
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cinema
but specifically Hollywood.
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RON: I remember spending
a lot of time at the movies
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00:08:06,834 --> 00:08:08,923
with Russell and our father.
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00:08:08,966 --> 00:08:12,927
We would go see a lot
of Westerns and war films.
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I really cherished those
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Saturday matinees.
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It was a rich experience.
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00:08:20,674 --> 00:08:22,327
It was more than just a movie.
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It was a... a total afternoon
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with popcorn and cartoons
and newsreels.
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Why don't you try
a juicy, good hot dog?
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00:08:31,989 --> 00:08:34,557
Our parents didn't care
if a movie had started,
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so we would just come
in the middle of the movie
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and try to imagine
what the beginning of it was.
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And I think part of our, uh,
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jagged sense of narrative
in the songs
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00:08:44,741 --> 00:08:48,440
might have been, uh,
initiated in some way by that.
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00:08:52,314 --> 00:08:54,403
♪
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00:09:01,758 --> 00:09:07,242
RUSSELL:
Um, when our father died, uh,
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00:09:07,285 --> 00:09:11,638
obviously, it was
a really traumatic experience.
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00:09:13,335 --> 00:09:17,600
You don't even understand,
really, how that's possible
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00:09:17,644 --> 00:09:20,647
or that he's not gonna
ever be there again.
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00:09:20,690 --> 00:09:24,389
And-and, uh, it's something
that's so abstract,
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00:09:24,433 --> 00:09:26,609
just the concept of death.
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00:09:26,653 --> 00:09:29,569
And, uh... and it's when...
when it's your father,
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00:09:29,612 --> 00:09:31,832
and then especially
at that age, too,
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00:09:31,875 --> 00:09:35,705
that you're so young
that you never
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00:09:35,749 --> 00:09:37,707
got to ask the questions
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00:09:37,751 --> 00:09:41,363
that you would now like
to have asked to him
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00:09:41,406 --> 00:09:43,539
and to have known
more about him.
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00:09:43,583 --> 00:09:46,237
And I think that's kind of
part of the sad thing, too,
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is that, uh, so much
you'll never find out
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00:09:49,937 --> 00:09:52,200
about, uh, your own father.
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00:09:58,293 --> 00:10:00,774
RON:
We were both very, very young.
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00:10:00,817 --> 00:10:04,038
I was... I was 11,
and Russell was eight, and...
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00:10:04,081 --> 00:10:07,955
kind of everything changed
at that moment for us,
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00:10:07,998 --> 00:10:11,001
and I think it did
bring us closer together.
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00:10:14,004 --> 00:10:16,267
RUSSELL: 'Cause it was all
very unexpected,
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00:10:16,311 --> 00:10:18,922
the three of us
were then kind of
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00:10:18,966 --> 00:10:21,577
forced to be stronger
as a unit.
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00:10:21,621 --> 00:10:23,144
Um, Ron and I would,
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00:10:23,187 --> 00:10:25,625
you know,
do everything that we could
207
00:10:25,668 --> 00:10:27,627
to help out our mom.
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00:10:29,280 --> 00:10:31,805
RON: Our mother decided that
I should have piano lessons.
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00:10:31,848 --> 00:10:33,545
I didn't want to admit
that I enjoyed
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00:10:33,589 --> 00:10:35,286
taking the piano lessons
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00:10:35,330 --> 00:10:36,679
because, you know, there...
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00:10:36,723 --> 00:10:38,638
always a rebellious streak
in me,
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00:10:38,681 --> 00:10:41,858
but piano lessons were actually
something I really enjoyed.
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00:10:41,902 --> 00:10:45,166
And they would have talent
shows at elementary school,
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00:10:45,209 --> 00:10:47,908
and I would get up there
in a pink sport jacket
216
00:10:47,951 --> 00:10:50,780
and a... a tie, and my hair
217
00:10:50,824 --> 00:10:53,391
really kind of greased
and everything,
218
00:10:53,435 --> 00:10:56,394
and performing those talent
shows was an addictive thing.
219
00:10:56,438 --> 00:10:59,180
You really saw
the audience reaction,
220
00:10:59,223 --> 00:11:00,616
and you thought,
"This is kind of cool."
221
00:11:00,660 --> 00:11:02,139
And it-it also
222
00:11:02,183 --> 00:11:04,054
blended in
with our interest in sports.
223
00:11:04,098 --> 00:11:08,189
Both music and sports were
things that garnered attention.
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00:11:08,232 --> 00:11:11,018
♪ Going out when the rest
are coming home ♪
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00:11:11,061 --> 00:11:14,238
♪ Coming home when the rest
are going out ♪
226
00:11:14,282 --> 00:11:17,372
♪ And when I'm broke
and really down, I'm down... ♪
227
00:11:17,415 --> 00:11:19,809
RUSSELL: It's an odd thing
that our huge passion
228
00:11:19,853 --> 00:11:23,813
when we were growing up
in school was-was athletics.
229
00:11:25,380 --> 00:11:28,818
Hard to believe that, uh,
this scrawny body
230
00:11:28,862 --> 00:11:33,997
once played against, uh,
250-pound guys.
231
00:11:34,041 --> 00:11:36,870
I sometimes equate
the experience
232
00:11:36,913 --> 00:11:39,611
of going out onto the field
on Friday night
233
00:11:39,655 --> 00:11:43,050
as the same sensation
as when you go onstage.
234
00:11:43,093 --> 00:11:45,400
There's the same
adrenaline rush.
235
00:11:47,881 --> 00:11:51,580
♪ I want to be, I want to be
236
00:11:51,623 --> 00:11:55,018
♪ I want to be,
I want to be ♪
237
00:11:55,062 --> 00:11:58,630
♪ I want to be like
everybody else. ♪
238
00:12:02,330 --> 00:12:04,288
[song ends]
239
00:12:04,332 --> 00:12:07,552
-♪ Ooh, ooh
-♪ Over the summer
240
00:12:07,596 --> 00:12:09,946
-♪ Over the summer
-♪ Ooh
241
00:12:09,990 --> 00:12:11,295
♪ Over the summer
242
00:12:11,339 --> 00:12:12,775
♪ Ooh...
243
00:12:12,819 --> 00:12:14,690
We lived always near
244
00:12:14,734 --> 00:12:17,301
the ocean, so both in Venice
and then Pacific Palisades.
245
00:12:17,345 --> 00:12:21,044
♪ You've got to trust
in summer ♪
246
00:12:21,088 --> 00:12:24,091
♪ Miracles can happen
if you do... ♪
247
00:12:24,134 --> 00:12:25,832
In the summer,
we would walk down.
248
00:12:25,875 --> 00:12:27,747
There's a little bluff
that you have to walk
249
00:12:27,790 --> 00:12:29,226
from our house
in the Palisades,
250
00:12:29,270 --> 00:12:31,054
and it led down to the ocean.
251
00:12:31,098 --> 00:12:33,535
It took maybe a half an hour.
252
00:12:33,578 --> 00:12:35,276
We'd do that routine every day.
253
00:12:35,319 --> 00:12:37,800
We'd stay from
like 9:00 in the morning
254
00:12:37,844 --> 00:12:39,628
to maybe, you know,
7:00 at night.
255
00:12:39,671 --> 00:12:42,413
So that was our life
for three months every year.
256
00:12:42,457 --> 00:12:45,808
♪ July, you were
the plainest of Janes... ♪
257
00:12:45,852 --> 00:12:49,116
RON: People say that
they don't see any Los Angeles
258
00:12:49,159 --> 00:12:52,815
in what we're doing,
and I think that, actually,
259
00:12:52,859 --> 00:12:55,862
they're missing a lot of
what the influence was on us.
260
00:12:58,603 --> 00:13:00,692
We had our transistor radio,
261
00:13:00,736 --> 00:13:03,260
and, uh, AM music
at that time in Los Angeles
262
00:13:03,304 --> 00:13:04,784
was really incredible.
263
00:13:04,827 --> 00:13:08,178
It was just one big mass
of pop music.
264
00:13:09,571 --> 00:13:11,312
RADIO ANNOUNCER: Ladies and
gentlemen, the beat goes on.
265
00:13:11,355 --> 00:13:13,444
♪ More music.
266
00:13:13,488 --> 00:13:16,143
The Real Don Steele.
267
00:13:16,186 --> 00:13:17,753
♪ 93 KHJ.
268
00:13:17,797 --> 00:13:20,800
♪ Please, please, please...
269
00:13:20,843 --> 00:13:23,541
RUSSELL: There was
no distinction between
270
00:13:23,585 --> 00:13:27,067
British bands or soul groups,
Black groups, white groups.
271
00:13:27,110 --> 00:13:28,895
It-it didn't really matter.
272
00:13:28,938 --> 00:13:33,682
Like, no one cared or
questioned the genres of music.
273
00:13:33,725 --> 00:13:37,425
You would always want
to go see any British band
274
00:13:37,468 --> 00:13:39,383
that would come to Los Angeles.
275
00:13:39,427 --> 00:13:42,212
The high point of our lives--
uh, we can actually say
276
00:13:42,256 --> 00:13:46,173
we've seen The Beatles twice
because we had a cool mom.
277
00:13:46,216 --> 00:13:47,696
ANNOUNCER:
The Beatles,
278
00:13:47,739 --> 00:13:49,741
on their way
to the Hollywood Bowl.
279
00:13:49,785 --> 00:13:52,092
Some of the youngsters
don't give up easily.
280
00:13:52,135 --> 00:13:53,876
RUSSELL:
For whatever reason,
281
00:13:53,920 --> 00:13:56,661
she agreed to drive us
to Las Vegas,
282
00:13:56,705 --> 00:13:59,055
where they were playing
a concert.
283
00:13:59,099 --> 00:14:03,059
So there we were in our little
Fiat Multipla that our mom had
284
00:14:03,103 --> 00:14:07,368
and had this sort of bad
futuristic shape to it.
285
00:14:07,411 --> 00:14:10,066
And, uh, we're putting along
the highway to Las Vegas
286
00:14:10,110 --> 00:14:12,199
just to see The Beatles.
287
00:14:12,242 --> 00:14:13,983
That's a mom.
288
00:14:14,027 --> 00:14:16,116
["Happenings Ten Years Time
Ago" by The Yardbirds playing]
289
00:14:21,686 --> 00:14:25,386
RON: While we were at UCLA,
everything coalesced for us
290
00:14:25,429 --> 00:14:29,520
as far as soaking in all of
these things from the outside.
291
00:14:29,564 --> 00:14:32,915
RUSSELL: We played in bands
early on with ridiculous names.
292
00:14:32,959 --> 00:14:35,875
I don't know,
we were in Moonbaker Abbey,
293
00:14:35,918 --> 00:14:38,486
and we were in
The Urban Renewal Project.
294
00:14:38,529 --> 00:14:41,532
I mean, how successful
could a band ever get
295
00:14:41,576 --> 00:14:44,231
calling themselves
Urban Renewal Project?
296
00:14:45,580 --> 00:14:47,669
RON: The first two songs
that we ever recorded
297
00:14:47,712 --> 00:14:51,194
were "Computer Girl" and, uh,
the other one-- what was this?
298
00:14:51,238 --> 00:14:52,804
-What was the second one?
-RUSSELL: "Windmill."
299
00:14:52,848 --> 00:14:55,024
I'm ashamed that I forgot that,
but "W-Windmill."
300
00:14:55,068 --> 00:14:57,418
-So classic that he forgot it.
-Yeah.
301
00:14:57,461 --> 00:15:01,291
RON: It's really strange
to have a song in 1966
302
00:15:01,335 --> 00:15:03,685
called "Computer Girl,"
because we didn't even
303
00:15:03,728 --> 00:15:06,427
really know what
a computer was at that time.
304
00:15:06,470 --> 00:15:10,866
♪ Computer girl
305
00:15:10,910 --> 00:15:14,783
♪ My computer girl
306
00:15:14,826 --> 00:15:16,567
♪ This is a recording
307
00:15:16,611 --> 00:15:20,049
♪ She's got no arms
308
00:15:20,093 --> 00:15:26,534
♪ She's got no legs
309
00:15:26,577 --> 00:15:31,756
♪ For computers
310
00:15:31,800 --> 00:15:35,151
♪ Have no limbs...
311
00:15:35,195 --> 00:15:37,240
-WRIGHT: Pre-Kraftwerk?
-RON: Pre-Kraftwerk. Yes.
312
00:15:37,284 --> 00:15:38,720
RUSSELL:
Yeah, we predate Kraftwerk
313
00:15:38,763 --> 00:15:41,853
when it comes
to computer songs.
314
00:15:41,897 --> 00:15:43,681
RON: The first time
that we really got
315
00:15:43,725 --> 00:15:47,250
serious about music
was when we met Earle Mankey
316
00:15:47,294 --> 00:15:49,296
and the three of us
got together
317
00:15:49,339 --> 00:15:52,255
and had similar musical taste.
318
00:15:52,299 --> 00:15:54,083
EARLE MANKEY:
They seemed pretty much
319
00:15:54,127 --> 00:15:56,651
just like normal
college students.
320
00:15:56,694 --> 00:15:58,653
But once we got into
the recording process,
321
00:15:58,696 --> 00:16:01,438
they-they turned out
to be different.
322
00:16:01,482 --> 00:16:04,528
You have three people in a room
and a two-track tape recorder,
323
00:16:04,572 --> 00:16:07,662
and you want to emulate,
let's say The Beatles.
324
00:16:07,705 --> 00:16:10,230
Well, uh, first,
you might think you need drums.
325
00:16:10,273 --> 00:16:11,971
Well, we didn't have any drums.
326
00:16:12,014 --> 00:16:13,059
So, uh,
327
00:16:13,102 --> 00:16:14,712
bang on some boxes
328
00:16:14,756 --> 00:16:17,672
and find a table
that had a nice tone,
329
00:16:17,715 --> 00:16:19,674
and if you needed a cymbal,
that was harder.
330
00:16:19,717 --> 00:16:20,718
But as I recall,
331
00:16:20,762 --> 00:16:22,982
there was a brass lampshade
332
00:16:23,025 --> 00:16:25,462
that, uh, didn't really ring
like a cymbal,
333
00:16:25,506 --> 00:16:27,421
but it would give us
a nice clank.
334
00:16:28,857 --> 00:16:30,685
HARLEY FEINSTEIN:
When I joined the band,
335
00:16:30,728 --> 00:16:32,469
it was called Halfnelson.
336
00:16:32,513 --> 00:16:35,298
I was contacted by Russell,
and he explained to me,
337
00:16:35,342 --> 00:16:37,561
"Well, we're not just
getting together
338
00:16:37,605 --> 00:16:40,477
"to drink beer,
meet girls and play music.
339
00:16:40,521 --> 00:16:43,567
We're actually gonna
become big."
340
00:16:43,611 --> 00:16:46,005
That sounds like the scene
from our biopic
341
00:16:46,048 --> 00:16:47,832
that's, uh, upcoming soon.
342
00:16:49,486 --> 00:16:51,053
♪ Whoo!
343
00:16:51,097 --> 00:16:54,056
♪ Fa-fa-fa, fa-fa,
fa-fa-fa... ♪
344
00:16:54,100 --> 00:16:56,885
RUSSELL: I think, at the
beginning, I was trying to be
345
00:16:56,928 --> 00:17:01,324
as much like Mick Jagger
or Roger Daltrey
346
00:17:01,368 --> 00:17:03,283
as I could possibly be.
347
00:17:03,326 --> 00:17:07,069
I kind of missed the mark
by a few thousand miles,
348
00:17:07,113 --> 00:17:09,593
but something else emerged.
349
00:17:09,637 --> 00:17:11,334
♪ From champagne
350
00:17:11,378 --> 00:17:14,729
♪ And I have never
met the queen ♪
351
00:17:14,772 --> 00:17:17,558
♪ And I wish I could have
all he has got ♪
352
00:17:17,601 --> 00:17:20,735
♪ And I wish I could be
like David Watts... ♪
353
00:17:20,778 --> 00:17:22,084
RUSSELL:
I think there was
354
00:17:22,128 --> 00:17:23,433
sometimes a conscious
355
00:17:23,477 --> 00:17:25,870
and sometimes
an unconscious attempt
356
00:17:25,914 --> 00:17:28,873
at trying to emulate
the early Who songs
357
00:17:28,917 --> 00:17:31,572
and the early Kinks songs
that really felt
358
00:17:31,615 --> 00:17:33,748
in tune with what
we really wanted to be doing.
359
00:17:33,791 --> 00:17:36,055
♪ I'd lead the school team
to victory... ♪
360
00:17:36,098 --> 00:17:38,579
FEINSTEIN: I remember I liked
bands that they didn't like.
361
00:17:38,622 --> 00:17:40,668
And I remember one time
I made the comment that,
362
00:17:40,711 --> 00:17:43,236
"Hey, Blood Sweat & Tears,
they're great, huh?"
363
00:17:43,279 --> 00:17:46,456
All the eyes rolled back
simultaneously.
364
00:17:46,500 --> 00:17:47,892
It could've been worse.
He could have mentioned
365
00:17:47,936 --> 00:17:50,504
Chicago or somebody
like that, and...
366
00:17:50,547 --> 00:17:54,421
then he would have been
out of the band immediately.
367
00:17:54,464 --> 00:17:57,641
["When You're a French
Director" by Sparks playing]
368
00:17:58,860 --> 00:18:02,733
♪ When you're
a French director... ♪
369
00:18:02,777 --> 00:18:04,561
RON:
There was a sense at the time
370
00:18:04,605 --> 00:18:07,260
that if you were
kind of a hip person
371
00:18:07,303 --> 00:18:10,263
that you would also
automatically be interested
372
00:18:10,306 --> 00:18:13,004
in French New Wave films
and Bergman.
373
00:18:13,048 --> 00:18:16,921
It kind of went hand in hand
with liking the British bands.
374
00:18:16,965 --> 00:18:19,185
It was just
kind of a badge of honor,
375
00:18:19,228 --> 00:18:23,276
liking nonmainstream things.
376
00:18:25,278 --> 00:18:28,281
LARRY DUPONT:
When I first met Ron,
377
00:18:28,324 --> 00:18:33,155
we were all deeply,
deeply rooted in film.
378
00:18:33,199 --> 00:18:36,202
As far as Russ
was concerned, uh,
379
00:18:36,245 --> 00:18:38,595
he wanted to be a filmmaker.
380
00:18:38,639 --> 00:18:39,857
Early on, I was dabbling
381
00:18:39,901 --> 00:18:42,425
in French New Wave cinema
382
00:18:42,469 --> 00:18:46,603
and, uh, made a film
when I was at UCLA.
383
00:18:46,647 --> 00:18:48,344
Um, and I don't know if it's...
384
00:18:48,388 --> 00:18:50,651
I-I wouldn't call it
a great film,
385
00:18:50,694 --> 00:18:53,393
-but it wasn't...
-Oh, don't be so modest.
386
00:18:53,436 --> 00:18:57,136
MANKEY: I starred
in Russell's student film,
387
00:18:57,179 --> 00:18:59,442
Très Sérieux,
which means, I guess,
388
00:18:59,486 --> 00:19:01,923
Very Serious
or something like that.
389
00:19:01,966 --> 00:19:05,753
My name in the movie was
Jean-Paul Mankey.
390
00:19:05,796 --> 00:19:10,149
You know, it was poking fun
at, uh, French art films.
391
00:19:11,367 --> 00:19:13,064
That's the cool thing
about them.
392
00:19:13,108 --> 00:19:14,631
You know, they take something
that seems to be
393
00:19:14,675 --> 00:19:16,720
really great and arty,
394
00:19:16,764 --> 00:19:18,722
and then they shoot it
in the pants.
395
00:19:18,766 --> 00:19:21,769
Other times, people think
they're making fun of something
396
00:19:21,812 --> 00:19:23,510
when they're deadly serious.
397
00:19:23,553 --> 00:19:25,294
[laughing]: They're kind of
inscrutable, those guys.
398
00:19:28,254 --> 00:19:30,647
MIKE BERNS: Well, I had
a chance to meet Ron and Russell
399
00:19:30,691 --> 00:19:32,823
when I worked at, uh,
Universal Records.
400
00:19:32,867 --> 00:19:34,825
They brought
their demo tape in,
401
00:19:34,869 --> 00:19:39,308
and I was taken
by the creativity,
402
00:19:39,352 --> 00:19:42,311
the artistry,
uh, the individuality.
403
00:19:42,355 --> 00:19:44,183
And it was something
404
00:19:44,226 --> 00:19:46,315
that you just knew
was something.
405
00:19:46,359 --> 00:19:51,146
And I lobbied my brains out
to have them get signed.
406
00:19:52,974 --> 00:19:55,933
MANKEY: Every office
we'd go into was all excited.
407
00:19:57,196 --> 00:19:59,241
They'd call their friends in
and say, "Listen to this stuff.
408
00:19:59,285 --> 00:20:01,025
Isn't this weird?
Isn't this great?"
409
00:20:01,069 --> 00:20:03,114
Uh, and then
they wouldn't sign us.
410
00:20:04,551 --> 00:20:06,466
DUPONT:
The thing that marked them
411
00:20:06,509 --> 00:20:09,817
was their unwillingness
to give up on rejection.
412
00:20:09,860 --> 00:20:12,254
They just wouldn't give up.
413
00:20:12,298 --> 00:20:14,038
RUSSELL:
There's always just been
414
00:20:14,082 --> 00:20:17,172
one person
throughout our whole career
415
00:20:17,216 --> 00:20:20,088
that would kind of get
what it was
416
00:20:20,131 --> 00:20:22,351
that we were doing
at any one particular time--
417
00:20:22,395 --> 00:20:25,006
and the first one
was Todd Rundgren--
418
00:20:25,049 --> 00:20:28,879
when everybody else at every
record label rejected us.
419
00:20:30,838 --> 00:20:32,274
If it hadn't been for him,
420
00:20:32,318 --> 00:20:35,146
there wouldn't have been
a Sparks now.
421
00:20:35,190 --> 00:20:38,149
RUNDGREN: Well, without me,
there would be no Halfnelson.
422
00:20:38,193 --> 00:20:41,457
Sparks was something
that happened a little later.
423
00:20:41,501 --> 00:20:43,894
ANNOUNCER: Todd Rundgren
first discovered Sparks
424
00:20:43,938 --> 00:20:45,853
and produced their debut album.
425
00:20:46,897 --> 00:20:48,551
BERNS:
We sent the demo album
426
00:20:48,595 --> 00:20:50,597
to Todd Rundgren.
I had some notoriety
427
00:20:50,640 --> 00:20:52,599
in the business,
so he took my call.
428
00:20:52,642 --> 00:20:58,257
My memory was that, uh,
Russell's, uh, girlfriend,
429
00:20:58,300 --> 00:21:01,477
part-time girlfriend,
girlfriend on and off, uh,
430
00:21:01,521 --> 00:21:04,437
was Miss Christine
from the GTO's.
431
00:21:04,480 --> 00:21:07,222
Miss Christine was like
my girlfriend for a while,
432
00:21:07,266 --> 00:21:09,964
and then she became Russell's
girlfriend for a while.
433
00:21:10,007 --> 00:21:11,444
RUSSELL:
We became friends
434
00:21:11,487 --> 00:21:14,621
with-with, uh,
Miss Christine as well.
435
00:21:14,664 --> 00:21:18,799
And so, um,
at that time, I, uh...
436
00:21:18,842 --> 00:21:20,844
-We did?
-[laughing]: We did. We did.
437
00:21:20,888 --> 00:21:22,933
-[crew laughing]
-[Russell clears throat]
438
00:21:22,977 --> 00:21:24,848
Let me... let me, uh...
yeah, we were...
439
00:21:24,892 --> 00:21:27,764
So I became... I became friends
with Miss Christine.
440
00:21:29,549 --> 00:21:32,203
I think Russell thought
it was weird,
441
00:21:32,247 --> 00:21:34,162
but I didn't consider it
any sort of affront,
442
00:21:34,205 --> 00:21:35,946
but I think I knew
Miss Christine
443
00:21:35,990 --> 00:21:37,992
better than he did.
444
00:21:38,035 --> 00:21:39,559
PAMELA DES BARRES:
Yeah, I'm sure Miss Christine
445
00:21:39,602 --> 00:21:41,343
played Todd the demo.
446
00:21:41,387 --> 00:21:43,867
She was... she and Todd
were together quite a while,
447
00:21:43,911 --> 00:21:46,435
um, and she loved Sparks.
448
00:21:46,479 --> 00:21:47,958
MANKEY:
Christine said, "Oh, Todd,
449
00:21:48,002 --> 00:21:49,482
"you've got to hear these guys.
450
00:21:49,525 --> 00:21:52,615
It's so great.
You're gonna want to sign 'em."
451
00:21:54,182 --> 00:21:56,358
RUNDGREN: I was struck by
the fact that it wasn't like
452
00:21:56,402 --> 00:21:59,753
anything else
that I was normally getting.
453
00:21:59,796 --> 00:22:03,017
It is sometimes like
butterfly hunting.
454
00:22:03,060 --> 00:22:05,149
You're looking for some species
455
00:22:05,193 --> 00:22:08,370
that nobody has ever
discovered before.
456
00:22:11,286 --> 00:22:13,636
So they set up a demo
457
00:22:13,680 --> 00:22:15,682
as if it was like a whole venue.
458
00:22:15,725 --> 00:22:19,468
They had this rehearsal space
out in the Valley.
459
00:22:19,512 --> 00:22:21,470
They called it
the Doggy Factory,
460
00:22:21,514 --> 00:22:23,603
which implied that doggies
were made there,
461
00:22:23,646 --> 00:22:26,257
but it was actually doggy beds.
[chuckles]
462
00:22:26,301 --> 00:22:28,347
JAMES LOWE: Yeah, that's...
it was all left-handed.
463
00:22:28,390 --> 00:22:30,610
It was... I mean, this band,
you're gonna go see 'em
464
00:22:30,653 --> 00:22:32,394
at a doggy bed factory.
465
00:22:32,438 --> 00:22:35,310
I thought they were joking.
I thought it was a club.
466
00:22:35,354 --> 00:22:37,312
RUNDGREN: We all sat down
in some folding chairs,
467
00:22:37,356 --> 00:22:39,445
and they put on a whole show.
468
00:22:39,488 --> 00:22:41,925
MANKEY:
The biggest number, uh,
469
00:22:41,969 --> 00:22:43,536
I guess it would have to be
the song
470
00:22:43,579 --> 00:22:45,451
"Slowboat."
471
00:22:45,494 --> 00:22:48,149
There was a papier-mâché boat.
472
00:22:48,192 --> 00:22:50,412
Russell would sit in this boat
473
00:22:50,456 --> 00:22:53,110
and be towed across the floor
by the roadie.
474
00:22:53,154 --> 00:22:56,157
RUSSELL: I got in it as if it
was like a Rose Parade float,
475
00:22:56,200 --> 00:22:58,246
and I was waving
to the audience
476
00:22:58,289 --> 00:23:00,379
as the captain
of this slow boat.
477
00:23:00,422 --> 00:23:02,729
MANKEY: And about three feet
later, he'd have to stop
478
00:23:02,772 --> 00:23:05,558
because it would be
the end of the stage.
479
00:23:05,601 --> 00:23:06,646
LOWE:
My wife thought
480
00:23:06,689 --> 00:23:08,735
Russ was, uh, very cute,
481
00:23:08,778 --> 00:23:10,998
and I kept asking her
about the music,
482
00:23:11,041 --> 00:23:13,000
but she kept telling me
how cute Russ was.
483
00:23:13,043 --> 00:23:15,959
Russ was really cute. [laughs]
484
00:23:18,658 --> 00:23:20,399
RUNDGREN:
I was
485
00:23:20,442 --> 00:23:22,705
well proud of the effort
that they put out
486
00:23:22,749 --> 00:23:25,491
and said,
"We'll make a record."
487
00:23:25,534 --> 00:23:30,539
♪ Slow boat, bring me back
another day... ♪
488
00:23:30,583 --> 00:23:33,803
Of course, everything
that happened after that was...
489
00:23:33,847 --> 00:23:35,631
was evolutionary.
490
00:23:35,675 --> 00:23:38,025
♪
491
00:23:49,950 --> 00:23:51,734
-[song ends]
-[crowd cheering]
492
00:23:51,778 --> 00:23:54,084
[indistinct radio chatter]
493
00:23:56,652 --> 00:23:58,785
MAN: Sorry, Sam, can we
take that back a little ways?
494
00:23:58,828 --> 00:24:00,700
We'll pick it up.
495
00:24:00,743 --> 00:24:03,442
RUSSELL: We really were
elated that now things
496
00:24:03,485 --> 00:24:05,226
seemed real for once.
497
00:24:05,269 --> 00:24:07,271
FEINSTEIN:
It was really amazing.
498
00:24:07,315 --> 00:24:08,708
It was really surreal.
499
00:24:08,751 --> 00:24:10,187
It was like,
"My God, this is...
500
00:24:10,231 --> 00:24:11,406
How did I get here?
This is incredible."
501
00:24:11,450 --> 00:24:14,191
RUSSELL:
It just, uh, seemed like
502
00:24:14,235 --> 00:24:18,152
we were soon gonna be at
the Hollywood Bowl ourselves.
503
00:24:21,242 --> 00:24:23,505
FEINSTEIN: The making of
the album was so much fun.
504
00:24:23,549 --> 00:24:26,247
It was great.
Uh, we had what seemed like
505
00:24:26,290 --> 00:24:28,510
an unlimited amount of time
in a good studio.
506
00:24:28,554 --> 00:24:29,772
♪ All will join in
507
00:24:29,816 --> 00:24:31,687
♪ In the
big scene... ♪
508
00:24:31,731 --> 00:24:34,342
RON: To Todd's credit,
he really made us feel at home
509
00:24:34,385 --> 00:24:37,954
and more importantly
made us feel at home musically
510
00:24:37,998 --> 00:24:40,957
because he really wanted us
to keep to the essence
511
00:24:41,001 --> 00:24:43,133
of what the demos were.
512
00:24:43,177 --> 00:24:45,788
♪ Take a tall one,
take a small one... ♪
513
00:24:45,832 --> 00:24:47,747
RUNDGREN:
I didn't want to mess with
514
00:24:47,790 --> 00:24:50,619
this latent outsider genius.
515
00:24:50,663 --> 00:24:52,665
I'm just gonna figure out
516
00:24:52,708 --> 00:24:54,667
how to make it
a little bit more high-fidelity,
517
00:24:54,710 --> 00:24:56,886
and that... [laughs]
and that will be fine,
518
00:24:56,930 --> 00:24:59,585
I think.
519
00:24:59,628 --> 00:25:01,369
FEINSTEIN:
This album was gonna be
520
00:25:01,412 --> 00:25:03,937
just phenomenal,
521
00:25:03,980 --> 00:25:05,242
just really good.
522
00:25:07,593 --> 00:25:10,204
RUSSELL: We released
the Halfnelson album,
523
00:25:10,247 --> 00:25:13,512
and it didn't really get
the commercial success
524
00:25:13,555 --> 00:25:17,472
that I think Todd
was hoping for.
525
00:25:18,604 --> 00:25:20,562
KAPRANOS:
With Sparks, you have this
526
00:25:20,606 --> 00:25:22,869
strange combination of...
527
00:25:22,912 --> 00:25:24,871
almost creative recklessness
528
00:25:24,914 --> 00:25:27,047
because they don't follow
the conventional path,
529
00:25:27,090 --> 00:25:29,049
which is what makes them
great as a fan.
530
00:25:31,181 --> 00:25:33,183
There's this force
of creativity
531
00:25:33,227 --> 00:25:35,359
that goes into
that experimentation,
532
00:25:35,403 --> 00:25:37,579
but the culture
isn't there yet.
533
00:25:37,623 --> 00:25:39,799
And then you find yourself
in the real world
534
00:25:39,842 --> 00:25:41,757
where you have to sell records.
535
00:25:41,801 --> 00:25:43,672
Well, you did it again.
536
00:25:43,716 --> 00:25:45,195
JACK ANTONOFF:
You look at Sparks,
537
00:25:45,239 --> 00:25:47,110
they're-they're just
blazing this trail, um,
538
00:25:47,154 --> 00:25:48,677
because there's just no...
539
00:25:48,721 --> 00:25:50,331
It-It's the ultimate experience
540
00:25:50,374 --> 00:25:52,115
of what you want
from your artists.
541
00:25:52,159 --> 00:25:55,989
There's just no connection
to what is actually going on
542
00:25:56,032 --> 00:25:58,295
in the world.
543
00:25:58,339 --> 00:26:00,950
FEINSTEIN: The album
didn't sell very well,
544
00:26:00,994 --> 00:26:05,215
so the, uh, marketing geniuses
at the record company said,
545
00:26:05,259 --> 00:26:07,130
"Well, maybe a different name
546
00:26:07,174 --> 00:26:09,480
and a different album cover
would make the difference."
547
00:26:09,524 --> 00:26:11,265
And he goes,
548
00:26:11,308 --> 00:26:13,267
"You guys like comedy.
You like the Marx Brothers.
549
00:26:13,310 --> 00:26:16,052
You're brothers.
So the Sparks Brothers."
550
00:26:16,096 --> 00:26:19,752
And that met with one of those
pregnant pauses from us
551
00:26:19,795 --> 00:26:23,277
where we both stare at-at him,
uh, kind of aghast.
552
00:26:23,320 --> 00:26:25,279
FEINSTEIN:
I think we negotiated out
553
00:26:25,322 --> 00:26:28,587
the word "brothers"
and ended up with just Sparks.
554
00:26:29,631 --> 00:26:32,112
["Wonder Girl"
by Sparks playing]
555
00:26:32,155 --> 00:26:33,722
♪ She was
a wonder girl ♪
556
00:26:33,766 --> 00:26:35,855
♪ Some girl, that girl
557
00:26:35,898 --> 00:26:37,900
♪ She was a wonder girl
558
00:26:37,944 --> 00:26:40,860
♪ Some girl, that girl
559
00:26:40,903 --> 00:26:46,039
♪ It was a grand old time
we had ♪
560
00:26:46,082 --> 00:26:47,910
♪ She was there
561
00:26:47,954 --> 00:26:50,739
♪ And I was pretty glad...
562
00:26:50,783 --> 00:26:52,872
HILLY MICHAELS:
We're driving around,
563
00:26:52,915 --> 00:26:55,004
and the radio is kind of on,
564
00:26:55,048 --> 00:26:57,528
and I hear this voice,
and I yell,
565
00:26:57,572 --> 00:26:59,835
"Yo, turn that up!
566
00:26:59,879 --> 00:27:02,969
"What is that? Turn that up.
567
00:27:03,012 --> 00:27:05,188
"Who is that?
568
00:27:05,232 --> 00:27:07,495
"Turn it up louder.
569
00:27:07,538 --> 00:27:09,584
That's amazing."
570
00:27:09,628 --> 00:27:11,194
♪ To her friends
571
00:27:11,238 --> 00:27:13,675
♪ It's a wonder that
572
00:27:13,719 --> 00:27:16,417
♪ She always
started trends... ♪
573
00:27:16,460 --> 00:27:20,029
MICHAELS: All the bells and
whistles went off in my head.
574
00:27:20,073 --> 00:27:21,770
The radio announcer
575
00:27:21,814 --> 00:27:24,599
never got back on
and said who that was,
576
00:27:24,643 --> 00:27:26,340
and it haunted me for years.
577
00:27:27,994 --> 00:27:32,302
♪ Ooh, wonder girl...
578
00:27:32,346 --> 00:27:34,435
RON: We had made
our first appearance
579
00:27:34,478 --> 00:27:36,611
onAmerican Bandstand,
which was pretty much
580
00:27:36,655 --> 00:27:39,788
the equivalent of being, like,
onTop of the Pops in the UK,
581
00:27:39,832 --> 00:27:42,356
but we still had no... no money
582
00:27:42,399 --> 00:27:45,533
and we were on food
assistance plans, food stamps.
583
00:27:45,576 --> 00:27:48,884
And so we went into
a supermarket the next week,
584
00:27:48,928 --> 00:27:51,147
and the checker said,
585
00:27:51,191 --> 00:27:53,715
"Hey, I saw you
on television last week.
586
00:27:53,759 --> 00:27:55,499
You guys were great."
587
00:27:55,543 --> 00:27:58,415
RUSSELL: And then we have
to pull out our food stamps
588
00:27:58,459 --> 00:28:00,548
to the nice lady,
and then she's going,
589
00:28:00,591 --> 00:28:02,768
"Can we get approval
for these poor guys
590
00:28:02,811 --> 00:28:04,900
"on aisle six, please?
591
00:28:04,944 --> 00:28:08,034
Poor people over here
who are on a television show."
592
00:28:08,077 --> 00:28:10,036
♪ Ooh, wonder girl...
593
00:28:10,079 --> 00:28:12,081
-Being humiliated in public.
-RON: Yeah. Yeah.
594
00:28:12,125 --> 00:28:14,344
-Good training.
-Yeah.
595
00:28:14,388 --> 00:28:18,348
I'm immune to humiliation
after that.
596
00:28:18,392 --> 00:28:20,220
♪ Hey, Lisa,
they're having a big party ♪
597
00:28:20,263 --> 00:28:22,439
♪ Down at
the Allele Pool tonight ♪
598
00:28:22,483 --> 00:28:25,181
♪ Ooh, let's do it
599
00:28:25,225 --> 00:28:27,401
["Biology 2" by Sparks playing]
600
00:28:27,444 --> 00:28:29,664
DUPONT: It was a struggle
finding gigs for the band.
601
00:28:29,708 --> 00:28:30,709
So the thing that happened is
602
00:28:30,752 --> 00:28:32,580
the band went far afield.
603
00:28:32,623 --> 00:28:34,060
MANKEY:
It's just ridiculous.
604
00:28:34,103 --> 00:28:36,366
We played some
just terrible places
605
00:28:36,410 --> 00:28:38,804
where they all hated us.
[laughs]
606
00:28:38,847 --> 00:28:40,457
DUPONT: They went
to Redding, California.
607
00:28:40,501 --> 00:28:42,459
It's like,
why the hell Redding?
608
00:28:42,503 --> 00:28:47,116
But Houston got off to
a bad start and went downhill.
609
00:28:48,074 --> 00:28:50,076
FEINSTEIN:
So, there we are
610
00:28:50,119 --> 00:28:52,382
playing for
this redneck audience
611
00:28:52,426 --> 00:28:56,256
that had been there to come see
a band called Cold Blood.
612
00:28:56,299 --> 00:28:59,607
Needless to say, uh,
they did not like us very much.
613
00:29:00,956 --> 00:29:03,132
RUSSELL: I used to,
as part of the stage act,
614
00:29:03,176 --> 00:29:05,395
have this giant wooden
sledgehammer,
615
00:29:05,439 --> 00:29:08,616
with this, like,
really heavy mallet on it.
616
00:29:08,659 --> 00:29:10,879
MANKEY: He'd throw
the sledgehammer up in the air
617
00:29:10,923 --> 00:29:13,012
and catch it, but this time,
he didn't catch it.
618
00:29:15,623 --> 00:29:18,278
Came down-- slam!--
on his head.
619
00:29:18,321 --> 00:29:20,019
And I won't say
it knocked him out,
620
00:29:20,062 --> 00:29:21,847
but he was extremely bloody.
621
00:29:21,890 --> 00:29:24,588
RUSSELL: And I had
this giant gash on my head,
622
00:29:24,632 --> 00:29:26,939
and I'm bleeding
and blood's flowing down.
623
00:29:26,982 --> 00:29:28,810
But the audience seemed
to think it was
624
00:29:28,854 --> 00:29:30,464
part of our show,
like it was... you know,
625
00:29:30,507 --> 00:29:31,813
it was Alice Cooper
with a blood capsule,
626
00:29:31,857 --> 00:29:33,772
but this was no blood capsule.
627
00:29:33,815 --> 00:29:38,472
This was my kind of brain, uh,
oozing out onto the stage.
628
00:29:38,515 --> 00:29:41,997
We're all laughing
up until we see Ron's reaction.
629
00:29:42,041 --> 00:29:44,913
And Ron's reaction is
a combination of,
630
00:29:44,957 --> 00:29:48,047
"How dare you laugh?"
631
00:29:48,090 --> 00:29:51,050
and, "Oh, my God,
Russ is gonna die."
632
00:29:51,093 --> 00:29:52,747
FEINSTEIN:
I didn't even know
633
00:29:52,791 --> 00:29:54,444
he hit himself in the head
until after it was over.
634
00:29:54,488 --> 00:29:56,142
Then we went backstage,
635
00:29:56,185 --> 00:29:59,275
and I saw he was bleeding,
and big brother Ron,
636
00:29:59,319 --> 00:30:00,886
of course, was very concerned.
637
00:30:00,929 --> 00:30:02,757
-Was I?
-WRIGHT: Yeah.
638
00:30:02,801 --> 00:30:05,455
-Oh, times change.
-[laughter]
639
00:30:09,895 --> 00:30:11,331
RUSSELL:
The next album
640
00:30:11,374 --> 00:30:12,898
that we would come up with,
641
00:30:12,941 --> 00:30:14,725
which was called
Woofer in Tweeter's Clothing,
642
00:30:14,769 --> 00:30:16,684
was produced by Jim Lowe.
643
00:30:16,727 --> 00:30:18,120
LOWE:
They were what I thought
644
00:30:18,164 --> 00:30:20,383
rock and roll was
supposed to be.
645
00:30:20,427 --> 00:30:21,863
And I thought,
"If this doesn't happen,
646
00:30:21,907 --> 00:30:23,517
what am I gonna go do next?"
647
00:30:23,560 --> 00:30:25,998
What would you produce
after you did Sparks?
648
00:30:27,173 --> 00:30:29,044
MANKEY:
The fact that the second album
649
00:30:29,088 --> 00:30:31,307
was more experimental
than the first album,
650
00:30:31,351 --> 00:30:33,179
I think, was just
a natural progression.
651
00:30:33,222 --> 00:30:34,876
It might have been better.
652
00:30:34,920 --> 00:30:37,879
It was certainly
more complex, more artistic.
653
00:30:37,923 --> 00:30:41,361
I thought that made for
a more interesting album.
654
00:30:41,404 --> 00:30:44,668
RON: In a way, that album is
even more eccentric,
655
00:30:44,712 --> 00:30:46,888
I think, than...
than the first album.
656
00:30:46,932 --> 00:30:50,152
And so, you know, it was
really inspiring to us to know
657
00:30:50,196 --> 00:30:51,719
that they were giving us
this permission
658
00:30:51,762 --> 00:30:55,027
to kind of commit
self-destruction.
659
00:30:55,070 --> 00:30:57,420
[tires squealing]
660
00:31:00,946 --> 00:31:02,991
♪ Whippings and apologies...
661
00:31:04,688 --> 00:31:07,822
LOWE: Those two records are
my two favorite records
662
00:31:07,866 --> 00:31:09,824
that I've been involved with.
663
00:31:09,868 --> 00:31:10,912
And I told my wife
664
00:31:10,956 --> 00:31:12,958
after the Wooferalbum,
665
00:31:13,001 --> 00:31:15,090
I said,
"If this album doesn't...
666
00:31:15,134 --> 00:31:16,787
"doesn't make some noise
or do something,
667
00:31:16,831 --> 00:31:18,702
I'm gonna go into
another business."
668
00:31:18,746 --> 00:31:21,053
It was just, "I-I don't know
anything about music.
669
00:31:21,096 --> 00:31:22,968
If people don't like
this stuff, it's crazy."
670
00:31:23,011 --> 00:31:25,666
And so I started, uh,
671
00:31:25,709 --> 00:31:27,755
directing
television commercials.
672
00:31:27,798 --> 00:31:29,539
[laughter]
673
00:31:29,583 --> 00:31:30,540
RUNDGREN:
It didn't create the spark
674
00:31:30,584 --> 00:31:31,846
that they... [laughs]
675
00:31:31,890 --> 00:31:33,804
that they had hoped for.
676
00:31:35,415 --> 00:31:37,243
RUSSELL: They said,
"Well, it's not really
677
00:31:37,286 --> 00:31:39,288
"clicking here in the States,
but the sensibility
678
00:31:39,332 --> 00:31:41,508
"seems to be something
that we think
679
00:31:41,551 --> 00:31:43,597
would go over better
in the UK."
680
00:31:43,640 --> 00:31:45,773
And all of a sudden, one day,
681
00:31:45,816 --> 00:31:48,210
we're on a frigging airplane
to London.
682
00:31:50,343 --> 00:31:52,606
["Girl from Germany" by Sparks
playing]
683
00:31:56,697 --> 00:32:00,005
♪ How I wished my folks
were gracious hosts... ♪
684
00:32:00,048 --> 00:32:02,790
RUSSELL: Getting to see,
you know, Buckingham Palace
685
00:32:02,833 --> 00:32:05,184
and riding on the tube,
and we were
686
00:32:05,227 --> 00:32:08,187
living the good life
in our small little way.
687
00:32:10,580 --> 00:32:12,887
FEINSTEIN: Back in the Doggy
Factory, we had a picture
688
00:32:12,931 --> 00:32:14,933
on the wall of John's Children,
689
00:32:14,976 --> 00:32:17,152
and they were really
cool-looking guys.
690
00:32:17,196 --> 00:32:20,242
When we got over there,
John was our manager.
691
00:32:20,286 --> 00:32:22,070
JOHN HEWLETT: The idea was,
would I look after them
692
00:32:22,114 --> 00:32:25,030
and try and secure TV,
et cetera, and, uh,
693
00:32:25,073 --> 00:32:27,858
some shows in London and press,
which we did.
694
00:32:27,902 --> 00:32:30,122
♪ What a war, some war
695
00:32:30,165 --> 00:32:32,646
♪ Lord knows
she's from Germany ♪
696
00:32:32,689 --> 00:32:34,256
♪ Well, it's
the same old country ♪
697
00:32:34,300 --> 00:32:35,779
♪ But the people
have changed... ♪
698
00:32:35,823 --> 00:32:37,085
HEWLETT:
The only TV we did, I think,
699
00:32:37,129 --> 00:32:38,652
was theGrey Whistle Test,
700
00:32:38,695 --> 00:32:41,002
which Bob Harris said
was, like, the worst band
701
00:32:41,046 --> 00:32:42,177
he'd ever seen.
702
00:32:44,397 --> 00:32:46,442
MORLEY: Old Grey Whistle Test
was dark and underground,
703
00:32:46,486 --> 00:32:48,227
and it was a bit worthy.
704
00:32:48,270 --> 00:32:52,057
And the-the presenter
Bob Harris didn't like Sparks.
705
00:32:52,100 --> 00:32:53,841
That was actually
a-a real turn-on
706
00:32:53,884 --> 00:32:56,191
because whatever Bob
didn't like, you kind of liked.
707
00:32:56,235 --> 00:32:57,801
Great stuff.
708
00:32:57,845 --> 00:32:59,673
Everybody saw us
on Old Grey Whistle Test,
709
00:32:59,716 --> 00:33:01,283
and being on the telly
was a big deal.
710
00:33:01,327 --> 00:33:04,504
So, when we then got
the follow-up gig
711
00:33:04,547 --> 00:33:08,464
at the Marquee Club,
the place was packed.
712
00:33:08,508 --> 00:33:10,292
MORLEY:
Almost in that first moment,
713
00:33:10,336 --> 00:33:12,207
when you see something
like Sparks,
714
00:33:12,251 --> 00:33:13,643
which is just so distinctive
715
00:33:13,687 --> 00:33:15,689
and sounds so distinctive,
716
00:33:15,732 --> 00:33:17,343
everything that you ever
feel about them
717
00:33:17,386 --> 00:33:19,562
for the rest of time
is in there.
718
00:33:19,606 --> 00:33:22,478
♪ Oh, my word,
she's from Germany ♪
719
00:33:22,522 --> 00:33:24,437
♪ Well, it's
the same old country ♪
720
00:33:24,480 --> 00:33:26,787
♪ But the people
have changed... ♪
721
00:33:26,830 --> 00:33:29,137
RON: "Girl from Germany"
was kind of a harbinger
722
00:33:29,181 --> 00:33:33,228
of things to come for us
in a lyrical way, I think.
723
00:33:33,272 --> 00:33:37,276
It's about a guy
who's defending his girlfriend,
724
00:33:37,319 --> 00:33:39,365
who happens to be from Germany,
725
00:33:39,408 --> 00:33:41,758
to his parents who are Jewish.
726
00:33:41,802 --> 00:33:44,283
♪ Well, the car I drive
is parked outside... ♪
727
00:33:44,326 --> 00:33:45,849
JANE WIEDLIN:
They come out with this song,
728
00:33:45,893 --> 00:33:46,850
and it's like,
are you kidding me?
729
00:33:46,894 --> 00:33:48,678
They're, like, talking about
730
00:33:48,722 --> 00:33:51,116
how people still hate
Germans and stuff,
731
00:33:51,159 --> 00:33:53,161
and it's so sick and so funny.
732
00:33:54,467 --> 00:33:57,513
MIKE MYERS: My favorite lyric
from a Sparks song is
733
00:33:57,557 --> 00:34:00,386
from "Girl from Germany,"
which is, uh...
734
00:34:00,429 --> 00:34:02,649
"My word, she's from Germany.
735
00:34:02,692 --> 00:34:05,217
It's the same old country,
but the people have changed."
736
00:34:05,260 --> 00:34:08,742
Which is, like,
well played, well played.
737
00:34:08,785 --> 00:34:13,094
♪ With its splendid castles
and its fine cuisine ♪
738
00:34:13,138 --> 00:34:14,791
♪ Its lovely German women
739
00:34:14,835 --> 00:34:17,446
-♪ And you and me.
-[song ends]
740
00:34:18,752 --> 00:34:20,406
FEINSTEIN: There's a better
than even chance
741
00:34:20,449 --> 00:34:23,148
that it would've continued
moving onward and upward
742
00:34:23,191 --> 00:34:25,672
had the record company
at that point not decided
743
00:34:25,715 --> 00:34:26,847
that, "Well, we've
invested enough.
744
00:34:26,890 --> 00:34:28,501
"We're gonna pull the plug,
745
00:34:28,544 --> 00:34:30,764
and we're gonna bring 'em
back to America."
746
00:34:30,807 --> 00:34:32,679
DUPONT: They literally were
thrown out of England.
747
00:34:32,722 --> 00:34:34,246
It was like one day's notice,
748
00:34:34,289 --> 00:34:36,291
you're on an airplane,
you're out of here.
749
00:34:36,335 --> 00:34:37,945
"Pack your gear
and get out of here."
750
00:34:39,294 --> 00:34:41,122
FEINSTEIN: We had built up
way more momentum
751
00:34:41,166 --> 00:34:42,776
in London than we had in L.A.,
752
00:34:42,819 --> 00:34:45,126
but whatever momentum
we had built up in L.A.
753
00:34:45,170 --> 00:34:47,389
had completely died out.
754
00:34:47,433 --> 00:34:49,739
My memory of what the mood
was like
755
00:34:49,783 --> 00:34:51,828
at that time was,
756
00:34:51,872 --> 00:34:54,614
"Well, you know, this thing
may have run its course."
757
00:34:54,657 --> 00:34:56,746
["Do-Re-Mi" by Sparks playing]
758
00:35:02,143 --> 00:35:04,319
RON:
We were kind of stuck in a way,
759
00:35:04,363 --> 00:35:06,147
knowing that there was
760
00:35:06,191 --> 00:35:09,150
this promised land that was...
that was there for us
761
00:35:09,194 --> 00:35:12,110
if we could only figure out
how to get there.
762
00:35:12,153 --> 00:35:14,677
HEWLETT: They called and said
they'd like to come over
763
00:35:14,721 --> 00:35:16,766
and, um, yeah, could I help?
764
00:35:16,810 --> 00:35:18,507
Which I could and did.
765
00:35:18,551 --> 00:35:21,597
I talked to David Betteridge
at Island Records,
766
00:35:21,641 --> 00:35:23,860
and David said,
"Yeah, go for it."
767
00:35:23,904 --> 00:35:25,210
[cheering]
768
00:35:25,253 --> 00:35:26,689
As soon as I saw the pictures
769
00:35:26,733 --> 00:35:27,908
of Ron and Russell--
770
00:35:27,951 --> 00:35:29,562
this was before I'd met them--
771
00:35:29,605 --> 00:35:31,172
just looking at the pictures
772
00:35:31,216 --> 00:35:34,001
and listening
to those first two albums,
773
00:35:34,044 --> 00:35:36,264
straightaway,
it all made sense.
774
00:35:36,308 --> 00:35:38,832
It seemed to me
that the only way
775
00:35:38,875 --> 00:35:40,529
that we could
get this happening
776
00:35:40,573 --> 00:35:43,750
is if we made it
a little bit more rock and roll
777
00:35:43,793 --> 00:35:47,057
and get an English
backing group with them.
778
00:35:47,101 --> 00:35:48,450
FEINSTEIN:
A friend of mine said,
779
00:35:48,494 --> 00:35:50,278
"I saw your old band buddies.
780
00:35:50,322 --> 00:35:52,193
"They're having a garage sale.
781
00:35:52,237 --> 00:35:54,195
And they told me that
they were moving to England."
782
00:35:54,239 --> 00:35:55,936
And I said, "What?
They're moving to England?
783
00:35:55,979 --> 00:35:56,980
News to me."
784
00:35:58,199 --> 00:35:59,461
RON:
A yard sale in anybody's yard
785
00:35:59,505 --> 00:36:02,595
in Los Angeles means
bad news for somebody.
786
00:36:02,638 --> 00:36:04,901
It was an agonizing decision
787
00:36:04,945 --> 00:36:06,990
for Ron and Russ to-to, uh,
788
00:36:07,034 --> 00:36:09,558
cut the band loose
and go to England.
789
00:36:09,602 --> 00:36:14,084
RON: To betray the other people
was a really difficult thing,
790
00:36:14,128 --> 00:36:17,566
but also knowing that being
791
00:36:17,610 --> 00:36:21,266
a British band
was a lifetime dream of ours.
792
00:36:21,309 --> 00:36:23,442
FEINSTEIN: They were
on the horns of a dilemma.
793
00:36:23,485 --> 00:36:25,574
Obviously, I think
they made the right decision.
794
00:36:25,618 --> 00:36:27,533
The rest is history.
795
00:36:27,576 --> 00:36:31,319
[bells chiming]
796
00:36:33,234 --> 00:36:35,236
RUSSELL:
The bands that we had admired,
797
00:36:35,280 --> 00:36:38,108
these English bands
that we liked so much,
798
00:36:38,152 --> 00:36:40,110
we always thought of them
as being glamorous
799
00:36:40,154 --> 00:36:42,896
and-and bigger than life.
800
00:36:42,939 --> 00:36:45,377
So, when we put out
these ads for band members,
801
00:36:45,420 --> 00:36:47,770
we were kind of trying
to find people
802
00:36:47,814 --> 00:36:51,034
that would fulfill that image
of ours of this England
803
00:36:51,078 --> 00:36:54,690
that was maybe
just in our minds.
804
00:36:56,214 --> 00:36:57,737
WINWOOD:
Straightaway, it worked.
805
00:36:57,780 --> 00:36:59,391
It just worked.
806
00:36:59,434 --> 00:37:01,697
HEWLETT: Each time
you'd go to the rehearsal room,
807
00:37:01,741 --> 00:37:04,178
there'd be something new there.
808
00:37:04,222 --> 00:37:05,614
I'm like, "Shit, that's good."
809
00:37:05,658 --> 00:37:07,137
Um, you know,
then the next rehearsal.
810
00:37:07,181 --> 00:37:08,400
"Wow, that song's good."
811
00:37:09,923 --> 00:37:12,665
WINWOOD: We found a momentum
very quickly,
812
00:37:12,708 --> 00:37:15,581
and when we got enough tracks
to make an album,
813
00:37:15,624 --> 00:37:17,322
then we said,
814
00:37:17,365 --> 00:37:18,758
"We've made an album."
815
00:37:18,801 --> 00:37:20,847
RUSSELL:
Well, everybody at Island was
816
00:37:20,890 --> 00:37:22,631
really ecstatic about the album
817
00:37:22,675 --> 00:37:24,372
and really supportive.
818
00:37:24,416 --> 00:37:25,939
And-and especially in picking
819
00:37:25,982 --> 00:37:27,419
"This Town Ain't Big Enough
for Both of Us"
820
00:37:27,462 --> 00:37:29,464
to be the first song,
'cause it was...
821
00:37:29,508 --> 00:37:31,292
you know,
it was taking a chance,
822
00:37:31,336 --> 00:37:34,687
it was going for something
that was really extreme.
823
00:37:36,210 --> 00:37:38,473
TONY VISCONTI: "This Town Ain't
Big Enough for the Both of Us"
824
00:37:38,517 --> 00:37:40,954
was the first record I heard
by them on the radio.
825
00:37:40,997 --> 00:37:43,696
I remember I-I had a, uh...
a darkroom in my home,
826
00:37:43,739 --> 00:37:45,437
and that came on in the dark.
827
00:37:45,480 --> 00:37:47,352
I nearly dropped my tongs,
828
00:37:47,395 --> 00:37:49,441
as they say
in the photography world.
829
00:37:49,484 --> 00:37:51,486
VINCE CLARKE: The first thing
that I ever bought was, um,
830
00:37:51,530 --> 00:37:53,183
"This Town Ain't Big Enough
for the Both of Us."
831
00:37:53,227 --> 00:37:54,794
I just played it nonstop
832
00:37:54,837 --> 00:37:57,231
until the grooves wore out
pretty much, you know.
833
00:37:57,275 --> 00:38:00,060
ANDY BELL: My granddad was
a wedding DJ, and he had
834
00:38:00,103 --> 00:38:01,148
"This Town Ain't Big Enough
835
00:38:01,191 --> 00:38:03,019
for the Both of Us" by Sparks.
836
00:38:03,063 --> 00:38:05,848
I remember hearing, uh,
837
00:38:05,892 --> 00:38:08,286
"This Town Ain't Big Enough for
the Both of Us" and just going,
838
00:38:08,329 --> 00:38:11,332
"I've never heard
anything like this."
839
00:38:11,376 --> 00:38:14,292
♪
840
00:38:25,041 --> 00:38:26,652
RUSSELL: Everyone at
the record label said,
841
00:38:26,695 --> 00:38:28,480
"It's gonna become a big hit
if we can just
842
00:38:28,523 --> 00:38:30,612
get you
on theTop of the Pops."
843
00:38:30,656 --> 00:38:33,223
The producer of the show was
a very dapper gentleman,
844
00:38:33,267 --> 00:38:35,878
and he said, "Oh, hello.
My name is Robin Nash.
845
00:38:35,922 --> 00:38:37,315
Nice to meet you."
846
00:38:37,358 --> 00:38:39,578
I said,
"Hi. My name is Russell."
847
00:38:39,621 --> 00:38:42,450
He was taken aback a bit
that I was an American,
848
00:38:42,494 --> 00:38:44,409
and he went
and made a phone call
849
00:38:44,452 --> 00:38:46,062
and had taken us off the show
850
00:38:46,106 --> 00:38:48,630
because we hadn't gotten
work permits.
851
00:38:48,674 --> 00:38:51,894
-So everyone at Island was
just distraught.-[screaming]
852
00:38:51,938 --> 00:38:53,592
It allowed another band,
853
00:38:53,635 --> 00:38:55,811
one of the greats of all time,
The Rubettes,
854
00:38:55,855 --> 00:38:58,118
to take our place,
855
00:38:58,161 --> 00:39:00,903
and so they sadly reached
number one.
856
00:39:00,947 --> 00:39:03,471
RON: You know, all through
our career, there have been
857
00:39:03,515 --> 00:39:07,519
The Rubettes
in-in some form or other.
858
00:39:07,562 --> 00:39:09,869
I love "Sugar Baby Love"
by The Rubettes.
859
00:39:09,912 --> 00:39:12,480
-WRIGHT: Ron will hate you
for that. -[laughs]
860
00:39:12,524 --> 00:39:15,440
DIFFORD:
But where are they now?
861
00:39:15,483 --> 00:39:18,094
RUSSELL: Finally, the British
Musicians' Union relented,
862
00:39:18,138 --> 00:39:19,705
and there we were.
863
00:39:19,748 --> 00:39:21,924
"This Town Ain't Big Enough
for the Both of Us."
864
00:39:21,968 --> 00:39:23,230
♪
865
00:39:23,273 --> 00:39:24,971
BJOÖRK:
I loved his voice.
866
00:39:25,014 --> 00:39:27,756
You know, I-I guess it was
kind of like a bit--
867
00:39:27,800 --> 00:39:31,020
I don't know what it was--
quite feminine, I guess.
868
00:39:31,064 --> 00:39:34,502
Quite sort of...
possessed or something.
869
00:39:34,546 --> 00:39:36,809
It definitely wasn't
like rock and roll.
870
00:39:36,852 --> 00:39:38,898
♪ Zoo time is
she and you time ♪
871
00:39:38,941 --> 00:39:40,856
♪ The mammals are
your favorite type ♪
872
00:39:40,900 --> 00:39:43,424
♪ And you want her tonight
873
00:39:43,468 --> 00:39:45,426
♪ Heartbeat,
increasing heartbeat ♪
874
00:39:45,470 --> 00:39:48,037
♪ You hear the thunder
of stampeding rhinos ♪
875
00:39:48,081 --> 00:39:50,257
♪ Elephants and tacky tigers
876
00:39:50,300 --> 00:39:54,087
♪ This town ain't big enough
for the both of us ♪
877
00:39:54,130 --> 00:39:58,047
♪ And it ain't me
who's gonna leave... ♪
878
00:39:58,091 --> 00:40:00,093
I think there were
60 million people
879
00:40:00,136 --> 00:40:01,964
at that time in the UK, and...
880
00:40:02,008 --> 00:40:05,315
and 15 million of them were
watching Top of the Pops.
881
00:40:06,795 --> 00:40:09,450
CLARKE: When I was growing up,
I never knew anybody
882
00:40:09,494 --> 00:40:11,365
that went to university,
but I never knew anyone
883
00:40:11,409 --> 00:40:13,019
that didn't watch
Top of the Pops.
884
00:40:13,062 --> 00:40:14,629
DIFFORD:
When I saw them
885
00:40:14,673 --> 00:40:16,152
onTop of the Pops
for the first time,
886
00:40:16,196 --> 00:40:19,504
I instantly wanted to be
the keyboard player.
887
00:40:19,547 --> 00:40:22,158
I wanted to be the quiet one
that didn't say anything.
888
00:40:22,202 --> 00:40:25,379
I remember sitting there
probably with my parents
889
00:40:25,423 --> 00:40:27,947
in front of Top of the Pops
on a Thursday night
890
00:40:27,990 --> 00:40:30,210
and seeing these two guys
on there,
891
00:40:30,253 --> 00:40:32,473
thinking, "What is that?"
892
00:40:32,517 --> 00:40:33,909
♪ Daily, except for Sunday
893
00:40:33,953 --> 00:40:36,042
♪ You dawdle into the café...
894
00:40:36,085 --> 00:40:37,260
MARK GATISS:
Everyone came
895
00:40:37,304 --> 00:40:38,827
to school the next day saying,
896
00:40:38,871 --> 00:40:40,525
"Did you see that guy?"
897
00:40:40,568 --> 00:40:41,961
[laughs]
898
00:40:42,004 --> 00:40:43,179
The-the man
who looked like Hitler.
899
00:40:44,746 --> 00:40:47,140
RON: A lot of people say,
"Why the Charlie Chaplin look?"
900
00:40:47,183 --> 00:40:49,447
And a lot of people say,
"Why the Hitler look?"
901
00:40:49,490 --> 00:40:51,492
And both of those people
902
00:40:51,536 --> 00:40:55,148
seem to me to be
cartoon characters in a way.
903
00:40:56,541 --> 00:40:58,368
MORLEY: The next day,
when you talk about it,
904
00:40:58,412 --> 00:41:00,849
the word of mouth begins
in a way that is viral--
905
00:41:00,893 --> 00:41:02,329
like we now have, obviously,
on everything--
906
00:41:02,372 --> 00:41:03,896
but back then,
that was a rare thing.
907
00:41:03,939 --> 00:41:05,506
And you start
to make things up slightly.
908
00:41:05,550 --> 00:41:07,160
One of my favorite anecdotes
909
00:41:07,203 --> 00:41:09,379
about thatTop of the Pops
appearance is...
910
00:41:09,423 --> 00:41:11,904
is John Lennon ringing up
Ringo Starr and saying...
911
00:41:11,947 --> 00:41:14,472
-You won't believe what's
on the television. -What?
912
00:41:14,515 --> 00:41:17,910
-Marc Bolan is playing a song
with Adolf Hitler. -Hitler?
913
00:41:17,953 --> 00:41:19,912
MORLEY: But that's how,
unfortunately, we all thought.
914
00:41:19,955 --> 00:41:20,913
We all thought
915
00:41:20,956 --> 00:41:22,567
Adolf Hitler.
916
00:41:22,610 --> 00:41:25,004
SHELLEY WINTERS: Two years ago,
there was somebody
917
00:41:25,047 --> 00:41:27,049
dressed like Hitler
playing the piano on the BBC.
918
00:41:27,093 --> 00:41:30,531
Sparks.
She's talking about Sparks.
919
00:41:30,575 --> 00:41:32,838
He-he was born
looking like Hitler, that guy.
920
00:41:32,881 --> 00:41:34,100
[laughter]
921
00:41:35,710 --> 00:41:37,407
MORLEY: From then on,
every single piece ever written
922
00:41:37,451 --> 00:41:40,541
about the group would just say
"Adolf Hitler," which also
923
00:41:40,585 --> 00:41:42,064
really kind of weirdly
tangled up
924
00:41:42,108 --> 00:41:43,370
in the myth of the group.
925
00:41:43,413 --> 00:41:45,590
You know,
the shock to the system
926
00:41:45,633 --> 00:41:48,897
as a piece of choreography,
let alone his appearance,
927
00:41:48,941 --> 00:41:50,551
was so remarkable
that immediately
928
00:41:50,595 --> 00:41:52,988
it started to grow
in your imagination.
929
00:41:53,032 --> 00:41:54,337
GILLIAN GILBERT:
They're playing this upbeat,
930
00:41:54,381 --> 00:41:56,818
energetic, fantastic music,
931
00:41:56,862 --> 00:41:58,690
and he just stood there.
932
00:41:58,733 --> 00:42:01,562
I think it's really clever.
933
00:42:01,606 --> 00:42:04,347
WINWOOD: The following day,
I remember going in
934
00:42:04,391 --> 00:42:07,002
and one of
the sales guys saying,
935
00:42:07,046 --> 00:42:10,310
"We've done 200,000 singles
today already.
936
00:42:10,353 --> 00:42:11,964
"The vans are out everywhere,
937
00:42:12,007 --> 00:42:15,228
and there were people
buying boxes of them."
938
00:42:15,271 --> 00:42:17,926
That is a fantastic feeling.
939
00:42:17,970 --> 00:42:20,712
RHODES: John and I have said,
"Always judge an album
940
00:42:20,755 --> 00:42:22,409
by its cover."
941
00:42:22,452 --> 00:42:25,238
Um, so if something has
a dreadful album cover,
942
00:42:25,281 --> 00:42:26,892
don't buy it.
943
00:42:26,935 --> 00:42:29,590
♪
944
00:42:29,634 --> 00:42:31,374
JONATHAN ROSS: The cover's
amazing, with the two
945
00:42:31,418 --> 00:42:33,333
kind of Geisha girls
with the smeared makeup on.
946
00:42:33,376 --> 00:42:36,031
Here, you have this image
which should be and could be
947
00:42:36,075 --> 00:42:37,337
perfect and pristine,
and if it had been
948
00:42:37,380 --> 00:42:38,773
another band of the period,
949
00:42:38,817 --> 00:42:40,383
it would have been--
there would have been...
950
00:42:40,427 --> 00:42:41,863
They would have been
more objectified.
951
00:42:41,907 --> 00:42:43,430
They're doing--
even with the visual,
952
00:42:43,473 --> 00:42:45,171
they're doing
something interesting,
953
00:42:45,214 --> 00:42:46,955
but you can't quite put
your finger on what it is.
954
00:42:46,999 --> 00:42:49,610
MYERS: I was like, "Oh, my God,
this is fantastic."
955
00:42:49,654 --> 00:42:52,961
At once like
fashion photography,
956
00:42:53,005 --> 00:42:56,486
and at once making fun
of fashion photography.
957
00:42:56,530 --> 00:42:59,228
And I think that is something
I love about Sparks is that
958
00:42:59,272 --> 00:43:00,926
they are the ones
959
00:43:00,969 --> 00:43:02,754
they were to mock,
you know, in a weird way.
960
00:43:03,842 --> 00:43:05,583
TAYLOR:
The art direction's just superb.
961
00:43:05,626 --> 00:43:07,802
Imagine, you know, us trying
to convince our record label,
962
00:43:07,846 --> 00:43:10,109
"No, no, no, we don't want
the name of the band,
963
00:43:10,152 --> 00:43:12,633
"uh, uh, and the title
of the album on the front.
964
00:43:12,677 --> 00:43:15,070
No, that's going on the back."
965
00:43:15,114 --> 00:43:18,030
JULIA MARCUS: The joy of
actually having this fantastic
966
00:43:18,073 --> 00:43:19,466
12-inch vinyl in front of you,
967
00:43:19,509 --> 00:43:21,076
and it had the lyrics
on it as well,
968
00:43:21,120 --> 00:43:22,643
and then you're reading
through the lyrics,
969
00:43:22,687 --> 00:43:23,731
and you're thinking,
970
00:43:23,775 --> 00:43:25,603
"This band are amazing."
971
00:43:25,646 --> 00:43:27,909
I had to know everything
about them
972
00:43:27,953 --> 00:43:30,651
and threw myself
into being a fan.
973
00:43:30,695 --> 00:43:33,219
[cheering]
974
00:43:33,262 --> 00:43:35,351
♪
975
00:43:47,189 --> 00:43:49,278
RICHARD COBLE: The first tour
was really exciting.
976
00:43:49,322 --> 00:43:50,584
The audience would
just go crazy.
977
00:43:50,628 --> 00:43:53,805
I mean, it was just fandom.
978
00:43:53,848 --> 00:43:55,545
RUSSELL:
We were now thrown into kind of
979
00:43:55,589 --> 00:43:57,112
what we thought was the...
sort of the big league,
980
00:43:57,156 --> 00:44:00,289
having the success
ofKimono My House.
981
00:44:00,333 --> 00:44:03,031
The concerts we were doing
at that time were just
982
00:44:03,075 --> 00:44:04,642
-really wild events.
-[raucous cheering]
983
00:44:04,685 --> 00:44:06,948
And I remember one
in Liverpool,
984
00:44:06,992 --> 00:44:08,602
we were pressed
against the glass
985
00:44:08,646 --> 00:44:10,430
of the exterior of the hotel,
986
00:44:10,473 --> 00:44:13,041
just smashed against
the front of the building,
987
00:44:13,085 --> 00:44:14,652
and then finally somebody
helped rescue us
988
00:44:14,695 --> 00:44:16,305
and we went
through the kitchen.
989
00:44:16,349 --> 00:44:18,090
You know, it was
a really special period.
990
00:44:18,133 --> 00:44:20,483
♪ Amateur hour goes on and on,
and when you turn pro ♪
991
00:44:20,527 --> 00:44:22,050
♪ You know,
she'll let you know... ♪
992
00:44:22,094 --> 00:44:24,096
STEVE JONES:
I remember vividly seeing them
993
00:44:24,139 --> 00:44:25,967
at Hammersmith Odeon.
994
00:44:26,011 --> 00:44:29,492
And I remember being really
excited about seeing them.
995
00:44:29,536 --> 00:44:34,062
There was a lot of screaming
'cause of cutie-pie on vocals.
996
00:44:34,106 --> 00:44:36,630
It was a given after they'd
been onTop of the Pops.
997
00:44:36,674 --> 00:44:38,893
♪ Our voices change
at a rapid pace... ♪
998
00:44:38,937 --> 00:44:39,938
NICK HEYWARD:
I lived in Beckenham,
999
00:44:39,981 --> 00:44:42,375
and, uh, that's where I saw
1000
00:44:42,418 --> 00:44:44,638
Ron and Russell
walking down the street.
1001
00:44:44,682 --> 00:44:46,205
And that was
a very strange experience.
1002
00:44:46,248 --> 00:44:48,076
I thought they didn't
really exist.
1003
00:44:48,120 --> 00:44:50,383
You know, they existed onstage,
they existed on the TV,
1004
00:44:50,426 --> 00:44:52,733
and, you know,
they were from other lands.
1005
00:44:52,777 --> 00:44:54,213
I remember sort of
wanting to hide.
1006
00:44:54,256 --> 00:44:55,997
♪ Amateur hour goes on and on
1007
00:44:56,041 --> 00:44:57,782
♪ And when you turn pro,
you know... ♪
1008
00:44:57,825 --> 00:44:59,827
We knew when they were
gonna be at the BBC.
1009
00:44:59,871 --> 00:45:01,699
We knew when they
were gonna be at Capital.
1010
00:45:01,742 --> 00:45:03,962
We knew when they were getting
off a plane at Heathrow.
1011
00:45:04,005 --> 00:45:06,138
We were detectives
in terms of actually
1012
00:45:06,181 --> 00:45:07,879
finding stuff out about them.
1013
00:45:07,922 --> 00:45:09,707
You know, it was
a full-time job
1014
00:45:09,750 --> 00:45:11,621
to make sure we were
on top of it.
1015
00:45:11,665 --> 00:45:14,755
We'd been to see them
quite a few times in London.
1016
00:45:14,799 --> 00:45:17,410
The excitement never,
ever went away.
1017
00:45:17,453 --> 00:45:19,717
It was always just a-a thrill.
1018
00:45:19,760 --> 00:45:22,110
COBLE: Somebody cut the budget
the morning of the show,
1019
00:45:22,154 --> 00:45:23,851
so they canceled security,
1020
00:45:23,895 --> 00:45:25,940
so it was really insane.
1021
00:45:25,984 --> 00:45:28,551
Oh, God, there I am, yeah.
1022
00:45:28,595 --> 00:45:30,684
-[Coble laughs]
-[raucous cheering]
1023
00:45:32,381 --> 00:45:34,296
MARCUS: Obviously,
Russell was beautiful,
1024
00:45:34,340 --> 00:45:35,950
but I always loved Ron.
1025
00:45:35,994 --> 00:45:38,039
He was different.
1026
00:45:38,083 --> 00:45:40,346
He was a little bit
more challenging.
1027
00:45:40,389 --> 00:45:45,046
I really felt like I could
kind of go places with Ron.
1028
00:45:45,090 --> 00:45:47,353
Oh, that's me.
That's me. That's me.
1029
00:45:47,396 --> 00:45:49,790
I've just put my arm round him.
1030
00:45:49,834 --> 00:45:52,314
[laughing]
1031
00:45:52,358 --> 00:45:54,316
I kind of got to him
1032
00:45:54,360 --> 00:45:58,320
and sort of really did realize
in that moment
1033
00:45:58,364 --> 00:46:00,714
that this was
a terrible thing to do.
1034
00:46:00,758 --> 00:46:02,977
This was a disaster.
1035
00:46:03,021 --> 00:46:05,066
I'm never gonna be able
to talk to him
1036
00:46:05,110 --> 00:46:06,981
on a serious level now
about, you know,
1037
00:46:07,025 --> 00:46:09,941
his love of French cinema
or The Beach Boys.
1038
00:46:09,984 --> 00:46:13,509
I was doomed forever
to be a child to him.
1039
00:46:13,553 --> 00:46:16,643
For everyone's safety,
I think we should have
1040
00:46:16,686 --> 00:46:18,819
a little restraint
in the hall, okay?
1041
00:46:18,863 --> 00:46:21,213
HEWLETT:
I mean, I've always been, like,
1042
00:46:21,256 --> 00:46:23,781
a believer in just--
go for it, you know?
1043
00:46:23,824 --> 00:46:24,825
If you've got material,
1044
00:46:24,869 --> 00:46:26,174
record.
1045
00:46:26,218 --> 00:46:27,872
Tour, record.
Just keep doing it.
1046
00:46:27,915 --> 00:46:29,308
["Never Turn Your Back on
Mother Earth" by Sparks plays]
1047
00:46:29,351 --> 00:46:34,269
♪ When she's on
her best behavior ♪
1048
00:46:34,313 --> 00:46:39,187
♪ Don't be tempted
by her favors ♪
1049
00:46:39,231 --> 00:46:42,843
♪ Never turn your back
1050
00:46:42,887 --> 00:46:45,237
♪ On Mother Earth
1051
00:46:49,458 --> 00:46:53,941
♪ Towns are hurled
from A to B ♪
1052
00:46:53,985 --> 00:46:59,425
♪ By hands that looked
so smooth to me ♪
1053
00:46:59,468 --> 00:47:02,907
♪ Never turn your back
1054
00:47:02,950 --> 00:47:05,518
♪ On Mother Earth...
1055
00:47:05,561 --> 00:47:07,607
COBLE: For two years,
we toured the world,
1056
00:47:07,650 --> 00:47:08,782
and we had a great time.
1057
00:47:09,870 --> 00:47:11,611
IAN HAMPTON:
It was very, very hectic
1058
00:47:11,654 --> 00:47:13,656
touring withKimono
and then recordingPropaganda
1059
00:47:13,700 --> 00:47:15,571
kind of at the same time.
1060
00:47:15,615 --> 00:47:17,312
But it was good fun.
1061
00:47:17,356 --> 00:47:20,098
♪ To my friends
1062
00:47:20,141 --> 00:47:22,143
♪ To my friends...
1063
00:47:22,187 --> 00:47:23,841
HEWLETT:
Ron's like a writing machine.
1064
00:47:23,884 --> 00:47:25,494
He wasn't, you know, one for
1065
00:47:25,538 --> 00:47:27,322
drinking in the bar
with the guys,
1066
00:47:27,366 --> 00:47:29,237
and in some ways,
he was quite aloof,
1067
00:47:29,281 --> 00:47:30,848
but that's what Ronnie
would be doing--
1068
00:47:30,891 --> 00:47:32,327
thinking and writing.
1069
00:47:32,371 --> 00:47:34,590
And so the material
kept coming.
1070
00:47:34,634 --> 00:47:36,897
Obviously, that was
a demand upon him
1071
00:47:36,941 --> 00:47:39,900
but one that I think
he kind of thrives on.
1072
00:47:39,944 --> 00:47:42,860
♪ On Mother Earth.
1073
00:47:47,386 --> 00:47:49,910
WINWOOD: There's always
massive pressures
1074
00:47:49,954 --> 00:47:51,738
if you've been successful
the first time
1075
00:47:51,781 --> 00:47:53,740
because, first of all,
everybody tells you
1076
00:47:53,783 --> 00:47:55,916
you're a genius,
and then they say,
1077
00:47:55,960 --> 00:47:58,571
"Now do it again."
1078
00:47:58,614 --> 00:48:01,052
Eins, zwei, drei, vier.
Eins, zwei, drei, vier.
1079
00:48:01,095 --> 00:48:04,055
♪ Something for the girl
with everything ♪
1080
00:48:04,098 --> 00:48:05,665
♪ See, the writing's
on the wall ♪
1081
00:48:05,708 --> 00:48:07,710
♪ You bought the girl a wall
1082
00:48:07,754 --> 00:48:10,191
♪ Complete with matching
ballpoint pen ♪
1083
00:48:10,235 --> 00:48:12,193
♪ You can breathe another day
1084
00:48:12,237 --> 00:48:15,066
♪ Secure in knowing
she won't break you yet ♪
1085
00:48:15,109 --> 00:48:17,764
♪ Something for the girl
with everything... ♪
1086
00:48:17,807 --> 00:48:19,592
RON:
I'm not exactly sure
1087
00:48:19,635 --> 00:48:22,203
how we were able to come up
with Propagandaso soon
1088
00:48:22,247 --> 00:48:24,945
after Kimono My House,
and especially
1089
00:48:24,989 --> 00:48:25,946
with all the touring.
1090
00:48:25,990 --> 00:48:27,034
I mean, I think
1091
00:48:27,078 --> 00:48:28,775
part of the thing was just being
1092
00:48:28,818 --> 00:48:29,950
in that milieu.
1093
00:48:29,994 --> 00:48:31,343
♪ Yes, everything
1094
00:48:31,386 --> 00:48:33,301
♪ Hey, come out and say hello
1095
00:48:33,345 --> 00:48:34,824
♪ Before our friends
all go... ♪
1096
00:48:34,868 --> 00:48:36,739
RON:
There was pure excitement
1097
00:48:36,783 --> 00:48:40,308
knowing that you're on this,
you know, fast-moving train
1098
00:48:40,352 --> 00:48:42,484
and-and kind of
you had to kind of
1099
00:48:42,528 --> 00:48:45,357
keep up with that
by coming up with the material.
1100
00:48:46,880 --> 00:48:49,056
MAN: Great, boys. We'll have
to put the piano on again
1101
00:48:49,100 --> 00:48:51,406
'cause Ronnie fell
off the stool.
1102
00:48:51,450 --> 00:48:53,452
-[train screeching]
-Is that a train?
1103
00:48:54,714 --> 00:48:58,370
And now, as all good things
come to an end,
1104
00:48:58,413 --> 00:49:01,634
we must say goodbye to Zurich,
1105
00:49:01,677 --> 00:49:04,071
auf Wiedersehen to Zurich,
1106
00:49:04,115 --> 00:49:06,073
uh, ciao, Zurich,
1107
00:49:06,117 --> 00:49:09,207
and bon voyage, Zurich.
1108
00:49:09,250 --> 00:49:10,948
♪ Bon voyage...
1109
00:49:10,991 --> 00:49:12,601
HEWLETT:
When the idea was presented
1110
00:49:12,645 --> 00:49:14,690
for the cover,
there was no question.
1111
00:49:14,734 --> 00:49:17,867
I mean, it was like, "These
guys know what they're doing.
1112
00:49:17,911 --> 00:49:19,913
You know, we'll go along
with whatever you want."
1113
00:49:19,957 --> 00:49:23,873
WINWOOD: Yet again,
this is that thing of theirs
1114
00:49:23,917 --> 00:49:27,007
where somehow
they marry their music
1115
00:49:27,051 --> 00:49:30,271
and their visuals
so brilliantly together.
1116
00:49:30,315 --> 00:49:32,708
This is me holding up
the front of it
1117
00:49:32,752 --> 00:49:34,710
so that you can cut to it.
1118
00:49:34,754 --> 00:49:37,975
This is me holding up
the back of it.
1119
00:49:38,018 --> 00:49:40,890
They're obviously
being kidnapped.
1120
00:49:40,934 --> 00:49:43,154
Probably, they're gonna be
thrown overboard and drowned.
1121
00:49:43,197 --> 00:49:46,896
Then you go to the back,
and they're tied up
1122
00:49:46,940 --> 00:49:48,246
in the back of the car.
1123
00:49:48,289 --> 00:49:49,987
And the inside cover,
1124
00:49:50,030 --> 00:49:52,859
they have somehow
not been drowned,
1125
00:49:52,902 --> 00:49:54,556
they haven't been thrown
out of a car,
1126
00:49:54,600 --> 00:49:57,037
and by working together,
1127
00:49:57,081 --> 00:50:00,693
you think maybe they are
phoning the police.
1128
00:50:00,736 --> 00:50:04,044
And I love the fact that
there is some kind of story.
1129
00:50:04,088 --> 00:50:05,785
WRIGHT:
It could be in the other order.
1130
00:50:05,828 --> 00:50:07,526
It could be that
the hotel one is the start,
1131
00:50:07,569 --> 00:50:09,006
then they're put in the car,
1132
00:50:09,049 --> 00:50:10,572
and then they're killed
on the boat.
1133
00:50:10,616 --> 00:50:13,053
-That's why you're a director.
-[laughter]
1134
00:50:13,097 --> 00:50:16,578
WINWOOD: When you make
successful records,
1135
00:50:16,622 --> 00:50:21,496
there's always a moment in time
where you've got to say,
1136
00:50:21,540 --> 00:50:24,717
"Do we carry on
using the same formula,
1137
00:50:24,760 --> 00:50:27,024
or do we change the formula?"
1138
00:50:27,067 --> 00:50:28,677
You've got to make changes.
1139
00:50:28,721 --> 00:50:30,375
You've got to move things on.
1140
00:50:30,418 --> 00:50:32,725
And, uh, I was one of
the things that was moved on,
1141
00:50:32,768 --> 00:50:34,335
but that's okay.
1142
00:50:34,379 --> 00:50:36,816
["Get in the Swing"
by Sparks playing]
1143
00:50:36,859 --> 00:50:38,948
♪ Get in
the swing, pal ♪
1144
00:50:38,992 --> 00:50:40,515
♪ Get in the swing
1145
00:50:40,559 --> 00:50:43,214
♪ With everybody
and everything... ♪
1146
00:50:43,257 --> 00:50:47,261
HAMPTON: I loved what Muff did
onPropaganda andKimono,
1147
00:50:47,305 --> 00:50:49,089
and the next album went
to Tony Visconti,
1148
00:50:49,133 --> 00:50:51,048
and it changed rapidly.
1149
00:50:51,091 --> 00:50:53,180
Everything changed.
1150
00:50:53,224 --> 00:50:55,878
♪ When salmon spawn...
1151
00:50:55,922 --> 00:50:57,924
They certainly got
Tony Visconti
1152
00:50:57,967 --> 00:50:59,708
at the height of his powers,
1153
00:50:59,752 --> 00:51:02,581
when he was working
with Bowie a lot and T. Rex,
1154
00:51:02,624 --> 00:51:05,323
uh, making
amazing-sounding records.
1155
00:51:05,366 --> 00:51:07,368
♪ But on they go...
1156
00:51:07,412 --> 00:51:09,370
VISCONTI: They didn't want
to make it necessarily
1157
00:51:09,414 --> 00:51:11,677
a strict, straight-up
band record.
1158
00:51:11,720 --> 00:51:12,721
They wanted
1159
00:51:12,765 --> 00:51:14,636
kind of the equivalent of
1160
00:51:14,680 --> 00:51:17,291
Sgt. Pepper's Lonely Hearts
Club Bandfor themselves,
1161
00:51:17,335 --> 00:51:20,425
which was difficult for
the other members of the band.
1162
00:51:20,468 --> 00:51:22,992
♪ And have a warm bed
waiting... ♪
1163
00:51:23,036 --> 00:51:24,690
RON:
We're not gonna be fooling
1164
00:51:24,733 --> 00:51:26,561
either ourselves
or anybody else
1165
00:51:26,605 --> 00:51:30,130
if the thing just sounds like
it's going through the motions.
1166
00:51:30,174 --> 00:51:32,001
We're willing
to take the chance,
1167
00:51:32,045 --> 00:51:34,569
however many people are...
feel alienated.
1168
00:51:34,613 --> 00:51:36,223
♪ With everybody
and everything... ♪
1169
00:51:36,267 --> 00:51:38,051
BECK:
I know that feeling.
1170
00:51:38,095 --> 00:51:40,358
Maybe that's just
the-the instinct
1171
00:51:40,401 --> 00:51:43,056
of somebody who's coming
1172
00:51:43,100 --> 00:51:44,579
from a place of art,
1173
00:51:44,623 --> 00:51:46,538
not necessarily trying
to make a hit.
1174
00:51:46,581 --> 00:51:49,236
♪ All for one, one for all...
1175
00:51:49,280 --> 00:51:50,542
VISCONTI:
We just let our imaginations
1176
00:51:50,585 --> 00:51:52,152
soar on every song in it.
1177
00:51:52,196 --> 00:51:54,372
You know, it does sound
like Sparks, but I mean,
1178
00:51:54,415 --> 00:51:55,808
it's so far out.
1179
00:51:55,851 --> 00:51:58,158
♪ One, two, three, one, two
1180
00:51:58,202 --> 00:52:00,073
["Under the Table with Her"
by Sparks playing]
1181
00:52:00,117 --> 00:52:01,944
HAMPTON: I never understood
any of it, actually.
1182
00:52:01,988 --> 00:52:04,121
Things like
"Under the Table with Her."
1183
00:52:04,164 --> 00:52:06,166
My God, what's that about?
[chuckles]
1184
00:52:06,210 --> 00:52:07,907
♪ Nobody misses
1185
00:52:07,950 --> 00:52:10,170
♪ Diminutive offspring
1186
00:52:10,214 --> 00:52:12,433
♪ Not when there's
big wigs there... ♪
1187
00:52:12,477 --> 00:52:14,174
VISCONTI:
"Dinner for 12 is now
1188
00:52:14,218 --> 00:52:16,742
dinner for ten because I'm
under the table with her."
1189
00:52:16,785 --> 00:52:19,397
I mean, it... I...
[laughs]: That's just so funny.
1190
00:52:19,440 --> 00:52:21,399
♪ With her...
1191
00:52:24,228 --> 00:52:26,708
GAIMAN:
You had Russell singing songs
1192
00:52:26,752 --> 00:52:30,756
with lyrics
that I always suspected,
1193
00:52:30,799 --> 00:52:34,760
as a 12-, 13-, 14-year-old,
were dirty.
1194
00:52:34,803 --> 00:52:37,154
What made it even weirder
was the only song of theirs
1195
00:52:37,197 --> 00:52:40,418
that I was convinced
wasn't dirty
1196
00:52:40,461 --> 00:52:42,115
was called "Tits."
1197
00:52:42,159 --> 00:52:43,812
GARY STEWART: The minute,
I think, a lot of people
1198
00:52:43,856 --> 00:52:45,510
see that
or saw that song title,
1199
00:52:45,553 --> 00:52:47,729
which was asterisked,
think like,
1200
00:52:47,773 --> 00:52:50,297
"Oh, this is, like,
a, you know...
1201
00:52:50,341 --> 00:52:53,082
a sexy, rockin',
hyper-masculine song,"
1202
00:52:53,126 --> 00:52:54,736
if you didn't know Sparks.
1203
00:52:54,780 --> 00:52:57,304
If you knew Sparks, you probably
should have known better.
1204
00:52:57,348 --> 00:53:00,046
GAIMAN:
It's about a drunk in a bar
1205
00:53:00,089 --> 00:53:03,571
grumbling about the fact
that his wife's tits
1206
00:53:03,615 --> 00:53:06,574
are no longer recreational
pleasure objects for him
1207
00:53:06,618 --> 00:53:08,794
but she's using them
for feeding the baby.
1208
00:53:10,448 --> 00:53:11,840
♪ God, these drinks...
1209
00:53:11,884 --> 00:53:14,452
And by the way, you realize
1210
00:53:14,495 --> 00:53:17,237
he's also, uh, complaining that
the guy that he is drunkenly
1211
00:53:17,281 --> 00:53:20,458
telling this to is also having
an affair with his wife.
1212
00:53:20,501 --> 00:53:21,763
♪ Fine from behind...
1213
00:53:21,807 --> 00:53:23,330
That one, at least,
1214
00:53:23,374 --> 00:53:26,203
I-I figured
I got to decode properly.
1215
00:53:26,246 --> 00:53:28,030
♪ Harry, drink
till you can't see... ♪
1216
00:53:28,074 --> 00:53:30,598
And normally, the codes
were not that easily cracked.
1217
00:53:30,642 --> 00:53:32,165
You can look at the title,
1218
00:53:32,209 --> 00:53:34,123
you can look at the idea
and laugh,
1219
00:53:34,167 --> 00:53:35,516
or you can go deeper
1220
00:53:35,560 --> 00:53:37,779
and grow
and maybe have a good time,
1221
00:53:37,823 --> 00:53:39,912
maybe a sense of humor.
1222
00:53:39,955 --> 00:53:42,262
And... cue Sparks.
1223
00:53:42,306 --> 00:53:44,569
FLEA: Something that's always
kind of confounded me
1224
00:53:44,612 --> 00:53:46,266
in popular music
1225
00:53:46,310 --> 00:53:49,704
is people's inability
to take humor seriously.
1226
00:53:49,748 --> 00:53:51,706
And I think that's
one of the things, like,
1227
00:53:51,750 --> 00:53:53,926
why a band like Sparks
isn't as big
1228
00:53:53,969 --> 00:53:55,319
as the biggest bands
in the world.
1229
00:53:55,362 --> 00:53:57,234
'Cause they're fucking funny.
1230
00:53:57,277 --> 00:53:59,279
♪ Looks, looks, looks
1231
00:53:59,323 --> 00:54:02,413
♪ You had sense, you had style,
you had cash galore... ♪
1232
00:54:02,456 --> 00:54:04,545
"WEIRD AL" YANKOVIC:
A lot of critics and some fans,
1233
00:54:04,589 --> 00:54:05,764
uh, sometimes denigrate bands
1234
00:54:05,807 --> 00:54:07,418
that show their sense of humor.
1235
00:54:07,461 --> 00:54:09,811
Like, "Oh, it's a comedy band.
It's a joke band."
1236
00:54:09,855 --> 00:54:11,509
I just don't get that.
1237
00:54:11,552 --> 00:54:13,728
I don't know why it has
to be so stinking serious.
1238
00:54:13,772 --> 00:54:16,253
♪ You got a built-in seat
that makes you look effete... ♪
1239
00:54:16,296 --> 00:54:18,472
VISCONTI: I thought it was
gonna be a smash hit album
1240
00:54:18,516 --> 00:54:20,648
because it was so different
and anyone could see
1241
00:54:20,692 --> 00:54:23,825
that we spent hours of work
and put detail in it
1242
00:54:23,869 --> 00:54:25,566
and the songs were so great
1243
00:54:25,610 --> 00:54:26,872
and Russell's singing
1244
00:54:26,915 --> 00:54:28,526
was amazing.
1245
00:54:28,569 --> 00:54:30,354
The world just didn't
agree with us, you know?
1246
00:54:30,397 --> 00:54:32,747
It did well but not that well.
1247
00:54:32,791 --> 00:54:36,273
RON:
We were so irate at just
1248
00:54:36,316 --> 00:54:38,231
the lack of acceptance
for what we thought
1249
00:54:38,275 --> 00:54:40,625
was an amazing album
1250
00:54:40,668 --> 00:54:42,322
that we were
seriously considering
1251
00:54:42,366 --> 00:54:44,281
recording "Louie Louie"
as our next single,
1252
00:54:44,324 --> 00:54:46,761
you know, just for spite.
1253
00:54:46,805 --> 00:54:52,071
♪ Someday we'll have
one extra coastline ♪
1254
00:54:52,114 --> 00:54:56,162
♪ We'll tire of the Atlantic
1255
00:54:56,205 --> 00:54:59,774
♪ By then, we'll be rid
of your lot ♪
1256
00:54:59,818 --> 00:55:02,603
♪ A shot heard round the world
will soon be shot ♪
1257
00:55:02,647 --> 00:55:04,605
♪ Will soon be shot...
1258
00:55:04,649 --> 00:55:06,825
HEWLETT: When that tour ended,
Ron and Russell put it in
1259
00:55:06,868 --> 00:55:08,827
that they don't want
to live in London anymore.
1260
00:55:08,870 --> 00:55:11,351
They want to go back to L.A.
Totally understandable.
1261
00:55:11,395 --> 00:55:13,571
Um, after, you know,
some years away and touring.
1262
00:55:13,614 --> 00:55:17,966
But to ditch the band
needn't have been part of that.
1263
00:55:18,010 --> 00:55:19,707
HAMPTON:
They didn't actually sack me.
1264
00:55:19,751 --> 00:55:21,840
It was mutual, really.
1265
00:55:23,102 --> 00:55:24,712
That was it.
1266
00:55:24,756 --> 00:55:26,279
Band over.
1267
00:55:26,323 --> 00:55:27,846
HEWLETT:
Certainly, it gutted me.
1268
00:55:27,889 --> 00:55:29,674
I mean, I was really upset.
1269
00:55:29,717 --> 00:55:32,024
I mean, it was just folded,
and that was it.
1270
00:55:32,067 --> 00:55:33,982
You know, people went
their separate ways.
1271
00:55:34,026 --> 00:55:36,202
It was a shock,
of course, you know,
1272
00:55:36,245 --> 00:55:38,770
but Ian, I think,
just accepted it.
1273
00:55:38,813 --> 00:55:40,902
HAMPTON:
I could understand why.
1274
00:55:40,946 --> 00:55:43,731
They don't care about
the money or the fame.
1275
00:55:43,775 --> 00:55:44,732
Art for art's sake--
1276
00:55:44,776 --> 00:55:46,734
I respect them for it.
1277
00:55:46,778 --> 00:55:49,520
♪ I am the king.
1278
00:55:49,563 --> 00:55:51,609
[cheering]
1279
00:55:53,915 --> 00:55:55,830
-Thank you! Thank you!
-[song ends]
1280
00:56:01,749 --> 00:56:05,144
RON: I've always admired
French directors like Godard
1281
00:56:05,187 --> 00:56:08,016
that were kind of rebellious
against the whole system
1282
00:56:08,060 --> 00:56:10,628
and the whole idea even
of what cinema was
1283
00:56:10,671 --> 00:56:14,762
that they were almost
slightly standing outside
1284
00:56:14,806 --> 00:56:17,548
of filmmaking while
they were making a film.
1285
00:56:17,591 --> 00:56:19,898
It was kind of
inspirational to us.
1286
00:56:19,941 --> 00:56:22,422
HEWLETT: Ron and Russell
always had a desire
1287
00:56:22,466 --> 00:56:24,076
to write music in movies,
1288
00:56:24,119 --> 00:56:27,427
and they love movies and
wanted to be a part of movies.
1289
00:56:27,471 --> 00:56:29,516
RON: In the '70s, one of
our favorite filmmakers
1290
00:56:29,560 --> 00:56:31,649
was Jacques Tati.
1291
00:56:31,692 --> 00:56:34,782
Tati, at that time, was looking
to expand his audience
1292
00:56:34,826 --> 00:56:36,915
to younger people,
1293
00:56:36,958 --> 00:56:38,569
and somehow he thought that
1294
00:56:38,612 --> 00:56:40,397
maybe connecting with a band
1295
00:56:40,440 --> 00:56:42,137
would be a way for him
to broaden
1296
00:56:42,181 --> 00:56:43,835
the appeal of his films.
1297
00:56:43,878 --> 00:56:46,141
INTERVIEWER: Well, how was
that, uh, film project
1298
00:56:46,185 --> 00:56:47,708
with, uh, Jacques Tati?
1299
00:56:47,752 --> 00:56:49,449
-Whoa. There. You got it.
-Lost the cake.
1300
00:56:49,493 --> 00:56:51,277
Did you get it? Did you get it?
1301
00:56:51,320 --> 00:56:52,583
That's a film project, that is.
1302
00:56:52,626 --> 00:56:54,236
Did you get it?
1303
00:56:54,280 --> 00:56:57,849
Our-our film project
with Tati is...
1304
00:56:57,892 --> 00:57:00,895
could relate to that cake,
what just happened to it.
1305
00:57:00,939 --> 00:57:02,767
It's just fallen to bits.
1306
00:57:02,810 --> 00:57:06,248
RON: His health was not
as good as it had been,
1307
00:57:06,292 --> 00:57:09,077
and so the project
just sort of dissipated.
1308
00:57:09,121 --> 00:57:11,297
You know, we have
very few things
1309
00:57:11,340 --> 00:57:14,474
that we regret
not having happened, but,
1310
00:57:14,518 --> 00:57:16,911
you know, I probably
would have retired after that.
1311
00:57:17,869 --> 00:57:20,785
♪
1312
00:57:20,828 --> 00:57:24,963
HEWLETT:
Evolving their concept of art is
1313
00:57:25,006 --> 00:57:26,704
paramount to them.
1314
00:57:26,747 --> 00:57:28,923
That's what they have always
striven for and believe in.
1315
00:57:28,967 --> 00:57:30,751
RUSSELL: I think,
when we didBig Beat,
1316
00:57:30,795 --> 00:57:32,057
we really just wanted
1317
00:57:32,100 --> 00:57:34,712
to change the sound yet again.
1318
00:57:34,755 --> 00:57:38,716
RON: We're trying to be
a little less British,
1319
00:57:38,759 --> 00:57:40,674
in a certain sense.
1320
00:57:41,719 --> 00:57:43,677
In any sort of art form,
you need to keep
1321
00:57:43,721 --> 00:57:45,679
pushing yourself forward.
1322
00:57:45,723 --> 00:57:47,942
Otherwise, you just sort of...
you're a shark,
1323
00:57:47,986 --> 00:57:50,075
and you stop moving,
and you just... you die.
1324
00:57:50,118 --> 00:57:52,730
SAL MAIDA: Ron and Russell
had come to New York
1325
00:57:52,773 --> 00:57:54,601
to do this hard rock record
1326
00:57:54,645 --> 00:57:56,298
and change directions
1327
00:57:56,342 --> 00:57:59,127
and try to break America.
1328
00:57:59,171 --> 00:58:01,260
MICHAELS:
Russell says, "Well, look,
1329
00:58:01,303 --> 00:58:02,653
"we don't have a band
1330
00:58:02,696 --> 00:58:05,917
anymore, so do you know
a great drummer?"
1331
00:58:05,960 --> 00:58:08,180
-[drumbeat playing]
-[laughs]
1332
00:58:10,878 --> 00:58:16,710
Sparks is musically
an enigma to begin with.
1333
00:58:16,754 --> 00:58:21,323
Indiscreet doesn't sound
likeKimono My House,
1334
00:58:21,367 --> 00:58:25,371
and Big Beatis
completely different.
1335
00:58:25,414 --> 00:58:28,766
THURSTON MOORE: I remember
Big Beat coming out
1336
00:58:28,809 --> 00:58:29,854
and sort of considering it,
1337
00:58:29,897 --> 00:58:32,552
like, more as this kind of part
1338
00:58:32,596 --> 00:58:34,859
of the new
punk records.
1339
00:58:37,601 --> 00:58:39,994
PETER KNEGO: Sparks are always
pushing new boundaries
1340
00:58:40,038 --> 00:58:41,561
and changing their sound,
1341
00:58:41,605 --> 00:58:43,781
often to the deep frustration
of their fan base.
1342
00:58:43,824 --> 00:58:45,739
♪ I'm coming and I'm going...
1343
00:58:45,783 --> 00:58:48,699
KAPRANOS: You know, I think
the fans ofKimono My House
1344
00:58:48,742 --> 00:58:50,178
andIndiscreet
1345
00:58:50,222 --> 00:58:51,832
and Propaganda,
1346
00:58:51,876 --> 00:58:54,182
I imagine they felt
a little bit let down.
1347
00:58:54,226 --> 00:58:56,445
And that's great--
you shouldn't pander
1348
00:58:56,489 --> 00:58:58,143
to the expectations
1349
00:58:58,186 --> 00:59:01,712
of the conservative element
of your fan base.
1350
00:59:01,755 --> 00:59:04,715
Because if you did, you-you'd
make conservative music.
1351
00:59:06,151 --> 00:59:08,893
MICHAEL SILVERBLATT:
That record is written by
1352
00:59:08,936 --> 00:59:11,243
the anti-Sparks.
1353
00:59:11,286 --> 00:59:13,201
Lyrically,
they'd just go mental.
1354
00:59:13,245 --> 00:59:15,247
[chuckles]
"Everybody's Stupid," right?
1355
00:59:15,290 --> 00:59:17,945
[imitating guitar riff
from "Everybody's Stupid"]
1356
00:59:19,207 --> 00:59:20,861
TOSH BERMAN:
When I first heard that record,
1357
00:59:20,905 --> 00:59:22,471
I found it kind of shocking
because the songs were
1358
00:59:22,515 --> 00:59:23,908
so angry and kind of bitter.
1359
00:59:23,951 --> 00:59:25,518
What's he saying? What's he...
1360
00:59:25,562 --> 00:59:27,172
No, you know what he's saying.
1361
00:59:27,215 --> 00:59:29,000
It's clear as a bell.
1362
00:59:29,043 --> 00:59:31,306
♪ Everybody's stupid
1363
00:59:31,350 --> 00:59:33,091
♪ That's for sure.
1364
00:59:33,134 --> 00:59:36,181
I could visibly see
the audience being confused.
1365
00:59:36,224 --> 00:59:37,791
♪ You're stupid,
you're stupid. ♪
1366
00:59:37,835 --> 00:59:39,663
[laughing]
1367
00:59:39,706 --> 00:59:42,013
♪ Everybody's stupid
1368
00:59:42,056 --> 00:59:43,971
♪ That's for sure.
1369
00:59:44,015 --> 00:59:46,626
MAIDA: There's probably
two of the most
1370
00:59:46,670 --> 00:59:49,237
politically incorrect songs
on that record,
1371
00:59:49,281 --> 00:59:50,804
which are "White Women"
1372
00:59:50,848 --> 00:59:52,719
and "Throw Her Away
[and Get a New One]."
1373
00:59:53,851 --> 00:59:55,592
Which...
1374
00:59:55,635 --> 00:59:57,594
uh, you got to have
a sense of humor
1375
00:59:57,637 --> 01:00:01,119
and know the ironic intent
on both those.
1376
01:00:01,162 --> 01:00:03,904
♪ Throw her away
and get a new one... ♪
1377
01:00:03,948 --> 01:00:06,080
RUSSELL:
We want to shake up people,
1378
01:00:06,124 --> 01:00:08,343
and we think that pop music
at its best
1379
01:00:08,387 --> 01:00:10,345
has always been something
where you-you hear it
1380
01:00:10,389 --> 01:00:12,434
and you go,
"Oh, my God, what is that?"
1381
01:00:12,478 --> 01:00:14,480
ROSS: Sparks often do
that kind of thing
1382
01:00:14,523 --> 01:00:17,178
which has, I think,
a punk sensibility to it.
1383
01:00:17,222 --> 01:00:19,528
A desire to stir things up
1384
01:00:19,572 --> 01:00:21,661
and shake things up
and make you think.
1385
01:00:21,705 --> 01:00:24,708
-[playful screaming]
-[dramatic music plays]
1386
01:00:29,103 --> 01:00:30,975
My first experience of Sparks
1387
01:00:31,018 --> 01:00:33,586
was watching the film
Rollercoaster.
1388
01:00:33,630 --> 01:00:36,850
[guitar solo playing]
1389
01:00:36,894 --> 01:00:40,027
I assumed that
they were a made-up band
1390
01:00:40,071 --> 01:00:42,464
because I'd never
heard of them before.
1391
01:00:42,508 --> 01:00:45,467
And then years later,
I came across
1392
01:00:45,511 --> 01:00:47,948
"This Town Ain't Big Enough for
the Both of Us" and thought,
1393
01:00:47,992 --> 01:00:49,907
"Oh, it's those guys
from Rollercoaster."
1394
01:00:49,950 --> 01:00:53,388
MICHAELS: I had never been
on a huge movie set like that.
1395
01:00:53,432 --> 01:00:55,390
And I didn't know what
to make of it.
1396
01:00:55,434 --> 01:00:57,828
And I was looking
to Ron and Russell,
1397
01:00:57,871 --> 01:01:00,091
and I remember Ron--
I'll never forget this--
1398
01:01:00,134 --> 01:01:02,223
Ron said...
1399
01:01:02,267 --> 01:01:04,443
"This might be great.
1400
01:01:04,486 --> 01:01:06,793
"Maybe this is gonna be the one
1401
01:01:06,837 --> 01:01:10,057
that breaks the band
worldwide."
1402
01:01:10,101 --> 01:01:12,190
This disaster movie.
1403
01:01:12,233 --> 01:01:14,192
I-I mean, you know,
the movie is what it was.
1404
01:01:14,235 --> 01:01:17,674
It was kind of like...
it-it was pretty lame,
1405
01:01:17,717 --> 01:01:19,414
but how else
was I gonna see them?
1406
01:01:20,241 --> 01:01:22,287
[cheering]
1407
01:01:22,330 --> 01:01:24,768
MAIDA: They're connoisseurs,
and this was just,
1408
01:01:24,811 --> 01:01:26,160
you know, "a disaster movie"
1409
01:01:26,204 --> 01:01:28,249
in more ways than one.
1410
01:01:28,293 --> 01:01:31,644
I-I think I leaned over to him
at one point, I said,
1411
01:01:31,688 --> 01:01:34,603
"I guess this is not
a Jacques Tati movie." [laughs]
1412
01:01:34,647 --> 01:01:35,996
♪ Big boy...
1413
01:01:36,040 --> 01:01:37,606
RON:
Rollercoaster is kind of
1414
01:01:37,650 --> 01:01:40,174
theCitizen Kane
of disaster movies.
1415
01:01:40,218 --> 01:01:43,090
I mean, the disaster was that
nobody went to see the movie.
1416
01:01:48,400 --> 01:01:51,577
-[sirens blaring]
-[tires screeching]
1417
01:01:51,620 --> 01:01:53,710
♪
1418
01:01:56,756 --> 01:01:58,671
FLEA:
I was in high school,
1419
01:01:58,715 --> 01:02:00,891
and I had a friend who was
the first friend in my group
1420
01:02:00,934 --> 01:02:02,588
to have his own apartment.
1421
01:02:02,631 --> 01:02:04,372
We used to just get
in all kinds of crazy
1422
01:02:04,416 --> 01:02:06,548
drugged-out states
at this guy's house.
1423
01:02:06,592 --> 01:02:08,899
I remember, like, stumbling
into his bathroom all the time
1424
01:02:08,942 --> 01:02:10,770
to either throw up or pee,
1425
01:02:10,814 --> 01:02:12,511
and on the wall,
1426
01:02:12,554 --> 01:02:14,600
there was a picture of Sparks.
1427
01:02:14,643 --> 01:02:16,123
And I remember just
seeing them all the time,
1428
01:02:16,167 --> 01:02:17,951
like, "Who are those guys?"
1429
01:02:17,995 --> 01:02:19,910
And I was kind of in love,
and they were sort of like
1430
01:02:19,953 --> 01:02:24,001
these mysterious, like, icons,
like patron saints.
1431
01:02:24,044 --> 01:02:27,091
I looked at that picture,
like, kind of marveled at it
1432
01:02:27,134 --> 01:02:29,571
a thousand times
before I heard them.
1433
01:02:29,615 --> 01:02:32,792
♪ Why is there time?
1434
01:02:34,838 --> 01:02:38,015
♪ Why is there space?
1435
01:02:38,058 --> 01:02:41,235
♪ Why are there dogs and cats
1436
01:02:41,279 --> 01:02:45,500
♪ And trees
and the human race? ♪
1437
01:02:45,544 --> 01:02:48,242
MICHAELS:
I was sitting in my motel room
1438
01:02:48,286 --> 01:02:50,244
doing nothing, thinking,
1439
01:02:50,288 --> 01:02:51,724
"No matter what happens,
1440
01:02:51,768 --> 01:02:52,899
I'm sticking with you guys."
1441
01:02:52,943 --> 01:02:54,292
[laughs]
1442
01:02:54,335 --> 01:02:57,164
And then we got
a phone call saying,
1443
01:02:57,208 --> 01:02:59,123
"Party's over, guys.
1444
01:02:59,166 --> 01:03:02,387
"Big Beat didn't do
what it was supposed to do.
1445
01:03:02,430 --> 01:03:04,911
We're flying you guys
back to New York."
1446
01:03:04,955 --> 01:03:07,435
That was the end of it.
1447
01:03:07,479 --> 01:03:09,611
I was really brokenhearted.
1448
01:03:09,655 --> 01:03:13,528
And, uh, they came out
with a new record,
1449
01:03:13,572 --> 01:03:16,314
Introducing Sparks.
1450
01:03:17,489 --> 01:03:19,143
♪ Ooh, those mysteries...
1451
01:03:19,186 --> 01:03:22,059
Here you have Russell,
and here you have Ron here.
1452
01:03:22,102 --> 01:03:25,192
This is a great fucking album.
1453
01:03:25,236 --> 01:03:28,413
"Those Mysteries,"
most poignant song,
1454
01:03:28,456 --> 01:03:31,851
like, that's funny as hell
but also a question--
1455
01:03:31,895 --> 01:03:33,679
this kind of yearning,
searching,
1456
01:03:33,722 --> 01:03:36,203
trying to make sense
of, like, the awkwardness
1457
01:03:36,247 --> 01:03:37,944
and the pain of being
a human being
1458
01:03:37,988 --> 01:03:41,992
and doing it
in a funny, smart way.
1459
01:03:42,035 --> 01:03:44,385
Cool. I'm into it.
1460
01:03:44,429 --> 01:03:47,171
STEWART: I think so much
of their music requires
1461
01:03:47,214 --> 01:03:49,651
not taking it on face value.
1462
01:03:49,695 --> 01:03:53,786
If you want to work with them
and think about the music,
1463
01:03:53,830 --> 01:03:55,309
you can get more out of it.
1464
01:03:55,353 --> 01:03:57,398
If you want to just absorb it,
1465
01:03:57,442 --> 01:03:59,792
you're going to be
missing the point entirely.
1466
01:03:59,836 --> 01:04:01,359
That's what hurt them, I think.
1467
01:04:01,402 --> 01:04:03,883
It hurt Sparks
that they came of age
1468
01:04:03,927 --> 01:04:07,147
at a time when people could
only take things at face value.
1469
01:04:07,191 --> 01:04:08,148
One of the snottier
1470
01:04:08,192 --> 01:04:10,368
metal/punk magazines,
1471
01:04:10,411 --> 01:04:13,675
the review was:"Introducing
Sparks, dot-dot-dot.
1472
01:04:13,719 --> 01:04:15,982
Unfortunately,
we've already met."
1473
01:04:18,463 --> 01:04:21,466
HEWLETT: From the adulation
that they had been receiving
1474
01:04:21,509 --> 01:04:23,947
to the non-adulation around
1475
01:04:23,990 --> 01:04:25,774
Big Beatand Introducing,
1476
01:04:25,818 --> 01:04:28,168
it was just obvious
it wasn't working.
1477
01:04:28,212 --> 01:04:30,170
It became very difficult,
1478
01:04:30,214 --> 01:04:31,868
and I really liked
Ron and Russell.
1479
01:04:31,911 --> 01:04:34,261
I still admired
their abilities,
1480
01:04:34,305 --> 01:04:39,397
but I couldn't be 100% behind
what they were doing.
1481
01:04:39,440 --> 01:04:41,486
I mean, Ronnie was really
desperate, too, at this time.
1482
01:04:41,529 --> 01:04:43,270
I mean, he knew
it wasn't working.
1483
01:04:43,314 --> 01:04:47,013
♪ I want a big surprise
tonight... ♪
1484
01:04:47,057 --> 01:04:49,494
STEWART:
The record comes out in the heat
1485
01:04:49,537 --> 01:04:51,235
of punk rock,
1486
01:04:51,278 --> 01:04:52,845
and an album
1487
01:04:52,889 --> 01:04:57,894
that could not sound
more out of sorts with that.
1488
01:04:57,937 --> 01:04:59,765
♪
1489
01:04:59,808 --> 01:05:03,595
♪ Where is that
Yankee ingenuity? ♪
1490
01:05:03,638 --> 01:05:05,510
RON:
The whole passion and energy
1491
01:05:05,553 --> 01:05:07,164
and kind of statement of punk
1492
01:05:07,207 --> 01:05:09,514
seemed like it was
almost partially directed
1493
01:05:09,557 --> 01:05:11,429
towards what we were doing.
1494
01:05:11,472 --> 01:05:13,039
So we thought, "Is this, like,
1495
01:05:13,083 --> 01:05:14,649
kind of dinosaur music?"
1496
01:05:14,693 --> 01:05:16,608
We never felt that before,
1497
01:05:16,651 --> 01:05:18,784
and we've never
felt that since.
1498
01:05:18,827 --> 01:05:20,612
-♪ Big surprise tonight
-♪ Big surprise
1499
01:05:20,655 --> 01:05:23,615
♪ A really big surprise
tonight ♪
1500
01:05:23,658 --> 01:05:27,401
♪ I want a big surprise
tonight... ♪
1501
01:05:27,445 --> 01:05:29,316
RON: The Sex Pistols'
album is one of
1502
01:05:29,360 --> 01:05:31,405
the greatest albums
of all time,
1503
01:05:31,449 --> 01:05:34,278
but that wasn't
where we should be going,
1504
01:05:34,321 --> 01:05:37,063
so we had to find
a proper direction
1505
01:05:37,107 --> 01:05:39,848
so that we would feel
unthreatened.
1506
01:05:39,892 --> 01:05:42,677
-[applause]
-[chuckling]
1507
01:05:42,721 --> 01:05:45,985
[announcer speaking French]
1508
01:05:46,029 --> 01:05:48,945
RUSSELL: After we did
theIntroducing Sparks album,
1509
01:05:48,988 --> 01:05:51,991
we did an interview with
a journalist in Los Angeles.
1510
01:05:52,035 --> 01:05:54,733
She said, "Well,
what's next for Sparks?"
1511
01:05:54,776 --> 01:05:56,778
And then we said,
"Oh, well, we're going to be
1512
01:05:56,822 --> 01:05:59,390
working with Giorgio Moroder
on our next album."
1513
01:05:59,433 --> 01:06:01,435
She said, "Oh, that's funny.
1514
01:06:01,479 --> 01:06:03,350
"Giorgio didn't
mention that to me.
1515
01:06:03,394 --> 01:06:05,178
I'm really good friends
with him." And we went,
1516
01:06:05,222 --> 01:06:07,572
"Uh, eh, uh..." Gulp.
1517
01:06:07,615 --> 01:06:09,835
RON:
'Cause it was a total lie.
1518
01:06:09,878 --> 01:06:11,924
♪ Ooh...
1519
01:06:11,968 --> 01:06:13,708
We wanted to work
with Giorgio Moroder,
1520
01:06:13,752 --> 01:06:16,146
and we had heard "I Feel Love"
on the radio,
1521
01:06:16,189 --> 01:06:19,018
the great Donna Summer song
that Giorgio produced,
1522
01:06:19,062 --> 01:06:22,456
but we didn't know how
to contact Giorgio.
1523
01:06:22,500 --> 01:06:24,937
RUSSELL: And then she said,
"Well, I could introduce you."
1524
01:06:24,981 --> 01:06:28,027
ANNOUNCER: The number 30 song
this week on the Top 30,
1525
01:06:28,071 --> 01:06:29,594
the young man called Giorgio,
who's with us here
1526
01:06:29,637 --> 01:06:31,335
on Top of the Pops
this evening.
1527
01:06:31,378 --> 01:06:32,727
Let's give him a nice
Top of the Popswelcome.
1528
01:06:32,771 --> 01:06:34,120
-Thank you.
-[cheering, applause]
1529
01:06:34,164 --> 01:06:35,992
RUSSELL:
And he was really,
1530
01:06:36,035 --> 01:06:37,994
surprisingly to us,
up for the challenge
1531
01:06:38,037 --> 01:06:40,213
of working with a...
you know, a band.
1532
01:06:40,257 --> 01:06:43,434
RON: It really was
pretty brave of him.
1533
01:06:43,477 --> 01:06:46,176
["La Dolce Vita" by Sparks
playing]
1534
01:06:46,219 --> 01:06:48,787
We did the recordings
in Los Angeles.
1535
01:06:49,962 --> 01:06:53,705
Interesting studio because
it was totally electronic
1536
01:06:53,748 --> 01:06:58,492
with a massive amount
of Moog modular
1537
01:06:58,536 --> 01:07:02,061
and Roland synthesizers
1538
01:07:02,105 --> 01:07:04,324
and thousands of sounds.
1539
01:07:05,804 --> 01:07:08,024
RON: We were aware that we were
kind of reinventing ourselves
1540
01:07:08,067 --> 01:07:09,677
as we were making that,
1541
01:07:09,721 --> 01:07:11,766
but we knew that we were
doing something
1542
01:07:11,810 --> 01:07:13,942
that was totally new.
1543
01:07:15,379 --> 01:07:17,468
For me as a fan,
it would be hard to know
1544
01:07:17,511 --> 01:07:20,558
if it's willful
or if it's the innocence of:
1545
01:07:20,601 --> 01:07:22,995
"Wouldn't it be a great idea
if we just made
1546
01:07:23,039 --> 01:07:27,956
a synthesizer record in 1979,
before the '80s?"
1547
01:07:28,000 --> 01:07:31,134
♪ You're the only bank
that's open all night ♪
1548
01:07:31,177 --> 01:07:34,615
♪ La dolce vita
1549
01:07:34,659 --> 01:07:37,836
♪ Now that that's clear,
can you give me a light? ♪
1550
01:07:37,879 --> 01:07:40,752
♪ La dolce vita...
1551
01:07:40,795 --> 01:07:43,102
RUSSELL: We all went in it
with this kind of
1552
01:07:43,146 --> 01:07:45,757
naive spirit to just do
something that we thought
1553
01:07:45,800 --> 01:07:47,933
was really fresh-sounding.
1554
01:07:47,976 --> 01:07:49,761
And we think it was
something really special.
1555
01:07:49,804 --> 01:07:54,113
♪ Can I have another plate
of your la dolce vita? ♪
1556
01:07:54,157 --> 01:07:58,378
It took one year
after that album was recorded
1557
01:07:58,422 --> 01:08:01,251
before a label wanted
to sign it.
1558
01:08:01,294 --> 01:08:04,254
♪ Gold diggers are we
1559
01:08:04,297 --> 01:08:07,474
♪ Step up, follow me...
1560
01:08:07,518 --> 01:08:09,998
Someone at Virgin Records
in Germany
1561
01:08:10,042 --> 01:08:12,000
saw the tape sitting there
and said,
1562
01:08:12,044 --> 01:08:15,003
"Hmm, Sparks, Giorgio Moroder.
Let me give that a listen."
1563
01:08:15,047 --> 01:08:16,788
And said,
"This is pretty amazing,"
1564
01:08:16,831 --> 01:08:19,399
and shipped it off
to Richard Branson and company
1565
01:08:19,443 --> 01:08:22,750
in-in the UK, and they agreed.
1566
01:08:22,794 --> 01:08:24,665
STEWART:
WhenNo. 1 in Heaven came out,
1567
01:08:24,709 --> 01:08:28,016
it was two years after the
massive failure of Introducing,
1568
01:08:28,060 --> 01:08:31,281
and you're kind of seeing
the DNA of so much
1569
01:08:31,324 --> 01:08:33,761
of what would come later on.
1570
01:08:33,805 --> 01:08:35,589
TAYLOR: This was probably
one of the first
1571
01:08:35,633 --> 01:08:37,374
electropop dance records
1572
01:08:37,417 --> 01:08:38,679
of all time.
1573
01:08:38,723 --> 01:08:40,899
[dance beat playing]
1574
01:08:40,942 --> 01:08:43,162
[imitating beat]
1575
01:08:43,206 --> 01:08:45,773
MOORE: That, to me, was
such an astounding record.
1576
01:08:45,817 --> 01:08:47,340
It seemed really audacious.
1577
01:08:47,384 --> 01:08:49,081
DJ LANCE ROCK:
It just takes you on
1578
01:08:49,125 --> 01:08:51,562
this incredible, hypnotic trip.
1579
01:08:51,605 --> 01:08:54,347
Just belied and denied anything
else that was happening.
1580
01:08:54,391 --> 01:08:56,262
It just rose above it.
1581
01:08:56,306 --> 01:08:58,046
♪ We're just gleams
in lovers' eyes ♪
1582
01:08:58,090 --> 01:09:01,398
♪ Steam on sweaty bodies
in the night ♪
1583
01:09:03,356 --> 01:09:05,706
♪ But one of us
might make it through ♪
1584
01:09:05,750 --> 01:09:09,580
♪ All the rest
will disappear like dew ♪
1585
01:09:11,016 --> 01:09:13,149
♪ Pressure building,
getting hot ♪
1586
01:09:13,192 --> 01:09:16,761
♪ Give it, give it,
give it all you got ♪
1587
01:09:18,676 --> 01:09:20,852
♪ When that
love explosion comes ♪
1588
01:09:20,895 --> 01:09:23,768
♪ My, oh, my,
we want to be someone ♪
1589
01:09:24,856 --> 01:09:26,901
♪ Tryouts for
the human race... ♪
1590
01:09:26,945 --> 01:09:30,862
RHODES: It was a huge influence
on-on our early material.
1591
01:09:30,905 --> 01:09:33,169
Uh, we were already
big Moroder fans,
1592
01:09:33,212 --> 01:09:35,997
but this combination, uh,
it was just perfect.
1593
01:09:36,041 --> 01:09:39,000
♪ We just want
to be someone... ♪
1594
01:09:39,044 --> 01:09:40,785
That's why I ended up
working with Vince--
1595
01:09:40,828 --> 01:09:42,569
'cause those synths,
1596
01:09:42,613 --> 01:09:44,310
they just drove me.
1597
01:09:45,311 --> 01:09:47,008
MAN:
Sparks, "Beat the Clock,"
1598
01:09:47,052 --> 01:09:49,837
uh, Millaney/Grant,
sixth of June.
1599
01:09:49,881 --> 01:09:53,014
["Beat the Clock" by Sparks
playing]
1600
01:09:53,058 --> 01:09:56,017
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1601
01:09:56,061 --> 01:09:58,150
Sparks-- well,
they're back in Britain,
1602
01:09:58,194 --> 01:09:59,717
they're back in business,
1603
01:09:59,760 --> 01:10:01,588
and they're currently trying
to beat the clock.
1604
01:10:01,632 --> 01:10:03,721
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1605
01:10:03,764 --> 01:10:05,375
BERNARD BUTLER:
As a synthesizer duo,
1606
01:10:05,418 --> 01:10:07,115
I guess you could say that
1607
01:10:07,159 --> 01:10:09,205
they sort of set a template.
1608
01:10:09,248 --> 01:10:11,250
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1609
01:10:11,294 --> 01:10:16,212
WRIGHT: I became first aware
of Sparks in their 1979 period.
1610
01:10:16,255 --> 01:10:19,258
Just seeing them on, like, Top
of the Popsaround that time.
1611
01:10:19,302 --> 01:10:22,870
You know, it's a very
sort of stark dynamic image--
1612
01:10:22,914 --> 01:10:25,264
Russell singing,
Ron on the synths.
1613
01:10:25,308 --> 01:10:28,224
He had his '79
kind of hipster hair.
1614
01:10:28,267 --> 01:10:30,182
ANNOUNCER:
Sparks and their new single
1615
01:10:30,226 --> 01:10:31,966
called "Beat the Clock."
Billy?
1616
01:10:32,010 --> 01:10:33,707
I think it was real great.
1617
01:10:33,751 --> 01:10:35,535
♪ Well, I've seen
everything there is ♪
1618
01:10:35,579 --> 01:10:37,537
♪ I've done
everything there is... ♪
1619
01:10:37,581 --> 01:10:39,713
There's myself, uh, there's
the guy from the Pet Shop Boys,
1620
01:10:39,757 --> 01:10:41,411
there's the guy
from Duran Duran.
1621
01:10:41,454 --> 01:10:43,587
I mean, we were all
miserable fuckers, you know?
1622
01:10:43,630 --> 01:10:45,328
It's a look, isn't it,
which we just stole
1623
01:10:45,371 --> 01:10:47,286
from Sparks.
1624
01:10:47,330 --> 01:10:50,376
["The Number One Song
in Heaven" by Sparks playing]
1625
01:10:54,641 --> 01:10:57,731
RUSTY EGAN:
I was desperately searching
1626
01:10:57,775 --> 01:11:02,519
for music to put in my DJ sets
1627
01:11:02,562 --> 01:11:04,172
at the Blitz Club.
1628
01:11:04,216 --> 01:11:07,654
I came across
"Number One Song in Heaven."
1629
01:11:07,698 --> 01:11:09,439
BELL:
It's just one of those songs
1630
01:11:09,482 --> 01:11:11,049
that gives me goose bumps.
1631
01:11:11,092 --> 01:11:13,051
EGAN:
What I loved about it
1632
01:11:13,094 --> 01:11:14,922
was the first four minutes,
1633
01:11:14,966 --> 01:11:17,882
and it was all synthesizers
1634
01:11:17,925 --> 01:11:19,623
and sequences.
1635
01:11:19,666 --> 01:11:21,668
And I was like,
"This is great."
1636
01:11:22,887 --> 01:11:27,108
♪ This is the number one song
in heaven ♪
1637
01:11:29,546 --> 01:11:34,028
♪ Written, of course,
by the mightiest hand... ♪
1638
01:11:34,072 --> 01:11:35,943
STEPHEN MORRIS: In Joy
Division, when we were doing
1639
01:11:35,987 --> 01:11:37,554
"Love Will Tear Us Apart,"
1640
01:11:37,597 --> 01:11:40,992
there were two records
that we were listening to.
1641
01:11:41,035 --> 01:11:42,080
Uh, one was
1642
01:11:42,123 --> 01:11:43,908
Frank Sinatra's Greatest Hits,
1643
01:11:43,951 --> 01:11:46,127
and then the other one was
"Number One Song in Heaven."
1644
01:11:46,171 --> 01:11:48,739
ANTONOFF: "Number One Song
in Heaven" just sort of, like,
1645
01:11:48,782 --> 01:11:50,262
moves in this crazy way.
1646
01:11:50,306 --> 01:11:52,090
And there's even
a moment of silence
1647
01:11:52,133 --> 01:11:53,787
pretty early on in the song.
It's, like, this cut
1648
01:11:53,831 --> 01:11:56,050
and then it starts back up.
It's wild.
1649
01:11:56,094 --> 01:11:57,051
EGAN:
One, two, three.
1650
01:11:57,095 --> 01:11:58,139
[imitates drumbeat]
1651
01:11:58,183 --> 01:11:59,576
And it goes, like, I don't know,
1652
01:11:59,619 --> 01:12:01,447
180 BPM or something.
1653
01:12:01,491 --> 01:12:04,363
Oh, my God, that's...
that's too fast.
1654
01:12:04,407 --> 01:12:07,758
♪
1655
01:12:07,801 --> 01:12:09,716
MARTYN WARE:
This is the absolute apogee
1656
01:12:09,760 --> 01:12:10,978
of electronic pop music
1657
01:12:11,022 --> 01:12:12,328
for me.
1658
01:12:12,371 --> 01:12:14,155
I can't think
of anything better.
1659
01:12:14,199 --> 01:12:16,288
We can only, with Heaven 17,
1660
01:12:16,332 --> 01:12:18,290
kind of aspire to it.
1661
01:12:18,334 --> 01:12:20,379
♪
1662
01:12:22,990 --> 01:12:26,080
♪ It's number one
all over heaven ♪
1663
01:12:26,124 --> 01:12:27,473
♪ It's number one
1664
01:12:27,517 --> 01:12:29,345
♪ All over heaven
1665
01:12:29,388 --> 01:12:32,304
♪ It's number one
all over heaven ♪
1666
01:12:32,348 --> 01:12:35,916
♪ The number one song
all over heaven... ♪
1667
01:12:35,960 --> 01:12:39,790
MORODER: If they would
release nowNo. 1 in Heaven,
1668
01:12:39,833 --> 01:12:42,227
they would say,
"Wow, geniuses."
1669
01:12:42,270 --> 01:12:44,838
I mean, they were geniuses
then, but now even more
1670
01:12:44,882 --> 01:12:48,146
because this could be
the second sound of the future.
1671
01:12:48,189 --> 01:12:50,017
♪ Gabriel plays it
1672
01:12:50,061 --> 01:12:51,584
♪ God, how he plays it
1673
01:12:51,628 --> 01:12:53,194
♪ Gabriel plays it
1674
01:12:53,238 --> 01:12:54,761
♪ God, how he plays it
1675
01:12:54,805 --> 01:12:56,284
♪ Gabriel plays it
1676
01:12:56,328 --> 01:12:57,808
♪ God, how he plays it
1677
01:12:57,851 --> 01:12:59,636
♪ Gabriel plays it
1678
01:12:59,679 --> 01:13:01,855
♪ Let's hear him play it...
1679
01:13:01,899 --> 01:13:05,076
♪
1680
01:13:05,119 --> 01:13:07,861
ROSS: I really liked
seeing them stripped down,
1681
01:13:07,905 --> 01:13:09,210
and in a way, it made the image
1682
01:13:09,254 --> 01:13:11,082
more impactful.
1683
01:13:11,125 --> 01:13:12,736
♪
1684
01:13:12,779 --> 01:13:14,477
It was shortly after
that period, I guess,
1685
01:13:14,520 --> 01:13:18,785
that Paul McCartney did
that video "Coming Up."
1686
01:13:18,829 --> 01:13:21,875
♪ You want a love
to last forever... ♪
1687
01:13:21,919 --> 01:13:23,964
It was all Paul McCartney
doing loads of
1688
01:13:24,008 --> 01:13:25,531
very instantly
recognizable characters.
1689
01:13:25,575 --> 01:13:27,098
And, of course, he did Ron.
1690
01:13:27,141 --> 01:13:28,882
I mean, I know how much
Ron and Russell
1691
01:13:28,926 --> 01:13:30,580
are fans of The Beatles,
1692
01:13:30,623 --> 01:13:32,973
and so I suspect they were
really excited to see that.
1693
01:13:33,017 --> 01:13:34,671
SCHWARTZMAN:
That's amazing, like,
1694
01:13:34,714 --> 01:13:36,455
that a Beatle would pretend
to be all these...
1695
01:13:36,499 --> 01:13:38,283
like, Buddy Holly
and all these different people,
1696
01:13:38,326 --> 01:13:40,067
and he's Ron Mael.
1697
01:13:41,460 --> 01:13:43,070
RUSSELL: I started
respecting Ron a lot more
1698
01:13:43,114 --> 01:13:44,768
after Paul McCartney, uh,
1699
01:13:44,811 --> 01:13:47,684
gave his tribute to Ron--
then I realized,
1700
01:13:47,727 --> 01:13:50,687
"God, I'm working with somebody
that Paul McCartney likes."
1701
01:13:50,730 --> 01:13:52,428
FRED ARMISEN:
How cool is that?
1702
01:13:52,471 --> 01:13:53,690
It is the ultimate.
1703
01:13:53,733 --> 01:13:55,343
And it's Paul McCartney.
1704
01:13:55,387 --> 01:13:57,302
Just incredible.
1705
01:13:57,345 --> 01:13:59,826
RON:
After doingNo. 1 in Heaven
1706
01:13:59,870 --> 01:14:01,915
and working
with Giorgio Moroder,
1707
01:14:01,959 --> 01:14:04,265
which was
such an inspiring experience,
1708
01:14:04,309 --> 01:14:06,354
it was the time
for the follow-up album,
1709
01:14:06,398 --> 01:14:09,096
but Giorgio wasn't,
uh, available,
1710
01:14:09,140 --> 01:14:11,229
so it was kind of farmed out.
1711
01:14:11,272 --> 01:14:15,668
I think, for that reason,
the album became more generic.
1712
01:14:17,278 --> 01:14:19,585
To Giorgio's credit,
he was
1713
01:14:19,629 --> 01:14:21,500
involved with the selection,
1714
01:14:21,544 --> 01:14:24,242
and there was the song
"When I'm with You."
1715
01:14:24,285 --> 01:14:27,637
He thought that that song
was really something special.
1716
01:14:27,680 --> 01:14:29,769
["When I'm with You" by Sparks
playing]
1717
01:14:31,771 --> 01:14:33,643
EGAN: "When I'm with You."
[imitates bass line]
1718
01:14:33,686 --> 01:14:35,732
That bass line,
1719
01:14:35,775 --> 01:14:37,385
that beautiful string line.
1720
01:14:39,257 --> 01:14:41,433
It wasn't anything
that we kind of planned on,
1721
01:14:41,477 --> 01:14:43,043
but it became, uh,
1722
01:14:43,087 --> 01:14:46,264
the biggest-selling song
that we've ever done.
1723
01:14:46,307 --> 01:14:49,136
♪ When I'm with you
1724
01:14:49,180 --> 01:14:51,095
♪ I never have a problem
1725
01:14:51,138 --> 01:14:53,358
♪ When I'm with you...
1726
01:14:53,401 --> 01:14:55,403
RON: Most of those sales
were in France,
1727
01:14:55,447 --> 01:14:58,537
and the song was kind of
the soundtrack of the country
1728
01:14:58,581 --> 01:15:01,235
during that whole period.
1729
01:15:02,323 --> 01:15:04,325
"When I'm with You,"
the Sparks.
1730
01:15:04,369 --> 01:15:05,892
♪ When I'm with you...
1731
01:15:05,936 --> 01:15:07,590
RUSSELL: The video
for "When I'm with You"
1732
01:15:07,633 --> 01:15:10,331
was Ron being the ventriloquist
1733
01:15:10,375 --> 01:15:11,985
and me being the dummy,
1734
01:15:12,029 --> 01:15:15,249
and some things
never change in life.
1735
01:15:15,293 --> 01:15:17,600
DAVID WEIGEL: It's a love song.
Someone's in love.
1736
01:15:17,643 --> 01:15:19,166
Okay, I know what's going on.
1737
01:15:19,210 --> 01:15:20,951
And then the more he sings,
1738
01:15:20,994 --> 01:15:22,953
you realize that-that you're
listening to somebody panic.
1739
01:15:22,996 --> 01:15:25,869
♪ It's the break in the song
1740
01:15:25,912 --> 01:15:29,394
♪ When I should say
something special ♪
1741
01:15:30,874 --> 01:15:33,659
♪ But the pressure is on
1742
01:15:33,703 --> 01:15:37,794
♪ And I can't make up
nothing special ♪
1743
01:15:37,837 --> 01:15:40,971
♪ Not when I'm with you
1744
01:15:41,014 --> 01:15:43,103
♪ When I'm with you...
1745
01:15:43,147 --> 01:15:45,541
OSWALT: There is never
a "June, moon, spoon"
1746
01:15:45,584 --> 01:15:47,630
aspect to their lyrics.
1747
01:15:47,673 --> 01:15:49,806
There is always a three, four,
1748
01:15:49,849 --> 01:15:52,722
five times removed aspect of:
1749
01:15:52,765 --> 01:15:55,376
So, is the narrator...
This is clearly not the singer.
1750
01:15:55,420 --> 01:15:57,727
He's playing a character,
and then the... and you kind of
1751
01:15:57,770 --> 01:16:00,686
work out what
the character's biography is.
1752
01:16:00,730 --> 01:16:03,863
Each song has such
a personality to it.
1753
01:16:03,907 --> 01:16:05,735
That middle eight is
the thing that I think,
1754
01:16:05,778 --> 01:16:08,389
for some listeners
who might be investing
1755
01:16:08,433 --> 01:16:10,827
in, like, a love song,
will say, like,
1756
01:16:10,870 --> 01:16:13,046
"Oh, hold up. Is this a joke?"
1757
01:16:13,090 --> 01:16:15,309
It could be seen
as being insincere.
1758
01:16:15,353 --> 01:16:16,920
In reality,
1759
01:16:16,963 --> 01:16:18,574
it's the thing
that makes them more memorable.
1760
01:16:18,617 --> 01:16:20,837
[cheering and applause]
1761
01:16:20,880 --> 01:16:23,491
RUSSELL: The thing of doing
TV shows that we did
1762
01:16:23,535 --> 01:16:26,582
in a period of, like,
"When I'm with You" in France--
1763
01:16:26,625 --> 01:16:28,584
and we did a lot
in Germany at that time--
1764
01:16:28,627 --> 01:16:31,238
I think, you know, we realized
that the appeal of Sparks
1765
01:16:31,282 --> 01:16:33,284
was going to an area
that wasn't
1766
01:16:33,327 --> 01:16:35,025
where we wanted to be going.
1767
01:16:35,068 --> 01:16:38,158
And so, um, that was why
we wanted to start having
1768
01:16:38,202 --> 01:16:40,030
a band context again.
1769
01:16:40,073 --> 01:16:42,293
Please, uh, can you smile?
1770
01:16:42,336 --> 01:16:44,338
Uh, cheese.
1771
01:16:44,382 --> 01:16:46,297
Ah. [speaks French]
1772
01:16:46,340 --> 01:16:48,560
-Merci. Thank you.
-[applause]
1773
01:16:48,604 --> 01:16:50,562
[continues in French]
1774
01:16:50,606 --> 01:16:52,477
BOHEM:
My relationship to Sparks,
1775
01:16:52,520 --> 01:16:54,000
like most everything else,
is based on coffee.
1776
01:16:54,044 --> 01:16:56,960
I am an avid, to this day,
coffee drinker.
1777
01:16:57,003 --> 01:16:59,571
And in 1980,
it was pretty rough.
1778
01:16:59,615 --> 01:17:01,617
The one place you could go
in Los Angeles
1779
01:17:01,660 --> 01:17:03,575
was the Farmers Market.
1780
01:17:03,619 --> 01:17:05,969
They had a Belgian waffle stand
with one espresso machine.
1781
01:17:06,012 --> 01:17:07,579
RODDY BOTTUM:
People started to say,
1782
01:17:07,623 --> 01:17:10,234
"I saw the Sparks brothers
1783
01:17:10,277 --> 01:17:11,844
at Farmers Market."
1784
01:17:11,888 --> 01:17:13,585
And we're like, "What?"
1785
01:17:14,847 --> 01:17:17,850
-Small soy cappuccino, please.
-And for you?
1786
01:17:17,894 --> 01:17:19,939
Uh, what's a red-eye?
1787
01:17:19,983 --> 01:17:22,899
So, a coffee with
a shot of espresso.
1788
01:17:22,942 --> 01:17:24,640
-Really?
-Yeah, double caffeine.
1789
01:17:24,683 --> 01:17:26,032
-Wow. I'll try that.
-You want one?
1790
01:17:26,076 --> 01:17:27,555
-Yeah. Yeah.
-Small?
1791
01:17:27,599 --> 01:17:29,340
I'll... I hope I live
to tell the tale.
1792
01:17:29,383 --> 01:17:30,776
BOHEM:
I started noticing
1793
01:17:30,820 --> 01:17:32,517
Ron and Russell
at this other table.
1794
01:17:32,560 --> 01:17:34,432
They were there almost
every day that we were there,
1795
01:17:34,475 --> 01:17:36,347
and then after a while,
we-we started saying
1796
01:17:36,390 --> 01:17:38,001
sort of a grudging hello
to each other.
1797
01:17:38,044 --> 01:17:41,569
RUSSELL: One thing led
to the next, and we, uh,
1798
01:17:41,613 --> 01:17:43,223
poached their entire band,
1799
01:17:43,267 --> 01:17:45,008
and, uh, that was the end
of Bates Motel.
1800
01:17:45,051 --> 01:17:48,489
But it was the start of
the '80s version of Sparks.
1801
01:17:52,015 --> 01:17:53,930
BOHEM:
We went to S.I.R.--
1802
01:17:53,973 --> 01:17:56,019
Studio Instrument Rentals--
on Santa Monica
1803
01:17:56,062 --> 01:17:59,022
and we started
rehearsing the songs
1804
01:17:59,065 --> 01:18:01,633
for what eventually was
Whomp That Sucker.
1805
01:18:01,677 --> 01:18:03,548
KENDRICK: It was very
different thanTerminal Jive.
1806
01:18:03,591 --> 01:18:05,811
It was like, this is
a new thing going on.
1807
01:18:05,855 --> 01:18:08,684
I want to say we rehearsed
for six weeks,
1808
01:18:08,727 --> 01:18:10,468
and then we were
on a plane to Munich
1809
01:18:10,511 --> 01:18:12,165
and-and recording the album.
1810
01:18:12,209 --> 01:18:14,037
♪ And, boy, am I sorry...
1811
01:18:15,429 --> 01:18:17,301
All of a sudden,
we're in Musicland Studios.
1812
01:18:17,344 --> 01:18:19,259
It's Giorgio Moroder's studio.
1813
01:18:19,303 --> 01:18:22,045
It's in the basement
of this groovy hotel.
1814
01:18:22,088 --> 01:18:23,699
RON: Sometimes, we just
kind of drift into things,
1815
01:18:23,742 --> 01:18:26,919
but that really was
a conscious decision
1816
01:18:26,963 --> 01:18:29,269
to work with a band.
1817
01:18:29,313 --> 01:18:30,836
KENDRICK:
They were inseparable.
1818
01:18:30,880 --> 01:18:32,533
At that time,
I kind of had this thing.
1819
01:18:32,577 --> 01:18:35,188
They were almost like
a symbiotic thing.
1820
01:18:35,232 --> 01:18:37,147
They were like one
sort of complete form.
1821
01:18:37,190 --> 01:18:38,714
You know, it's
an interesting thing
1822
01:18:38,757 --> 01:18:40,106
about how they wrote
at that time
1823
01:18:40,150 --> 01:18:41,804
that the lyrics came last.
1824
01:18:41,847 --> 01:18:43,806
Russell would kind of do,
1825
01:18:43,849 --> 01:18:47,592
like, nonsense verbiage
just to fill in the space.
1826
01:18:47,635 --> 01:18:49,115
It was kind of incredible.
1827
01:18:49,159 --> 01:18:51,596
Ron would furiously
finish the lyrics,
1828
01:18:51,639 --> 01:18:54,381
literally, it seemed like,
the night before.
1829
01:18:54,425 --> 01:18:56,166
The lyrics would show up,
and we'd go,
1830
01:18:56,209 --> 01:18:58,255
"Wow, I had no idea." [laughs]
1831
01:18:58,298 --> 01:19:01,824
♪ I've got a snapshot
of your Aunt Maureen ♪
1832
01:19:01,867 --> 01:19:04,827
♪ She's 90 and you're a teen
1833
01:19:04,870 --> 01:19:07,394
♪ I'm trying to cheer you up
1834
01:19:07,438 --> 01:19:10,658
♪ Don't be so mean,
don't be so mean... ♪
1835
01:19:13,096 --> 01:19:15,054
"I've got a snapshot
of your Aunt Maureen."
1836
01:19:15,098 --> 01:19:16,882
[camera clicks]
1837
01:19:16,926 --> 01:19:20,451
I can't think of a cooler way
to start a pop song than that.
1838
01:19:20,494 --> 01:19:23,454
Who are you?
Who is Aunt Maureen?
1839
01:19:23,497 --> 01:19:25,151
I love that lyric.
1840
01:19:25,195 --> 01:19:26,892
It grabs me.
1841
01:19:26,936 --> 01:19:30,417
♪ Crash, bam,
now you're looking good ♪
1842
01:19:30,461 --> 01:19:33,551
♪ Tip-top,
now you're feeling good ♪
1843
01:19:33,594 --> 01:19:35,509
♪ Once more,
here's your Aunt Maureen ♪
1844
01:19:35,553 --> 01:19:38,817
♪ Don't you feel good?
Don't you feel good? ♪
1845
01:19:38,861 --> 01:19:40,819
RICHARDSON: It was
a funny thing of listening
1846
01:19:40,863 --> 01:19:42,560
to, like, two grown men
being like,
1847
01:19:42,603 --> 01:19:44,388
"Here are tips for teens,"
then sing about, like, zits.
1848
01:19:44,431 --> 01:19:45,824
Like, literally being like,
1849
01:19:45,868 --> 01:19:47,304
"Here's what you do
when you get a zit."
1850
01:19:47,347 --> 01:19:48,958
That's genius.
1851
01:19:49,001 --> 01:19:50,611
Songs are about,
like, two things.
1852
01:19:50,655 --> 01:19:52,048
Will you please fuck me?
1853
01:19:52,091 --> 01:19:53,614
Don't shut my party down.
1854
01:19:53,658 --> 01:19:55,834
♪ Tips for teens,
the kind you don't see... ♪
1855
01:19:55,878 --> 01:19:59,577
ANNOUNCER: Their wacko training
bra and blemish cream sound
1856
01:19:59,620 --> 01:20:03,102
is not typical fare
in the L.A. club scene,
1857
01:20:03,146 --> 01:20:07,193
and after several albums,
brothers Russell and Ron Mael
1858
01:20:07,237 --> 01:20:10,849
have yet to give up
the fight back home.
1859
01:20:10,893 --> 01:20:13,199
RON: The radio station
that really mattered was
1860
01:20:13,243 --> 01:20:16,420
"K-Rock," KROQ,
and they were playing
1861
01:20:16,463 --> 01:20:19,902
a lot of things
that just fit into our style.
1862
01:20:19,945 --> 01:20:21,729
["Don't Go" by Yazoo playing]
1863
01:20:21,773 --> 01:20:24,080
I never knew Ron and Russell
to ever make
1864
01:20:24,123 --> 01:20:26,734
a calculated move
to capture an audience.
1865
01:20:26,778 --> 01:20:28,649
Sometimes they hit it
1866
01:20:28,693 --> 01:20:30,913
because they liked something
everybody else liked.
1867
01:20:30,956 --> 01:20:34,090
KROQ played all the-the weird
stuff coming from England:
1868
01:20:34,133 --> 01:20:38,224
The Cure, Depeche Mode,
Duran Duran, New Order.
1869
01:20:38,268 --> 01:20:40,618
SHERMAN-PALLADINO: If you
listened to KROQ, you generally
1870
01:20:40,661 --> 01:20:43,447
didn't listen to other stations.
1871
01:20:43,490 --> 01:20:45,841
Like, it was sort of like
you just listened to KROQ.
1872
01:20:45,884 --> 01:20:47,581
KNEGO:
I remember just falling out
1873
01:20:47,625 --> 01:20:49,757
of my chair, you know,
hearing Sparks
1874
01:20:49,801 --> 01:20:51,455
actually on the radio.
1875
01:20:51,498 --> 01:20:52,978
BOHEM: You know, we're in
Munich, and somebody's calling,
1876
01:20:53,022 --> 01:20:54,110
like, "Hey they're playing
'Tips for Teens'
1877
01:20:54,153 --> 01:20:55,198
on KROQ every 15 minutes."
1878
01:20:55,241 --> 01:20:56,547
I'm like,
1879
01:20:56,590 --> 01:20:58,157
"Can we hear it?"
[laughs]: You know?
1880
01:20:58,201 --> 01:21:00,029
Sparks is extraordinarily
popular in Europe.
1881
01:21:00,072 --> 01:21:02,683
You are very popular
in this country,
1882
01:21:02,727 --> 01:21:04,685
but I think it's safe
to say that perhaps
1883
01:21:04,729 --> 01:21:06,687
you-your reception over there
is wilder
1884
01:21:06,731 --> 01:21:08,776
and more, uh, outgoing
than it is here.
1885
01:21:08,820 --> 01:21:10,778
What are you doing
to correct that situation?
1886
01:21:10,822 --> 01:21:12,650
We're gonna be
concentrating really heavily
1887
01:21:12,693 --> 01:21:14,652
on the States in the next year.
1888
01:21:14,695 --> 01:21:16,480
DICK CLARK: Would you introduce
me to your associates, please?
1889
01:21:16,523 --> 01:21:18,438
RUSSELL:
On bass, Les Bohem.
1890
01:21:18,482 --> 01:21:19,918
BOHEM:
I thinkWhomp That Sucker is
1891
01:21:19,962 --> 01:21:22,268
the Bates Motel backup band,
1892
01:21:22,312 --> 01:21:25,881
andAngst, that is the point
where we were a band.
1893
01:21:25,924 --> 01:21:29,058
STEWART: Angst in My Pants
is a record where culture
1894
01:21:29,101 --> 01:21:32,017
and zeitgeist all come together
in that record.
1895
01:21:32,061 --> 01:21:35,499
We have Ron and Russell.
Who is the older?
1896
01:21:35,542 --> 01:21:37,066
You are.
1897
01:21:37,109 --> 01:21:38,894
[laughter]
1898
01:21:38,937 --> 01:21:39,895
RICHARDSON:
First of all, best cover.
1899
01:21:39,938 --> 01:21:41,548
That cover totally rules.
1900
01:21:41,592 --> 01:21:43,159
This is how you do
an album cover.
1901
01:21:44,160 --> 01:21:45,596
DJ LANCE ROCK:
I just remember
1902
01:21:45,639 --> 01:21:47,076
looking at that,
and it's like,
1903
01:21:47,119 --> 01:21:49,252
there's this guy
in a wedding dress with this,
1904
01:21:49,295 --> 01:21:50,731
you know, weird mustache.
1905
01:21:50,775 --> 01:21:52,429
It was just
such a striking image.
1906
01:21:52,472 --> 01:21:54,213
Even now, it is.
1907
01:21:54,257 --> 01:21:56,172
STEWART: They themselves
are heterosexual, but they had
1908
01:21:56,215 --> 01:21:57,782
a huge gay following.
1909
01:21:57,825 --> 01:21:59,740
Their songs questioned
notions of masculinity.
1910
01:21:59,784 --> 01:22:02,830
They did it in their music,
they did it in their videos,
1911
01:22:02,874 --> 01:22:04,745
and I think they did it
on that album cover.
1912
01:22:04,789 --> 01:22:08,662
I mean, that is in the great
rock and roll tradition of:
1913
01:22:08,706 --> 01:22:11,143
"'F' you, America."
1914
01:22:11,187 --> 01:22:14,451
You know, it's-it's disturbing,
it's unsettling.
1915
01:22:14,494 --> 01:22:16,496
It's not right.
It's not Republican.
1916
01:22:16,540 --> 01:22:18,455
It's not apple pie.
1917
01:22:18,498 --> 01:22:20,022
MADELINE BOCCHIARO: Some dudes
wouldn't even buy the album,
1918
01:22:20,065 --> 01:22:21,719
'cause they didn't want to
bring it to the counter,
1919
01:22:21,762 --> 01:22:23,329
but that's their problem.
1920
01:22:23,373 --> 01:22:25,375
RON: We think it's
important to do something
1921
01:22:25,418 --> 01:22:27,551
that is polarizing.
1922
01:22:27,594 --> 01:22:30,423
We don't feel bad about that
in-in the slightest.
1923
01:22:30,467 --> 01:22:32,425
It kind of encourages us to...
1924
01:22:32,469 --> 01:22:35,733
to push what we're doing
even more.
1925
01:22:35,776 --> 01:22:38,910
["I Predict" by Sparks playing]
1926
01:22:38,954 --> 01:22:42,392
♪ You're gonna take
a walk in the rain ♪
1927
01:22:42,435 --> 01:22:44,916
♪ And you're gonna get wet
1928
01:22:44,960 --> 01:22:47,266
♪ I predict...
1929
01:22:47,310 --> 01:22:49,355
It's probably one of
the most macho,
1930
01:22:49,399 --> 01:22:52,619
badass Sparks songs
that's out there.
1931
01:22:52,663 --> 01:22:54,926
And the way
they illustrate it is
1932
01:22:54,970 --> 01:22:57,320
with Ron stripping,
1933
01:22:57,363 --> 01:23:00,932
and it's disgusting and creepy
1934
01:23:00,976 --> 01:23:03,152
and delicious.
1935
01:23:03,195 --> 01:23:06,198
♪ Philip don't care,
I predict... ♪
1936
01:23:06,242 --> 01:23:08,809
PUCKRIK: There's Russell being
the pretty boy, matinee idol,
1937
01:23:08,853 --> 01:23:12,422
and Ron, in his own way,
is a matinee idol,
1938
01:23:12,465 --> 01:23:15,903
but he's one from
the dark side of the lens.
1939
01:23:15,947 --> 01:23:17,731
[crowd cheering]
1940
01:23:17,775 --> 01:23:19,646
KAPRANOS: He doesn't fit in any
of the traditional roles
1941
01:23:19,690 --> 01:23:22,127
that you would have in a...
a rock and roll band.
1942
01:23:22,171 --> 01:23:23,650
That's almost
1943
01:23:23,694 --> 01:23:26,218
more powerful than a front man
in many ways.
1944
01:23:26,262 --> 01:23:27,350
Certainly very distracting.
1945
01:23:31,223 --> 01:23:32,790
FLEA: Yeah, it's shtick
and it's showbiz,
1946
01:23:32,833 --> 01:23:35,314
but it's also
1947
01:23:35,358 --> 01:23:37,534
emblematic and symbolic
1948
01:23:37,577 --> 01:23:40,406
of what their true essence
of who they are is.
1949
01:23:40,450 --> 01:23:42,452
BOTTUM:
Who is the star of Sparks?
1950
01:23:42,495 --> 01:23:44,454
Sometimes it's Ron,
sometimes it's Russell.
1951
01:23:44,497 --> 01:23:46,717
Russell is, like,
a sort of traditional singer,
1952
01:23:46,760 --> 01:23:49,067
but Ron was...
yeah, really shined
1953
01:23:49,111 --> 01:23:51,852
as just this sort of strange,
odd presence.
1954
01:23:52,853 --> 01:23:55,552
Thank you. Thank you.
1955
01:23:55,595 --> 01:23:57,075
Tell us, though, about Sparks.
1956
01:23:57,119 --> 01:23:58,859
I know that you're
an underground band.
1957
01:23:58,903 --> 01:24:00,252
What-what are you saying
1958
01:24:00,296 --> 01:24:01,601
to those kids out there
or to adults?
1959
01:24:01,645 --> 01:24:03,081
What-what is Sparks saying?
1960
01:24:03,125 --> 01:24:05,605
Sparks is a rock band
with a point of view.
1961
01:24:05,649 --> 01:24:08,695
The thing that we wish
to convey is-is a sense of joy
1962
01:24:08,739 --> 01:24:10,915
about the music
that we are creating.
1963
01:24:10,958 --> 01:24:13,048
And I think most
of this sense of joy
1964
01:24:13,091 --> 01:24:17,617
is from Russell's singing
and from my lyrical approach.
1965
01:24:17,661 --> 01:24:19,880
Sometimes it's satirical
1966
01:24:19,924 --> 01:24:23,493
but never without some sort
of witty point of view.
1967
01:24:23,536 --> 01:24:26,104
-HOST: Sparks.
-[cheering]
1968
01:24:29,499 --> 01:24:31,240
DJ LANCE ROCK:
"Cool Places" is a big hit.
1969
01:24:31,283 --> 01:24:32,284
I think that's the first time
1970
01:24:32,328 --> 01:24:33,807
some of my contemporaries
1971
01:24:33,851 --> 01:24:35,592
became aware of Sparks.
1972
01:24:35,635 --> 01:24:37,115
-Our time has come.
-Okay.
1973
01:24:37,159 --> 01:24:39,117
-And here we are.
-We've arrived.
1974
01:24:39,161 --> 01:24:41,859
I hope you like our new
single, "Cool Places."
1975
01:24:43,078 --> 01:24:46,385
♪ I wanna go to cool places
with you ♪
1976
01:24:46,429 --> 01:24:49,127
♪ I wanna take you
cool places tonight... ♪
1977
01:24:49,171 --> 01:24:51,564
RUSSELL:
The video for that song was
1978
01:24:51,608 --> 01:24:54,263
really played a lot on MTV
in the States,
1979
01:24:54,306 --> 01:24:56,787
and so it was really reaching
1980
01:24:56,830 --> 01:24:58,876
a new audience that perhaps
we wouldn't have had.
1981
01:24:58,919 --> 01:25:01,008
♪ A minimum of chitchat...
1982
01:25:01,052 --> 01:25:05,491
WIEDLIN: It's hard to overstate
how important MTV was
1983
01:25:05,535 --> 01:25:08,407
to the music business
at that time.
1984
01:25:08,451 --> 01:25:12,890
And the "Cool Places" video
is so wacky and so fun.
1985
01:25:12,933 --> 01:25:14,761
♪ I gotta tell you...
1986
01:25:14,805 --> 01:25:15,980
CHRISTI HAYDON: I guess
I would've been in high school
1987
01:25:16,023 --> 01:25:17,547
when "Cool Places" came out.
1988
01:25:17,590 --> 01:25:20,419
And I saw the video on MTV.
1989
01:25:20,463 --> 01:25:22,378
And I knew exactly
who Jane Wiedlin was
1990
01:25:22,421 --> 01:25:23,857
'cause I loved the Go-Go's.
1991
01:25:23,901 --> 01:25:25,424
But I thought,
"Who are these two guys
1992
01:25:25,468 --> 01:25:27,557
with my Go-Go?" [laughs]
1993
01:25:27,600 --> 01:25:29,602
♪ And they could tell
we're cooler now... ♪
1994
01:25:29,646 --> 01:25:32,388
SCOTT AUKERMAN: I remember
the video very, very distinctly
1995
01:25:32,431 --> 01:25:34,346
for the dancing in it,
1996
01:25:34,390 --> 01:25:35,956
which was very '80s dancing,
1997
01:25:36,000 --> 01:25:39,482
which was just basic swaying.
1998
01:25:39,525 --> 01:25:41,266
Has anybody traced back
that dance?
1999
01:25:41,310 --> 01:25:44,182
People call it
the Molly Ringwald.
2000
01:25:44,226 --> 01:25:47,316
WIEDLIN: No, no, no. I think
we thought of it, personally.
2001
01:25:47,359 --> 01:25:49,013
When we saw Molly Ringwald
doing it,
2002
01:25:49,056 --> 01:25:51,494
we were like, "Oh, my God,
she stole our dance."
2003
01:25:51,537 --> 01:25:54,714
♪ I wanna go, I wanna go...
2004
01:25:54,758 --> 01:25:57,152
How did you fall in
with this company?
2005
01:25:57,195 --> 01:26:00,024
-We met on a love boat cruise.
-[laughs]
2006
01:26:00,067 --> 01:26:02,157
No, no, seriously.
How did the...
2007
01:26:02,200 --> 01:26:03,854
Did you get a telephone call?
Did you see her?
2008
01:26:03,897 --> 01:26:05,725
What...
Who made the first call?
2009
01:26:05,769 --> 01:26:07,814
Oh, it was mutual admiration
2010
01:26:07,858 --> 01:26:11,166
for, uh, each other's
respective groups
2011
01:26:11,209 --> 01:26:13,951
and then mutual, uh, admiration
2012
01:26:13,994 --> 01:26:15,909
for each other's bodies.
2013
01:26:15,953 --> 01:26:17,911
-[laughter]
-Would you stop that?
2014
01:26:17,955 --> 01:26:20,740
I knew, if I let you go long
enough, I'd be in trouble.
2015
01:26:20,784 --> 01:26:23,178
WIEDLIN: As you can imagine, I
was madly in love with Russell
2016
01:26:23,221 --> 01:26:27,704
all through my teenage-hood,
and then I got to meet him, and
2017
01:26:27,747 --> 01:26:30,272
I basically
threw myself at him.
2018
01:26:30,315 --> 01:26:32,230
Let's just put it that way.
And, um...
2019
01:26:32,274 --> 01:26:36,713
so we had sort of this brief,
brief romance
2020
01:26:36,756 --> 01:26:40,238
that, uh, didn't ever really
get deep or anything,
2021
01:26:40,282 --> 01:26:43,198
and it was fun, and I think,
really, a lot of it for me
2022
01:26:43,241 --> 01:26:45,287
was getting to fulfill
a fantasy.
2023
01:26:45,330 --> 01:26:47,593
You know, one thing led
to the next, you know.
2024
01:26:47,637 --> 01:26:49,204
You're now getting
a little insight
2025
01:26:49,247 --> 01:26:50,901
into how things happen
in the music world.
2026
01:26:50,944 --> 01:26:52,381
You think it's all just
kind of--
2027
01:26:52,424 --> 01:26:53,860
people come out
with albums and record
2028
01:26:53,904 --> 01:26:55,166
and it's all lovey-dovey.
2029
01:26:55,210 --> 01:26:56,559
You know, this...
this is how...
2030
01:26:56,602 --> 01:26:57,690
We thought it was
limos and ludes,
2031
01:26:57,734 --> 01:26:59,257
but it's really sex, huh?
2032
01:26:59,301 --> 01:27:01,259
-This is how it happens, yes.
-It's really sex.
2033
01:27:01,303 --> 01:27:02,869
WIEDLIN: I was so in love with
Russell 'cause he was so cute,
2034
01:27:02,913 --> 01:27:05,132
so I chose beauty
over brains, but...
2035
01:27:05,176 --> 01:27:07,004
and I'm not saying
Russell's not smart
2036
01:27:07,047 --> 01:27:09,702
or Ron's not beautiful--
don't get me wrong--
2037
01:27:09,746 --> 01:27:12,662
but, like, now, like,
I think of Ron, and I'm like...
2038
01:27:12,705 --> 01:27:14,185
[swooning]:
"Oh, Ron Mael."
2039
01:27:14,229 --> 01:27:15,882
Like, I mean, he just wrote
2040
01:27:15,926 --> 01:27:17,841
some of my favorite songs
I've ever heard.
2041
01:27:17,884 --> 01:27:19,886
["I Wish I Looked a Little
Better" by Sparks playing]
2042
01:27:19,930 --> 01:27:22,149
KAPRANOS:
There is this continual theme
2043
01:27:22,193 --> 01:27:23,586
through Ron's lyrics
2044
01:27:23,629 --> 01:27:25,109
in Sparks songs
2045
01:27:25,152 --> 01:27:27,285
of somehow
not being good enough.
2046
01:27:27,329 --> 01:27:28,939
VERA HEGARTY:
Sparks do that thing--
2047
01:27:28,982 --> 01:27:30,419
it's like, they have
a really poignant theme,
2048
01:27:30,462 --> 01:27:34,205
and they're addressing
something quite serious,
2049
01:27:34,249 --> 01:27:36,163
but it's done in
a kind of a playful,
2050
01:27:36,207 --> 01:27:37,817
slightly throwaway way.
2051
01:27:37,861 --> 01:27:39,428
And then you kind of
think about it and you go,
2052
01:27:39,471 --> 01:27:42,257
"You know, it really
is quite sad."
2053
01:27:42,300 --> 01:27:43,693
♪ Turn out the light,
yeah, the light ♪
2054
01:27:43,736 --> 01:27:44,998
♪ And I might have a chance
2055
01:27:45,042 --> 01:27:46,652
♪ I guess I look
slightly worse ♪
2056
01:27:46,696 --> 01:27:48,132
♪ Than the Elephant Man
2057
01:27:48,175 --> 01:27:49,786
♪ Whoa-oh-oh
2058
01:27:49,829 --> 01:27:52,702
♪ I wish I looked
a little better... ♪
2059
01:27:54,269 --> 01:27:57,750
BOTTUM: All of the songs come
from the perspective of Ron,
2060
01:27:57,794 --> 01:28:00,492
and, you know,
he's socially awkward
2061
01:28:00,536 --> 01:28:03,321
and sort of, you know, like,
runs into issues,
2062
01:28:03,365 --> 01:28:05,976
which is what makes the band
so interesting to me, too,
2063
01:28:06,019 --> 01:28:10,285
'cause the face of Sparks and
the voice of Sparks is Russell,
2064
01:28:10,328 --> 01:28:11,851
and Russell is so handsome
2065
01:28:11,895 --> 01:28:13,505
and, you know,
kind of a ladies' man,
2066
01:28:13,549 --> 01:28:15,899
but he's singing these
really fucked-up, like,
2067
01:28:15,942 --> 01:28:18,554
"can't get the girl" lyrics.
2068
01:28:18,597 --> 01:28:19,859
JONES:
It didn't occur to me,
2069
01:28:19,903 --> 01:28:22,862
but being brothers,
at the time,
2070
01:28:22,906 --> 01:28:24,342
when he was the cutie-pie
2071
01:28:24,386 --> 01:28:26,301
and all the teenagers
loved him,
2072
01:28:26,344 --> 01:28:29,739
did he get jealous that he
wasn't getting any attention?
2073
01:28:29,782 --> 01:28:32,872
I mean, that would've done
me in if I was his brother.
2074
01:28:34,831 --> 01:28:36,223
CONGLETON:
He's celebrating all the things
2075
01:28:36,267 --> 01:28:38,400
that awkward kids feel.
2076
01:28:38,443 --> 01:28:39,705
Ultimately,
at the end of the day,
2077
01:28:39,749 --> 01:28:40,880
he's making you feel
less alone.
2078
01:28:40,924 --> 01:28:43,622
♪ Dress for success
2079
01:28:43,666 --> 01:28:46,364
♪ Oh, that's what they said
2080
01:28:46,408 --> 01:28:48,540
♪ Oh, give me some clothes
2081
01:28:48,584 --> 01:28:51,543
♪ To slap over my head
2082
01:28:51,587 --> 01:28:55,199
♪ I went to Balboa Island
and laid in the sand ♪
2083
01:28:55,242 --> 01:28:58,115
♪ I may be ugly as sin,
but at least now I'm tan ♪
2084
01:28:58,158 --> 01:28:59,812
♪ Whoa-oh-oh
2085
01:28:59,856 --> 01:29:02,641
♪ I wish I looked
a little better... ♪
2086
01:29:02,685 --> 01:29:04,687
KENDRICK:
We were headlining,
2087
01:29:04,730 --> 01:29:06,645
like, the Greek Theatre
by the end,
2088
01:29:06,689 --> 01:29:09,082
which is, like,
a 5,000-seat venue.
2089
01:29:09,126 --> 01:29:10,519
You know, it was big.
2090
01:29:11,389 --> 01:29:12,782
STEWART:
There they are, playing
2091
01:29:12,825 --> 01:29:14,349
multiple nights at the Whisky,
2092
01:29:14,392 --> 01:29:15,828
and then larger venues
2093
01:29:15,872 --> 01:29:17,526
like the Country Club
or the Palace
2094
01:29:17,569 --> 01:29:19,223
and even headlining
the Hollywood Bowl.
2095
01:29:19,266 --> 01:29:20,355
YANKOVIC:
I thought they were one of
2096
01:29:20,398 --> 01:29:21,921
the biggest bands in the world,
2097
01:29:21,965 --> 01:29:23,793
because if you lived in L.A.
in the early '80s,
2098
01:29:23,836 --> 01:29:26,012
that was pretty much
the impression you got.
2099
01:29:26,056 --> 01:29:28,841
♪
2100
01:29:28,885 --> 01:29:30,408
KNEGO:
I was happy for them
2101
01:29:30,452 --> 01:29:31,888
because they deserved
the success.
2102
01:29:31,931 --> 01:29:34,194
♪ Let's go.
2103
01:29:34,238 --> 01:29:35,892
[cheering and applause]
2104
01:29:35,935 --> 01:29:38,111
And then sadly, you know,
with Pulling Rabbits,
2105
01:29:38,155 --> 01:29:40,244
you know, everything started
going south.
2106
01:29:42,289 --> 01:29:44,944
I can't believe
what I'm seeing.
2107
01:29:44,988 --> 01:29:47,251
Me, either. [laughs]
2108
01:29:48,470 --> 01:29:50,559
♪ That is what I had intended
2109
01:29:50,602 --> 01:29:52,387
♪ Pretending to be drunk...
2110
01:29:52,430 --> 01:29:55,825
SILVERBLATT: Along comes Sparks
with a swing song
2111
01:29:55,868 --> 01:29:59,132
called
"Pretending to Be Drunk."
2112
01:29:59,176 --> 01:30:01,178
♪ You think I am
weak and feeble ♪
2113
01:30:01,221 --> 01:30:03,354
♪ You think I'm a bore...
2114
01:30:03,398 --> 01:30:05,835
Doesn't sound like
a Sparks song...
2115
01:30:05,878 --> 01:30:08,403
♪ Soon I'm out the door...
2116
01:30:08,446 --> 01:30:11,144
...but it doesn't sound like
any other kind of song, either.
2117
01:30:11,188 --> 01:30:14,757
It sounds like
an alpine glockenspiel song.
2118
01:30:14,800 --> 01:30:16,411
It's crazy.
2119
01:30:16,454 --> 01:30:18,978
♪ Pretending to be drunk...
2120
01:30:19,022 --> 01:30:20,980
RON: We really do enjoy
those periods
2121
01:30:21,024 --> 01:30:23,069
when we do have
commercial success,
2122
01:30:23,113 --> 01:30:24,636
but we wanted to do something
2123
01:30:24,680 --> 01:30:27,073
that was not
as easily pigeonholed,
2124
01:30:27,117 --> 01:30:29,162
obviously not wanting to commit
2125
01:30:29,206 --> 01:30:31,426
commercial suicide
at the same time.
2126
01:30:31,469 --> 01:30:33,471
♪ Pretending
to be drunk... ♪
2127
01:30:33,515 --> 01:30:37,910
In America,
Sparks had a hard time.
2128
01:30:37,954 --> 01:30:39,477
They were a bit much
for most people.
2129
01:30:39,521 --> 01:30:41,566
DJ LANCE ROCK: What can I say?
I'm an American,
2130
01:30:41,610 --> 01:30:43,438
so I don't want
to criticize too much,
2131
01:30:43,481 --> 01:30:45,527
but, you know,
Sparks are a lot of things
2132
01:30:45,570 --> 01:30:48,747
that many Americans
don't seem to care for.
2133
01:30:48,791 --> 01:30:51,054
People were immediately,
you know, taken aback.
2134
01:30:51,097 --> 01:30:52,403
They just thought
they were weird
2135
01:30:52,447 --> 01:30:53,883
or that they were a novelty.
2136
01:30:53,926 --> 01:30:56,929
♪ That is what I had intended
2137
01:30:56,973 --> 01:30:59,628
♪ Pretending to be drunk...
2138
01:30:59,671 --> 01:31:01,281
ROSS: I felt like
their career was over
2139
01:31:01,325 --> 01:31:02,892
more often than any other band.
2140
01:31:02,935 --> 01:31:04,763
You know, it felt to me like,
"I love this band.
2141
01:31:04,807 --> 01:31:06,156
"Oh, they're gone.
2142
01:31:06,199 --> 01:31:07,679
Oh, never mind.
Oh, they're back."
2143
01:31:07,723 --> 01:31:09,594
[laughs]
Some music from two young men
2144
01:31:09,638 --> 01:31:11,683
who had a host of hits
when I was but a...
2145
01:31:11,727 --> 01:31:13,293
but a child disc jockey.
2146
01:31:13,337 --> 01:31:14,860
I'm pleased to say
they're back to delight us
2147
01:31:14,904 --> 01:31:16,427
with a record
entitled "Change."
2148
01:31:16,471 --> 01:31:18,385
Ladies and gentlemen, Sparks.
2149
01:31:18,429 --> 01:31:20,562
-[applause]
-["Change" playing]
2150
01:31:20,605 --> 01:31:22,607
WIEDLIN:
They just keep doing it,
2151
01:31:22,651 --> 01:31:24,783
and they never let
anything stop them.
2152
01:31:24,827 --> 01:31:26,785
Whether they're popular
or not popular,
2153
01:31:26,829 --> 01:31:29,135
it just doesn't seem
to matter to them,
2154
01:31:29,179 --> 01:31:31,181
and I love that about them.
2155
01:31:31,224 --> 01:31:33,270
ROSS: They don't want to stick
with just one thing.
2156
01:31:33,313 --> 01:31:35,838
You know, and what an audience
seems to want is:
2157
01:31:35,881 --> 01:31:37,404
"This is what this band does,
2158
01:31:37,448 --> 01:31:39,276
and this is what they'll
continue doing for me."
2159
01:31:39,319 --> 01:31:40,973
And if you change too much,
I think it upsets people,
2160
01:31:41,017 --> 01:31:42,540
but in their case,
they needed to.
2161
01:31:42,584 --> 01:31:45,282
And I kind of love them
all the more for that.
2162
01:31:45,325 --> 01:31:48,198
♪ The rain is falling down...
2163
01:31:48,241 --> 01:31:50,026
RON:
People, a lot of the time,
2164
01:31:50,069 --> 01:31:52,985
they think of our image
as being maybe a bit eccentric
2165
01:31:53,029 --> 01:31:54,857
and they don't think
that it's dealing
2166
01:31:54,900 --> 01:31:56,554
with-with sort of real things,
2167
01:31:56,598 --> 01:31:58,251
and we really think
that by and large--
2168
01:31:58,295 --> 01:31:59,992
and I emphasize
"by and large"--
2169
01:32:00,036 --> 01:32:00,950
we're dealing
2170
01:32:00,993 --> 01:32:02,386
with real situations.
2171
01:32:02,429 --> 01:32:04,301
♪ But wait,
there's a rainbow... ♪
2172
01:32:04,344 --> 01:32:07,260
STEWART:
"Change" was this, um,
2173
01:32:07,304 --> 01:32:08,566
radical departure for them.
2174
01:32:08,610 --> 01:32:10,742
HEGARTY:
It was kind of more muted,
2175
01:32:10,786 --> 01:32:12,483
and it was sort of darker.
2176
01:32:12,527 --> 01:32:14,920
STEWART: You couldn't make
a less commercial record
2177
01:32:14,964 --> 01:32:16,792
or release it as a single.
2178
01:32:16,835 --> 01:32:20,317
And I remember how much
I loved it at the time
2179
01:32:20,360 --> 01:32:21,710
because of those qualities.
2180
01:32:21,753 --> 01:32:23,407
♪ Change
2181
01:32:23,450 --> 01:32:28,238
♪ Every dog is gonna
have his day ♪
2182
01:32:28,281 --> 01:32:30,109
♪ Change
2183
01:32:30,153 --> 01:32:34,723
♪ Every loser's gonna
have his way ♪
2184
01:32:34,766 --> 01:32:36,551
♪ Change
2185
01:32:36,594 --> 01:32:39,989
♪ I don't care
what other people say... ♪
2186
01:32:40,032 --> 01:32:42,034
BOHEM:
There's this ability--
2187
01:32:42,078 --> 01:32:43,906
so few people have it--
it's like...
2188
01:32:43,949 --> 01:32:47,039
you say very little,
you're funny as could be,
2189
01:32:47,083 --> 01:32:49,694
and all of a sudden,
it-it's devastating.
2190
01:32:49,738 --> 01:32:52,523
♪ It's a complete
waste of time... ♪
2191
01:32:52,567 --> 01:32:54,960
DEAN MENTA: When I was touring
with them, they would do that.
2192
01:32:55,004 --> 01:32:56,571
And I always thought, "Wow,
2193
01:32:56,614 --> 01:32:58,529
that's a super poignant song,"
2194
01:32:58,573 --> 01:33:00,357
considering their ups and downs
2195
01:33:00,400 --> 01:33:02,751
in the recording industry.
2196
01:33:02,794 --> 01:33:03,795
RUSSELL:
We were given
2197
01:33:03,839 --> 01:33:05,623
the unenviable task
2198
01:33:05,667 --> 01:33:08,713
of being on a show
on British TV
2199
01:33:08,757 --> 01:33:12,761
and our record label didn't
want to finance a video.
2200
01:33:12,804 --> 01:33:15,938
If there's any other
local bands out there
2201
01:33:15,981 --> 01:33:20,333
that would like this same
sort of video, uh, treatment,
2202
01:33:20,377 --> 01:33:23,554
they can contact me
through London Records.
2203
01:33:23,598 --> 01:33:25,730
♪ Change, change, change
2204
01:33:25,774 --> 01:33:29,908
♪ I don't care what
other people say... ♪
2205
01:33:29,952 --> 01:33:31,780
RUSSELL:
We hoped it would embarrass
2206
01:33:31,823 --> 01:33:33,869
our record label enough to,
2207
01:33:33,912 --> 01:33:37,742
the next time around, maybe,
uh, fling to do a video for us.
2208
01:33:37,786 --> 01:33:40,310
♪ I got places
that I've gotta be... ♪
2209
01:33:40,353 --> 01:33:42,094
RON:
We billed the record company
2210
01:33:42,138 --> 01:33:44,140
for the two pounds
to buy the, uh, board
2211
01:33:44,183 --> 01:33:46,446
that we made
the TV out of, too.
2212
01:33:46,490 --> 01:33:48,231
Still are waiting
to get paid back for that.
2213
01:33:48,274 --> 01:33:49,275
ANNOUNCER:
Ladies and gentlemen,
2214
01:33:49,319 --> 01:33:52,670
please welcome Sparks.
2215
01:33:52,714 --> 01:33:55,238
[cheering and applause]
2216
01:33:55,281 --> 01:33:57,240
RUSSELL:
We really liked that song,
2217
01:33:57,283 --> 01:34:00,678
but unfortunately, it didn't
have the commercial success
2218
01:34:00,722 --> 01:34:03,289
that they had hoped for,
so there was one time
2219
01:34:03,333 --> 01:34:05,727
where the head of that label,
he just said, you know,
2220
01:34:05,770 --> 01:34:07,554
"You guys really should write
2221
01:34:07,598 --> 01:34:09,818
some music that
you can dance to."
2222
01:34:09,861 --> 01:34:12,124
♪ Music that you can dance to
2223
01:34:12,168 --> 01:34:13,648
♪ That and that alone
2224
01:34:13,691 --> 01:34:16,389
♪ Is enough for me
2225
01:34:17,564 --> 01:34:20,045
♪ Stark naked modern music
2226
01:34:20,089 --> 01:34:22,613
♪ Hotter than your mama
will ever be... ♪
2227
01:34:22,657 --> 01:34:24,833
RUSSELL: "Hotter than
your mama will ever be."
2228
01:34:24,876 --> 01:34:27,226
I mean, every song I write,
I try to make it hotter
2229
01:34:27,270 --> 01:34:28,924
than your mama will ever be.
2230
01:34:28,967 --> 01:34:30,969
♪ Music that
you can dance to ♪
2231
01:34:31,013 --> 01:34:32,754
♪ Cracks you
like a whip ♪
2232
01:34:32,797 --> 01:34:35,408
♪ But it feels so right...
2233
01:34:35,452 --> 01:34:39,108
RON: The lyrics sound like
it's trying to be kind of
2234
01:34:39,151 --> 01:34:41,893
nasty and oversimplistic,
but I swear to God,
2235
01:34:41,937 --> 01:34:43,982
they were... they were done
with total sincerity.
2236
01:34:44,026 --> 01:34:45,592
♪ So what's it gonna be?
2237
01:34:45,636 --> 01:34:47,507
♪ Gonna be, gonna be
2238
01:34:47,551 --> 01:34:50,206
-♪ A symphony tonight
-♪ Symphony tonight...
2239
01:34:50,249 --> 01:34:52,817
STEWART: It's a perfectly
crafted sellout song,
2240
01:34:52,861 --> 01:34:56,995
except it's not and it's
mocking that idea, and...
2241
01:34:57,039 --> 01:34:59,171
"Here's your fucking
dance pop record."
2242
01:34:59,215 --> 01:35:01,739
♪ Music that you can dance to
2243
01:35:01,783 --> 01:35:06,657
♪ Every single beat
where it ought to be... ♪
2244
01:35:06,701 --> 01:35:08,528
RUSSELL: The record executive
at that company
2245
01:35:08,572 --> 01:35:11,053
took it the wrong way,
and he wasn't
2246
01:35:11,096 --> 01:35:14,317
so happy, so we, uh,
severed our relationship
2247
01:35:14,360 --> 01:35:15,274
with that label.
2248
01:35:15,318 --> 01:35:18,277
♪
2249
01:35:18,321 --> 01:35:20,715
Fuck the guy
from London Records, right?
2250
01:35:22,064 --> 01:35:24,370
♪ Music that
you can dance to... ♪
2251
01:35:24,414 --> 01:35:27,112
SCHWARTZMAN: I told Ron and
Russell that I loved that song,
2252
01:35:27,156 --> 01:35:28,766
and they said something
in the email like,
2253
01:35:28,810 --> 01:35:31,247
"Yes, you're in
the age bracket for that song.
2254
01:35:31,290 --> 01:35:34,250
"That was in a really cheesy
'80s BMX movie
2255
01:35:34,293 --> 01:35:36,382
calledRad,
if you've ever seen it."
2256
01:35:36,426 --> 01:35:38,297
And I wrote back,
"Yes, I've seen it.
2257
01:35:38,341 --> 01:35:40,343
My mom was in it."
2258
01:35:42,084 --> 01:35:44,216
[sighs]
2259
01:35:44,260 --> 01:35:45,609
♪
2260
01:35:45,652 --> 01:35:47,306
KNEGO:
Their base of music, KROQ,
2261
01:35:47,350 --> 01:35:49,221
which was such a great
support to them
2262
01:35:49,265 --> 01:35:50,962
in the early '80s,
was moving on.
2263
01:35:51,006 --> 01:35:52,790
They wanted bands
like Red Hot Chili Peppers
2264
01:35:52,834 --> 01:35:55,532
and more of a angry,
edgier sound.
2265
01:35:55,575 --> 01:35:58,100
It seemed like the Top 40 era,
2266
01:35:58,143 --> 01:36:00,493
that, uh, wasn't happening
at that point.
2267
01:36:00,537 --> 01:36:03,888
STEWART: I bought
intoInterior Design
2268
01:36:03,932 --> 01:36:06,717
and would've put out any
Sparks record for any reason.
2269
01:36:06,761 --> 01:36:08,588
Unfortunately, at that time,
2270
01:36:08,632 --> 01:36:11,287
they had less relevance
2271
01:36:11,330 --> 01:36:13,158
than they ever had
2272
01:36:13,202 --> 01:36:14,943
to what was going on
in the market.
2273
01:36:14,986 --> 01:36:16,596
So we got to put
the record out,
2274
01:36:16,640 --> 01:36:18,598
but we weren't able
to do much for it.
2275
01:36:18,642 --> 01:36:22,341
KNEGO: You know, they weren't,
like, 20-somethings anymore.
2276
01:36:22,385 --> 01:36:25,431
It was a very, very hard time
commercially for them,
2277
01:36:25,475 --> 01:36:27,346
but creatively,
they never stopped.
2278
01:36:27,390 --> 01:36:28,913
They were always working
on something.
2279
01:36:28,957 --> 01:36:32,264
Is there anybody out there
at all right now?
2280
01:36:34,397 --> 01:36:36,616
DICK CLARK:
Let's take a look and see
2281
01:36:36,660 --> 01:36:38,793
what's going on out there
in California.
2282
01:36:38,836 --> 01:36:40,533
They're bringing it in
in style.
2283
01:36:42,448 --> 01:36:44,929
HAYDON:
They recorded every day,
2284
01:36:44,973 --> 01:36:46,235
sometimes seven days a week.
2285
01:36:46,278 --> 01:36:48,193
They were in their home studio
2286
01:36:48,237 --> 01:36:50,717
just coming up
with brilliant material
2287
01:36:50,761 --> 01:36:53,459
that wasn't being signed,
and it wasn't necessarily
2288
01:36:53,503 --> 01:36:55,940
going to culminate
into an album.
2289
01:36:55,984 --> 01:37:00,031
CLARK:
1990. Happy New Year!
2290
01:37:00,075 --> 01:37:03,034
HAYDON: Because of
the lack of a record deal
2291
01:37:03,078 --> 01:37:07,430
and any kind of record company
financial support, you know,
2292
01:37:07,473 --> 01:37:10,476
there comes a point where
the well is getting a bit dry.
2293
01:37:10,520 --> 01:37:12,696
It seemed, like,
really imperative
2294
01:37:12,739 --> 01:37:16,439
that Russell learn how
to be the engineer.
2295
01:37:18,745 --> 01:37:22,358
CLARK: It's 1991
onNew Year's Rockin' Eve.
2296
01:37:24,055 --> 01:37:26,101
HAYDON:
Had they have been two guys
2297
01:37:26,144 --> 01:37:27,493
that did drugs and all of that
2298
01:37:27,537 --> 01:37:29,626
and blew their money
in the past,
2299
01:37:29,669 --> 01:37:31,149
they wouldn't have been able
2300
01:37:31,193 --> 01:37:32,890
to pay their bills
during that time.
2301
01:37:32,934 --> 01:37:36,241
It's a testament to them
in every aspect, you know,
2302
01:37:36,285 --> 01:37:38,200
to how they had... had,
2303
01:37:38,243 --> 01:37:40,898
um, you know,
saved for that rainy day.
2304
01:37:40,942 --> 01:37:42,639
So they were able to have,
you know,
2305
01:37:42,682 --> 01:37:45,033
almost six years of rainy days.
2306
01:37:45,076 --> 01:37:48,253
CLARK:
Now, 1992. Happy New Year.
2307
01:37:50,212 --> 01:37:51,822
HAYDON [crying]:
Like, I get emotional
2308
01:37:51,866 --> 01:37:53,737
when I think about that time.
2309
01:37:58,785 --> 01:38:02,702
Every day-- like I said,
sometimes seven days a week...
2310
01:38:06,706 --> 01:38:10,580
...from morning till night,
they were working so hard.
2311
01:38:12,408 --> 01:38:15,933
And they never...
they never tried to,
2312
01:38:15,977 --> 01:38:18,109
you know, do their version
of being commercial.
2313
01:38:18,153 --> 01:38:22,722
They never tried to...
to dumb it down, water it down.
2314
01:38:22,766 --> 01:38:27,118
They stayed so true
to exactly...
2315
01:38:27,162 --> 01:38:29,425
what they've always been.
2316
01:38:29,468 --> 01:38:31,993
CLARK:
Five seconds to 1993.
2317
01:38:32,036 --> 01:38:35,561
Happy New Year's
Rockin' Eve '93.
2318
01:38:35,605 --> 01:38:38,913
RUSSELL: The one thing that
I'm proudest of with Sparks
2319
01:38:38,956 --> 01:38:41,959
is just our determination
and resilience.
2320
01:38:42,003 --> 01:38:44,831
For instance, we devoted
six years of our lives
2321
01:38:44,875 --> 01:38:46,616
to work on
a movie musical project
2322
01:38:46,659 --> 01:38:49,053
that was called
Mai, the Psychic Girl.
2323
01:38:49,097 --> 01:38:51,795
It was based on
a Japanese manga.
2324
01:38:51,838 --> 01:38:53,710
We were really up
for the challenge of that
2325
01:38:53,753 --> 01:38:54,972
because we-we thought
2326
01:38:55,016 --> 01:38:57,322
that this could be a way also
2327
01:38:57,366 --> 01:39:00,412
for Sparks to channel
what we were doing
2328
01:39:00,456 --> 01:39:03,154
but in another form yet again.
2329
01:39:03,198 --> 01:39:06,636
And Tim Burton was signed on
early on to direct it.
2330
01:39:08,681 --> 01:39:11,336
We did miss performing live
during that period,
2331
01:39:11,380 --> 01:39:13,295
but I think,
in the back of our heads,
2332
01:39:13,338 --> 01:39:15,340
we were also thinking
a lot of people
2333
01:39:15,384 --> 01:39:17,299
are gonna see
this Tim Burton movie
2334
01:39:17,342 --> 01:39:22,782
and it will obviously help
the cause for Sparks.
2335
01:39:22,826 --> 01:39:26,612
HAYDON:
When we got word that Tim was
2336
01:39:26,656 --> 01:39:28,788
bowing out of
Mai, the Psychic Girl,
2337
01:39:28,832 --> 01:39:29,876
there were tears,
2338
01:39:29,920 --> 01:39:32,009
and...
[chuckles]
2339
01:39:32,053 --> 01:39:35,926
And I-I-I cry easily,
but Ron and Russell don't,
2340
01:39:35,970 --> 01:39:37,972
and there were tears.
2341
01:39:39,625 --> 01:39:42,324
RON: We kind of had put all
of our chips on that one thing,
2342
01:39:42,367 --> 01:39:45,718
and-and maybe that was
the wrong thing to do.
2343
01:39:47,285 --> 01:39:50,680
RUSSELL: Somehow, you know,
you muster up the enthusiasm
2344
01:39:50,723 --> 01:39:52,464
to-to continue on.
2345
01:39:52,508 --> 01:39:54,858
I think sometimes
it's the setbacks
2346
01:39:54,901 --> 01:39:58,340
that-that actually
make you stronger.
2347
01:39:58,383 --> 01:40:00,646
And sometimes,
as a result of those things,
2348
01:40:00,690 --> 01:40:05,129
you end up doing something
even better.
2349
01:40:05,173 --> 01:40:09,090
CLARK:
Happy 1994.
2350
01:40:09,133 --> 01:40:10,569
KAPRANOS:
I remember going to Fopp
2351
01:40:10,613 --> 01:40:12,136
on Byres Road in Glasgow
2352
01:40:12,180 --> 01:40:15,052
and, um, this new
Sparks album was out.
2353
01:40:15,096 --> 01:40:16,880
Gratuitous Sax
& Senseless Violins.
2354
01:40:16,923 --> 01:40:18,795
I was thinking,
like, "Oh, wow.
2355
01:40:18,838 --> 01:40:20,449
So this band still exists?"
2356
01:40:20,492 --> 01:40:24,061
♪ No, no use
in lecturing them ♪
2357
01:40:24,105 --> 01:40:26,020
♪ Or in threatening them
2358
01:40:26,063 --> 01:40:28,457
♪ They will just say,
"Who are you?" ♪
2359
01:40:28,500 --> 01:40:30,807
GLORIA HUNNIFORD:
That unusual duo from the '70s
2360
01:40:30,850 --> 01:40:32,548
are back and still brilliant.
2361
01:40:32,591 --> 01:40:34,680
Bloody hell, they look amazing.
2362
01:40:34,724 --> 01:40:35,986
Have they not aged?
2363
01:40:36,030 --> 01:40:37,335
HUNNIFORD:
It's like a time warp.
2364
01:40:37,379 --> 01:40:38,510
The pair of you look
exactly the same.
2365
01:40:38,554 --> 01:40:40,773
Well, thank you.
What can I say?
2366
01:40:40,817 --> 01:40:42,210
So, after a six-year gap,
2367
01:40:42,253 --> 01:40:44,081
they came back
with a vengeance.
2368
01:40:44,125 --> 01:40:47,389
♪ No, no use
in taking their time ♪
2369
01:40:47,432 --> 01:40:49,391
♪ Or in wasting two dimes
2370
01:40:49,434 --> 01:40:52,742
♪ On a call to God knows who
2371
01:40:52,785 --> 01:40:55,136
♪ When all you feel
is the rain ♪
2372
01:40:55,179 --> 01:40:57,181
♪ And it's hard to be vain
2373
01:40:57,225 --> 01:41:00,576
♪ When no person looks at you
2374
01:41:00,619 --> 01:41:05,450
♪ So just be gracious
and wait in the queue ♪
2375
01:41:07,496 --> 01:41:11,413
♪ So when do I get
to sing "My Way"? ♪
2376
01:41:11,456 --> 01:41:14,242
♪ When do I get to feel
like Sinatra... ♪
2377
01:41:14,285 --> 01:41:16,505
Oh, my God, "When Do I Get
to Sing 'My Way.'"
2378
01:41:16,548 --> 01:41:18,420
Oh, I love it.
2379
01:41:18,463 --> 01:41:20,335
It absolutely was
the perfect song
2380
01:41:20,378 --> 01:41:23,120
for this big comeback.
2381
01:41:23,164 --> 01:41:25,862
RUSSELL: Our German manager
at the time said,
2382
01:41:25,905 --> 01:41:28,691
"Ja, ja,this is ein Hit."
2383
01:41:28,734 --> 01:41:31,563
So he approached BMG Records
in Germany,
2384
01:41:31,607 --> 01:41:33,609
and they said,
"Ja, you are right.
2385
01:41:33,652 --> 01:41:35,437
Das ist ein Hit."
2386
01:41:35,480 --> 01:41:39,136
♪ Don't see,
is my smiley face still on? ♪
2387
01:41:39,180 --> 01:41:41,007
HAYDON:
The video did showcase them
2388
01:41:41,051 --> 01:41:43,140
as these glamorous guys
2389
01:41:43,184 --> 01:41:45,925
who at least one of them
has it all,
2390
01:41:45,969 --> 01:41:47,536
but it's coming
out of a time when
2391
01:41:47,579 --> 01:41:49,712
they didn't have it all.
2392
01:41:49,755 --> 01:41:51,453
-I feel wonderful.
-[laughter]
2393
01:41:51,496 --> 01:41:53,498
♪ When do I get to feel
like Sinatra felt? ♪
2394
01:41:53,542 --> 01:41:56,458
KNEGO: Sparks singing "When
Do I Get to Sing 'My Way'"
2395
01:41:56,501 --> 01:41:58,416
is, like,
the ultimate statement.
2396
01:41:58,460 --> 01:41:59,896
It's like, "Yeah, okay,
you liked it
2397
01:41:59,939 --> 01:42:01,637
"when Frank Sinatra did it.
2398
01:42:01,680 --> 01:42:03,508
"You liked it when Sid Vicious
did it, you know?
2399
01:42:03,552 --> 01:42:05,684
Why can't we do it?"
2400
01:42:05,728 --> 01:42:09,210
♪ When do I get to feel
like Sid Vicious felt? ♪
2401
01:42:09,253 --> 01:42:11,386
KAPRANOS: The irony is I don't
think Ron or Russell want
2402
01:42:11,429 --> 01:42:13,431
to be either Sinatra
2403
01:42:13,475 --> 01:42:15,085
or Sid Vicious.
2404
01:42:15,129 --> 01:42:18,784
They just want to feel
as famous.
2405
01:42:18,828 --> 01:42:21,352
♪ They'll introduce me
2406
01:42:21,396 --> 01:42:23,833
♪ Hello, hello
2407
01:42:23,876 --> 01:42:25,139
RUSSELL:
We were being perceived
2408
01:42:25,182 --> 01:42:26,575
as a brand-new band now.
2409
01:42:26,618 --> 01:42:28,446
♪ Women seduce me...
2410
01:42:28,490 --> 01:42:30,318
RON:
Some of the radio stations
2411
01:42:30,361 --> 01:42:33,930
kind of accused us
of ripping off bands that,
2412
01:42:33,973 --> 01:42:37,977
in all modesty, were influenced
by what we had done,
2413
01:42:38,021 --> 01:42:40,806
and it was kind of humiliating.
2414
01:42:40,850 --> 01:42:43,157
Backstage at
a Pet Shop Boys concert,
2415
01:42:43,200 --> 01:42:44,723
while I was promoting
their records,
2416
01:42:44,767 --> 01:42:46,856
I approached Neil Tennant,
and I said,
2417
01:42:46,899 --> 01:42:49,380
"Why don't you guys ever
acknowledge Sparks?"
2418
01:42:49,424 --> 01:42:51,991
And he just gave me a, you
know, sort of a scornful look
2419
01:42:52,035 --> 01:42:55,473
and said, "You're very
naughty," and walked away.
2420
01:42:55,517 --> 01:42:56,866
MORRIS:
It was weird coming back...
2421
01:42:56,909 --> 01:42:58,215
GILBERT:
Yeah.
2422
01:42:58,259 --> 01:43:00,652
...to find something
you invented.
2423
01:43:00,696 --> 01:43:03,264
[laughing]: Yeah.
And you've left behind.
2424
01:43:03,307 --> 01:43:05,048
KNEGO:
We had a top ten with
2425
01:43:05,091 --> 01:43:06,441
"When Do I Get
to Sing 'My Way'"
2426
01:43:06,484 --> 01:43:08,399
and another couple
charting singles
2427
01:43:08,443 --> 01:43:10,227
off of that album as well.
2428
01:43:10,271 --> 01:43:12,708
So Sparks really sort of made
a name for themselves
2429
01:43:12,751 --> 01:43:14,536
in the clubs,
which was really cool.
2430
01:43:14,579 --> 01:43:17,930
RON: It became the number one
airplay song in Germany.
2431
01:43:17,974 --> 01:43:20,933
RUSSELL:
Thank you, uh, especially to...
2432
01:43:20,977 --> 01:43:24,110
everyone in Germany
for making this past year
2433
01:43:24,154 --> 01:43:25,938
so super special for Sparks.
2434
01:43:25,982 --> 01:43:28,245
So thank you very much.
2435
01:43:28,289 --> 01:43:30,943
[cheering]
2436
01:43:30,987 --> 01:43:33,032
[wind whistling]
2437
01:43:34,904 --> 01:43:37,123
[thunder crashes]
2438
01:43:37,167 --> 01:43:40,605
♪
2439
01:43:40,649 --> 01:43:42,607
RON: If we had
stayed strong,
2440
01:43:42,651 --> 01:43:44,174
we probably
wouldn't have done
2441
01:43:44,218 --> 01:43:46,872
thePlagiarism album.
2442
01:43:46,916 --> 01:43:49,048
Plagiarism was
something that was
2443
01:43:49,092 --> 01:43:51,660
recommended from
outside forces.
2444
01:43:53,314 --> 01:43:54,793
It's a retrospective
of their own career,
2445
01:43:54,837 --> 01:43:56,491
but they've done it
2446
01:43:56,534 --> 01:44:00,886
as grandiose, orchestral,
bombastic versions.
2447
01:44:00,930 --> 01:44:03,280
RON:
It was felt that since we had
2448
01:44:03,324 --> 01:44:05,761
reached a whole new audience,
2449
01:44:05,804 --> 01:44:08,242
maybe there's a group
of young people
2450
01:44:08,285 --> 01:44:10,592
that haven't heard
earlier stuff,
2451
01:44:10,635 --> 01:44:13,812
and we reluctantly
went along with that.
2452
01:44:13,856 --> 01:44:16,162
PUCKRIK: They're not interested
in looking backwards.
2453
01:44:16,206 --> 01:44:18,426
They're always on a quest.
They're always on a mission
2454
01:44:18,469 --> 01:44:22,560
to further their
musical perversions.
2455
01:44:22,604 --> 01:44:24,127
RON:
One of the reasons why
2456
01:44:24,170 --> 01:44:25,998
we've been able to go on
for so long
2457
01:44:26,042 --> 01:44:28,305
is because we're always kind of
looking to the next album
2458
01:44:28,349 --> 01:44:30,829
and not even bothering
with the past.
2459
01:44:30,873 --> 01:44:33,049
And so when we get back
to Los Angeles,
2460
01:44:33,092 --> 01:44:35,443
that's the first thing
we're gonna be working on
2461
01:44:35,486 --> 01:44:37,923
is an album of new material.
2462
01:44:37,967 --> 01:44:40,012
♪
2463
01:44:42,101 --> 01:44:46,062
SILVERBLATT: Sparks is
the quintessence of a band
2464
01:44:46,105 --> 01:44:49,718
that starts and starts again
and starts again.
2465
01:44:49,761 --> 01:44:53,461
No success is
big enough for them.
2466
01:44:53,504 --> 01:44:56,420
No failure is
small enough for them.
2467
01:44:56,464 --> 01:44:59,075
They can always move on.
2468
01:44:59,118 --> 01:45:01,773
["Balls" by Sparks playing]
2469
01:45:01,817 --> 01:45:03,427
TAMMY GLOVER:
Every single album,
2470
01:45:03,471 --> 01:45:07,126
we think, is going to be
the breakthrough album
2471
01:45:07,170 --> 01:45:09,868
where, you know, the world
finally gets wise.
2472
01:45:09,912 --> 01:45:11,392
♪ To succeed are balls
2473
01:45:11,435 --> 01:45:14,264
♪ All you need are balls...
2474
01:45:14,308 --> 01:45:15,831
RUSSELL:
Maybe there's something
2475
01:45:15,874 --> 01:45:18,224
to that lyric that resonates
2476
01:45:18,268 --> 01:45:20,270
with-with Sparks.
2477
01:45:25,014 --> 01:45:26,929
-[laughter]
-And I turn it over to Ron,
2478
01:45:26,972 --> 01:45:28,887
-who would like to...
-Such a... I'm just moved.
2479
01:45:28,931 --> 01:45:31,629
♪ Balls, all you need
are balls ♪
2480
01:45:31,673 --> 01:45:33,805
♪ To succeed are balls
2481
01:45:33,849 --> 01:45:35,981
♪ All you need are...
2482
01:45:36,025 --> 01:45:39,376
GLOVER:
Balls didn't break through.
2483
01:45:39,420 --> 01:45:43,075
But every time that happens,
Ron reinvents everything.
2484
01:45:43,119 --> 01:45:45,164
It's just in Sparks's DNA
2485
01:45:45,208 --> 01:45:48,385
to rip up the rule book
and start over.
2486
01:45:48,429 --> 01:45:50,518
KNEGO: They've reinvented
themselves several times,
2487
01:45:50,561 --> 01:45:52,215
but Lil' Beethovenwas,
I think,
2488
01:45:52,258 --> 01:45:54,696
phase three
in the Sparks genre.
2489
01:45:54,739 --> 01:45:56,741
MAIDA: It's almost
as if they erased
2490
01:45:56,785 --> 01:45:59,918
the chalkboard, you know,
and started over again.
2491
01:45:59,962 --> 01:46:03,705
♪ I am the rhythm thief
2492
01:46:03,748 --> 01:46:06,708
♪ Say goodbye to the beat
2493
01:46:06,751 --> 01:46:10,146
♪ I am the rhythm thief
2494
01:46:10,189 --> 01:46:13,149
♪ Auf Wiedersehen to the beat
2495
01:46:13,192 --> 01:46:14,759
♪ Oh, no...
2496
01:46:14,803 --> 01:46:16,370
PALLADINO: It was
a really interesting variation
2497
01:46:16,413 --> 01:46:18,110
on everything
they had done before.
2498
01:46:18,154 --> 01:46:20,678
It was almost like a--
you're combining
2499
01:46:20,722 --> 01:46:23,333
Steve Reich and his repetition
2500
01:46:23,377 --> 01:46:26,118
with Sparks and their comedy.
2501
01:46:26,162 --> 01:46:29,513
♪ You'll never get it back,
you'll never get it back ♪
2502
01:46:29,557 --> 01:46:32,777
♪ The rhythm thief has got it
and you'll never get it back ♪
2503
01:46:32,821 --> 01:46:35,998
♪ You'll never get it back,
you'll never get it back ♪
2504
01:46:36,041 --> 01:46:37,608
♪ The rhythm thief has got it
2505
01:46:37,652 --> 01:46:39,567
♪ Lights out, Ibiza...
2506
01:46:39,610 --> 01:46:41,133
There's all these
group vocals and chants
2507
01:46:41,177 --> 01:46:42,700
that are almost like raps,
2508
01:46:42,744 --> 01:46:45,877
kind of neoclassical feel
to the music.
2509
01:46:45,921 --> 01:46:49,011
-♪ I am the rhythm thief
-♪ Rhythm, rhythm thief♪
2510
01:46:49,054 --> 01:46:52,362
♪ Auf Wiedersehen
to the beat. ♪
2511
01:46:53,581 --> 01:46:55,974
STEWART: What they remind me of
with that album
2512
01:46:56,018 --> 01:46:56,975
is how important it is
2513
01:46:57,019 --> 01:46:58,890
to stay on your toes
2514
01:46:58,934 --> 01:47:01,284
and be alert
and be challenged as a listener
2515
01:47:01,327 --> 01:47:04,418
and to move away from
nostalgia and comfort food.
2516
01:47:04,461 --> 01:47:07,682
♪ I married myself
2517
01:47:07,725 --> 01:47:09,901
♪ I'm very happy together
2518
01:47:09,945 --> 01:47:12,861
♪ Long, long walks
on the beach ♪
2519
01:47:12,904 --> 01:47:16,342
♪ Lovely times
2520
01:47:16,386 --> 01:47:19,781
♪ I married myself
2521
01:47:19,824 --> 01:47:22,784
♪ I'm very happy together
2522
01:47:22,827 --> 01:47:25,003
♪ Candlelight dinners home
2523
01:47:25,047 --> 01:47:27,310
♪ Lovely times...
2524
01:47:27,353 --> 01:47:28,877
KNEGO:
They weren't trying to be
2525
01:47:28,920 --> 01:47:30,269
something to please
a record company.
2526
01:47:30,313 --> 01:47:31,270
They were just taking
2527
01:47:31,314 --> 01:47:33,142
all their creative juices
2528
01:47:33,185 --> 01:47:35,013
and putting it into
something that they loved.
2529
01:47:35,057 --> 01:47:37,059
It's that ability and desire
2530
01:47:37,102 --> 01:47:38,800
to take risks
2531
01:47:38,843 --> 01:47:41,585
and to mess things up
that makes them Sparks.
2532
01:47:42,717 --> 01:47:45,023
RUSSELL:
I think we spent over a year
2533
01:47:45,067 --> 01:47:48,331
recordingLil' Beethoven,
not even knowing for sure
2534
01:47:48,374 --> 01:47:50,725
what the end product
was going to be.
2535
01:47:50,768 --> 01:47:52,291
And I think, when you kind of
2536
01:47:52,335 --> 01:47:54,424
approach an album
in that sort of way,
2537
01:47:54,468 --> 01:47:56,513
we tend to spend
a lot of time on it.
2538
01:48:01,518 --> 01:48:03,955
It's you.
2539
01:48:05,827 --> 01:48:07,742
RON:
The albumLil' Beethoven,
2540
01:48:07,785 --> 01:48:11,485
in particular, was one where
the studio was essential.
2541
01:48:12,747 --> 01:48:16,446
Just creatively, you know,
we feel so energized
2542
01:48:16,490 --> 01:48:18,535
by working in this kind of way
2543
01:48:18,579 --> 01:48:20,450
where we don't
have to feel foolish
2544
01:48:20,494 --> 01:48:21,973
if we do something foolish.
2545
01:48:22,017 --> 01:48:25,237
And we do quite a bit
of foolish things,
2546
01:48:25,281 --> 01:48:27,675
but you'll never
hear about 'em.
2547
01:48:30,155 --> 01:48:31,983
RUSSELL:
Not being dependent
2548
01:48:32,027 --> 01:48:34,986
on massive budgets
and record companies
2549
01:48:35,030 --> 01:48:36,901
became a really
liberating thing
2550
01:48:36,945 --> 01:48:38,468
that now we could record
2551
01:48:38,512 --> 01:48:41,732
on our own,
and then we just hand that off
2552
01:48:41,776 --> 01:48:43,168
to a... to a label,
2553
01:48:43,212 --> 01:48:45,388
and then, uh,
take it or leave it.
2554
01:48:45,431 --> 01:48:47,956
[playing
"My Baby's Taking Me Home"]
2555
01:48:51,133 --> 01:48:54,310
♪ Home, my baby's
taking me home ♪
2556
01:48:54,353 --> 01:48:56,312
♪ My baby's taking me home
2557
01:48:56,355 --> 01:48:59,489
♪ My baby's
taking me home ♪
2558
01:49:00,446 --> 01:49:02,100
♪ Home...
2559
01:49:02,144 --> 01:49:03,667
RON:
"My Baby's Taking Me Home" is
2560
01:49:03,711 --> 01:49:05,843
one of my favorites
off of that album.
2561
01:49:05,887 --> 01:49:07,541
It's an emotional song
2562
01:49:07,584 --> 01:49:09,325
that has
lots of bumps and curves
2563
01:49:09,368 --> 01:49:11,675
and poetic images would have,
2564
01:49:11,719 --> 01:49:13,285
but it's only
pretty much saying,
2565
01:49:13,329 --> 01:49:15,026
"Home, my baby's
taking me home."
2566
01:49:15,070 --> 01:49:16,854
♪ My baby's taking me home
2567
01:49:16,898 --> 01:49:19,335
♪ My baby's
taking me home ♪
2568
01:49:19,378 --> 01:49:22,033
♪ My baby's taking me home
2569
01:49:22,077 --> 01:49:24,427
♪ My baby's
taking me home ♪
2570
01:49:24,470 --> 01:49:26,908
♪ My baby's taking me home
2571
01:49:26,951 --> 01:49:29,388
♪ My baby's
taking me home ♪
2572
01:49:29,432 --> 01:49:31,782
♪ My baby's taking me home...
2573
01:49:31,826 --> 01:49:34,742
GLOVER: It was amazing to me
that you could repeat a lyric
2574
01:49:34,785 --> 01:49:37,614
and have it mean
something different
2575
01:49:37,658 --> 01:49:39,137
as the narrator
2576
01:49:39,181 --> 01:49:42,967
starts saying it
over and over and over again.
2577
01:49:43,011 --> 01:49:45,274
It was almost like
an acting technique.
2578
01:49:45,317 --> 01:49:47,015
♪ My baby's taking me home
2579
01:49:47,058 --> 01:49:49,408
♪ My baby's
taking me home ♪
2580
01:49:49,452 --> 01:49:51,889
♪ My baby's taking me home
2581
01:49:51,933 --> 01:49:54,457
♪ My baby's
taking me home ♪
2582
01:49:54,500 --> 01:49:56,851
♪ My baby's taking me home
2583
01:49:56,894 --> 01:49:59,375
♪ My baby's
taking me home ♪
2584
01:49:59,418 --> 01:50:01,203
Sing it!
2585
01:50:01,246 --> 01:50:04,728
♪ Home, my baby's
taking me home ♪
2586
01:50:04,772 --> 01:50:06,600
♪ My baby's taking me home
2587
01:50:06,643 --> 01:50:09,385
♪ My baby's
taking me home ♪
2588
01:50:09,428 --> 01:50:11,866
♪ My baby's taking me home...
2589
01:50:11,909 --> 01:50:13,215
BEN HOUSE:
I can remember playing
2590
01:50:13,258 --> 01:50:14,651
"My Baby's Taking Me Home"
2591
01:50:14,695 --> 01:50:15,826
for a friend of mine,
2592
01:50:15,870 --> 01:50:17,959
and as the song keeps going,
2593
01:50:18,002 --> 01:50:20,048
her eyes just got
wider and wider.
2594
01:50:20,091 --> 01:50:21,876
♪ My baby's taking me home...
2595
01:50:21,919 --> 01:50:23,660
Hearing it live, oh, man,
2596
01:50:23,704 --> 01:50:26,010
that is a hypnotic,
great, great song.
2597
01:50:26,054 --> 01:50:29,579
♪ Home, my baby's
taking me home ♪
2598
01:50:29,623 --> 01:50:31,755
♪ My baby's taking me home
2599
01:50:31,799 --> 01:50:34,584
♪ My baby's
taking me home ♪
2600
01:50:34,628 --> 01:50:37,413
♪ My baby's taking me home
2601
01:50:37,456 --> 01:50:39,458
♪ My baby's
taking me home ♪
2602
01:50:39,502 --> 01:50:42,418
♪ My baby's taking me home
2603
01:50:42,461 --> 01:50:44,420
♪ My baby's
taking me home... ♪
2604
01:50:44,463 --> 01:50:46,248
HARRIS: There were a lot
of critics out there
2605
01:50:46,291 --> 01:50:49,468
that wanted to be able to like
Sparks and wanted to be able
2606
01:50:49,512 --> 01:50:51,296
to rave about them
and, you know,
2607
01:50:51,340 --> 01:50:53,385
run around shouting about them,
2608
01:50:53,429 --> 01:50:54,865
and Lil' Beethoven
2609
01:50:54,909 --> 01:50:56,562
enabled them to do that.
2610
01:50:56,606 --> 01:50:58,826
[cheering and applause]
2611
01:50:58,869 --> 01:51:01,916
With the Lil' Beethoven
album, the last album,
2612
01:51:01,959 --> 01:51:05,310
we-we were able to do something
2613
01:51:05,354 --> 01:51:07,530
that woke up people
in a certain way,
2614
01:51:07,573 --> 01:51:09,663
and we wanted to go
to the next step
2615
01:51:09,706 --> 01:51:12,404
with the
Hello Young Lovers album,
2616
01:51:12,448 --> 01:51:14,929
and-and we think
we've accomplished that.
2617
01:51:14,972 --> 01:51:17,018
[playing loud,
distorted chords]
2618
01:51:19,194 --> 01:51:20,586
HARRIS:
It was just a celebration.
2619
01:51:20,630 --> 01:51:21,979
This is fantastic.
2620
01:51:22,023 --> 01:51:24,982
We can just go mad now,
and we did.
2621
01:51:25,026 --> 01:51:28,725
♪ All I do now is dick around
2622
01:51:28,769 --> 01:51:31,467
♪ All I do now
is dick around ♪
2623
01:51:31,510 --> 01:51:33,164
♪ Dick around
2624
01:51:34,339 --> 01:51:35,689
♪ Think about the recent past
2625
01:51:35,732 --> 01:51:37,168
♪ The cynics said
too good to last ♪
2626
01:51:37,212 --> 01:51:38,692
♪ But she could change
her mind again ♪
2627
01:51:38,735 --> 01:51:39,823
♪ Oh, no, this movie
said "the end" ♪
2628
01:51:39,867 --> 01:51:41,259
♪ So I will go about my day
2629
01:51:41,303 --> 01:51:42,696
♪ Just dicking round,
my métier ♪
2630
01:51:42,739 --> 01:51:43,958
♪ And realize
that life is change ♪
2631
01:51:44,001 --> 01:51:46,134
♪ And furniture to rearrange
2632
01:51:46,177 --> 01:51:48,092
-♪ Why the hell, why the hell
-♪ Why the hell, why the hell
2633
01:51:48,136 --> 01:51:49,703
♪ Why the hell
did she desert you ♪
2634
01:51:49,746 --> 01:51:51,835
♪ When you were
so influential? ♪
2635
01:51:51,879 --> 01:51:53,750
-♪ Why the hell, why the hell
-♪ Why the hell, why the hell
2636
01:51:53,794 --> 01:51:55,360
♪ Why did she desert you
2637
01:51:55,404 --> 01:51:56,840
♪ When you told her
she was so essential? ♪
2638
01:51:56,884 --> 01:51:58,363
♪ Pull yourself up
off the ground ♪
2639
01:51:58,407 --> 01:52:00,061
♪ You've started liking
being down... ♪
2640
01:52:00,104 --> 01:52:01,279
ANTONOFF: If you took
a "Dancing in the Dark"
2641
01:52:01,323 --> 01:52:03,760
or a "Heroes" by Bowie
2642
01:52:03,804 --> 01:52:06,067
or a... you know,
any of the great ABBA songs,
2643
01:52:06,110 --> 01:52:08,156
"Dick Around" rips
right through that
2644
01:52:08,199 --> 01:52:09,418
and just gives you
2645
01:52:09,461 --> 01:52:10,811
the underbelly of a pop song.
2646
01:52:10,854 --> 01:52:13,770
A 600-vocal-tracked
2647
01:52:13,814 --> 01:52:15,772
orchestral arrangement
of vocal shouting,
2648
01:52:15,816 --> 01:52:18,688
"All I do now is dick around,"
right in your face,
2649
01:52:18,732 --> 01:52:20,734
it never lets you in slowly,
2650
01:52:20,777 --> 01:52:21,996
and it's just the saddest thing
2651
01:52:22,039 --> 01:52:23,127
in the world.
2652
01:52:23,171 --> 01:52:24,389
And it's so fucking catchy.
2653
01:52:25,608 --> 01:52:30,047
♪ All I do now is dick around,
dick around ♪
2654
01:52:30,091 --> 01:52:32,093
♪ Then I got
the late-night call ♪
2655
01:52:32,136 --> 01:52:34,922
♪ I really miss you after all,
I had a fling and that is all ♪
2656
01:52:34,965 --> 01:52:36,445
♪ A stupid fling,
then hit the wall... ♪
2657
01:52:36,488 --> 01:52:39,143
"Dick Around" is, uh,
incredibly demanding
2658
01:52:39,187 --> 01:52:41,232
on me as a... as a vocalist.
2659
01:52:41,276 --> 01:52:43,800
PALLADINO:
Ron has used Russell's voice
2660
01:52:43,844 --> 01:52:45,802
as an instrument
2661
01:52:45,846 --> 01:52:47,586
as much as he's used
that keyboard.
2662
01:52:47,630 --> 01:52:50,415
♪ All I do now
2663
01:52:50,459 --> 01:52:52,243
♪ Is dick around...
2664
01:52:52,287 --> 01:52:53,375
ANTONOFF:
If I was producing that song,
2665
01:52:53,418 --> 01:52:55,246
like a fucking idiot,
2666
01:52:55,290 --> 01:52:56,987
I'd, like, put a beat on it
or something
2667
01:52:57,031 --> 01:52:58,684
and be like,
"Oh, my God, this is amazing.
2668
01:52:58,728 --> 01:53:00,121
"Everyone's gonna feel
so sad about this,
2669
01:53:00,164 --> 01:53:02,558
and we're gonna sneak it
into them."
2670
01:53:02,601 --> 01:53:05,082
And then Sparks would have
been like, "No, you idiot."
2671
01:53:05,126 --> 01:53:06,997
[laughs]:
Like...
2672
01:53:07,041 --> 01:53:09,043
"Let Queen do that."
2673
01:53:09,086 --> 01:53:10,435
♪ All I do is dick around...
2674
01:53:10,479 --> 01:53:12,394
If you don't like this,
we don't care.
2675
01:53:12,437 --> 01:53:14,570
I think that that...
you know, that's kind of
2676
01:53:14,613 --> 01:53:18,617
the essence of what
popular music should be.
2677
01:53:18,661 --> 01:53:22,317
♪ But all I do now
is dick around ♪
2678
01:53:22,360 --> 01:53:24,841
♪ All I do now is dick around
2679
01:53:24,885 --> 01:53:27,452
♪ Dick around.
2680
01:53:27,496 --> 01:53:29,498
-[song ends]
-[cheering and applause]
2681
01:53:29,541 --> 01:53:32,196
HARRIS: Ron and Russell
toured comprehensively,
2682
01:53:32,240 --> 01:53:35,199
and they played the album
in its entirety, and then
2683
01:53:35,243 --> 01:53:37,593
the second set was
greatest hits;
2684
01:53:37,636 --> 01:53:39,638
so, then withExotic
Creatures of the Deep,
2685
01:53:39,682 --> 01:53:41,292
we were thinking about,
2686
01:53:41,336 --> 01:53:42,685
well, how do you
perform this live?
2687
01:53:42,728 --> 01:53:44,948
You know, what would
be the concept?
2688
01:53:44,992 --> 01:53:48,082
And it was just a really
sort of seemingly stupid idea--
2689
01:53:48,125 --> 01:53:51,737
what if you perform every album
followed by the new album?
2690
01:53:54,610 --> 01:53:56,917
RON: Sue Harris came up
with the idea
2691
01:53:56,960 --> 01:53:59,571
to do 21 of our albums--
2692
01:53:59,615 --> 01:54:03,837
the entire catalog--
one each night live.
2693
01:54:03,880 --> 01:54:06,927
By our nature, we said,
"Sounds great."
2694
01:54:06,970 --> 01:54:10,321
And then we realized
the enormity of the task.
2695
01:54:10,365 --> 01:54:12,715
♪
2696
01:54:14,673 --> 01:54:16,501
STEVIE NISTOR:
Russell said,
2697
01:54:16,545 --> 01:54:18,547
"We're thinking about playing
every song we've ever written
2698
01:54:18,590 --> 01:54:20,201
night after night in London.
What do you think?"
2699
01:54:20,244 --> 01:54:23,378
And I just laughed.
It's just impossible.
2700
01:54:23,421 --> 01:54:24,988
And Ron said,
"We're even gonna do
2701
01:54:25,032 --> 01:54:26,598
the B-sides for the encores."
2702
01:54:26,642 --> 01:54:28,078
And I said,
"How many songs is that?"
2703
01:54:28,122 --> 01:54:29,123
RUSSELL:
There were approximately,
2704
01:54:29,166 --> 01:54:32,387
I don't know, I think 270 songs.
2705
01:54:32,430 --> 01:54:35,781
I think the final total was...
it-it was closer to 300.
2706
01:54:35,825 --> 01:54:38,567
♪
2707
01:54:38,610 --> 01:54:40,047
HARRIS:
They rehearsed for...
2708
01:54:40,090 --> 01:54:43,441
I think it was
four months or so in-in L.A.
2709
01:54:43,485 --> 01:54:46,488
♪ Let the monkey drive,
we can have our fun... ♪
2710
01:54:46,531 --> 01:54:48,403
NISTOR:
It was like boot camp.
2711
01:54:48,446 --> 01:54:49,578
We start with
the first record, right?
2712
01:54:49,621 --> 01:54:52,189
And, well, okay,
once you rehearse
2713
01:54:52,233 --> 01:54:54,017
the first record for the day,
2714
01:54:54,061 --> 01:54:55,627
it sounds pretty good,
and by the end of the week,
2715
01:54:55,671 --> 01:54:57,629
you feel great about
the first record.
2716
01:54:57,673 --> 01:54:58,717
Well, now it's time to start
rehearsing the second record.
2717
01:54:58,761 --> 01:55:00,371
Okay, well, here's a new thing.
2718
01:55:00,415 --> 01:55:01,938
It's starting to sound good
by the end of the week.
2719
01:55:01,982 --> 01:55:03,722
Well, by the end of week two,
2720
01:55:03,766 --> 01:55:05,420
you've got the second record
sounding pretty good
2721
01:55:05,463 --> 01:55:07,378
and you've completely
forgotten the first record.
2722
01:55:07,422 --> 01:55:09,424
♪ Let him take the wheel
2723
01:55:09,467 --> 01:55:11,295
♪ Neath the setting sun...
2724
01:55:11,339 --> 01:55:13,689
Each day, the-the problem
gets compounded
2725
01:55:13,732 --> 01:55:16,866
about retaining everything
that you had been rehearsing,
2726
01:55:16,910 --> 01:55:19,564
and it just starts
compounding and compounding.
2727
01:55:19,608 --> 01:55:22,263
As you get to album
number 18, you go,
2728
01:55:22,306 --> 01:55:25,092
"Does anybody have a clue
about Big Beat?"
2729
01:55:25,135 --> 01:55:26,963
♪ While we have our fun...
2730
01:55:27,007 --> 01:55:29,183
It was a test of short-
and long-term memory.
2731
01:55:29,226 --> 01:55:30,706
I wouldn't advise it.
2732
01:55:30,749 --> 01:55:32,969
♪ Uh-huh.
2733
01:55:33,013 --> 01:55:35,319
♪
2734
01:55:35,363 --> 01:55:36,668
ROSS:
It was...
2735
01:55:36,712 --> 01:55:38,061
almost foolish.
2736
01:55:39,758 --> 01:55:42,283
And the day after we finished
recording the album,
2737
01:55:42,326 --> 01:55:45,155
we started in rehearsing,
so it's been four full months
2738
01:55:45,199 --> 01:55:48,071
of, uh... of work
to get to this point.
2739
01:55:48,115 --> 01:55:49,943
♪ Receiving favors
for what I am ♪
2740
01:55:49,986 --> 01:55:53,424
♪ Seems rather strange,
but I understand ♪
2741
01:55:53,468 --> 01:55:55,035
♪ 'Cause I am likable...
2742
01:55:55,078 --> 01:55:56,993
BERMAN:
The middle of the night,
2743
01:55:57,037 --> 01:55:59,213
and I woke up, I'm thinking,
"I have to go see every show."
2744
01:55:59,256 --> 01:56:00,214
It was almost like
2745
01:56:00,257 --> 01:56:01,867
God came to me and said,
2746
01:56:01,911 --> 01:56:03,913
"Tosh, you must see
every show."
2747
01:56:03,957 --> 01:56:06,046
♪ I'm just likable
2748
01:56:06,089 --> 01:56:08,135
♪ Night and day...
2749
01:56:08,178 --> 01:56:09,397
RHODES:
Let's face it,
2750
01:56:09,440 --> 01:56:10,876
you got to be completely crazy
2751
01:56:10,920 --> 01:56:12,661
to do 21 shows in a row
2752
01:56:12,704 --> 01:56:15,620
with a different album
every single night.
2753
01:56:15,664 --> 01:56:18,014
It's insane,
but it's fantastic.
2754
01:56:18,058 --> 01:56:20,234
Number one!
2755
01:56:20,277 --> 01:56:22,018
Number two.
2756
01:56:22,062 --> 01:56:23,759
Number three.
2757
01:56:23,802 --> 01:56:25,282
ROSS: They treated every
single one of their albums
2758
01:56:25,326 --> 01:56:26,805
with the same level of respect
2759
01:56:26,849 --> 01:56:28,459
and the same
attention to detail,
2760
01:56:28,503 --> 01:56:30,374
regardless of how well it did
2761
01:56:30,418 --> 01:56:32,028
commercially
or critically at the time.
2762
01:56:32,072 --> 01:56:35,031
♪ I'm just likable
night and day... ♪
2763
01:56:35,075 --> 01:56:37,991
HARRIS:
So it went on for a month.
2764
01:56:38,034 --> 01:56:39,731
But it was fun.
It was just exhausting.
2765
01:56:39,775 --> 01:56:41,516
I think everyone lost
a stone in weight
2766
01:56:41,559 --> 01:56:43,909
in the first week
and couldn't eat.
2767
01:56:43,953 --> 01:56:45,781
It was nerve-racking.
2768
01:56:48,218 --> 01:56:49,480
♪ Ah...
2769
01:56:49,524 --> 01:56:51,091
NISTOR:
It was hard.
2770
01:56:51,134 --> 01:56:52,788
Any time I was feeling
sorry for myself,
2771
01:56:52,831 --> 01:56:54,050
I would look at Ron doing
2772
01:56:54,094 --> 01:56:55,791
a sliding knee dive
across the stage
2773
01:56:55,834 --> 01:56:57,662
and Russell clapping
his hands above his head,
2774
01:56:57,706 --> 01:56:59,316
running like a crazy man,
2775
01:56:59,360 --> 01:57:00,622
and I'd just think,
"Yeah, I can do this."
2776
01:57:02,232 --> 01:57:05,366
ROSS: I admire their stamina,
but I admire
2777
01:57:05,409 --> 01:57:06,889
anyone who went to see 'em
21 nights.
2778
01:57:06,932 --> 01:57:09,283
I admire your stamina more.
[laughs]
2779
01:57:09,326 --> 01:57:11,981
♪ Just so you like me...
2780
01:57:12,025 --> 01:57:13,896
HARRIS: It's just
the most ridiculous thing.
2781
01:57:13,939 --> 01:57:16,464
It was preposterous,
and it was extraordinary,
2782
01:57:16,507 --> 01:57:17,900
but it was a triumph.
2783
01:57:19,597 --> 01:57:23,036
KAPRANOS: There's often
this, uh, terrible fate
2784
01:57:23,079 --> 01:57:27,605
which awaits bands either when
they keep going for too long
2785
01:57:27,649 --> 01:57:29,955
or when they re-form.
2786
01:57:29,999 --> 01:57:31,870
And that terrible fate
is becoming
2787
01:57:31,914 --> 01:57:34,438
a tribute to the band
that you once were.
2788
01:57:35,570 --> 01:57:37,137
DJ LANCE ROCK: They could
rest on their laurels
2789
01:57:37,180 --> 01:57:38,703
and just come out and just
do some sort of, like,
2790
01:57:38,747 --> 01:57:40,531
"Now we're gonna do
a greatest hits show,"
2791
01:57:40,575 --> 01:57:42,968
but no, they're challenging
themselves and their audience
2792
01:57:43,012 --> 01:57:45,319
and they're doing, like,
you know, radio opera.
2793
01:57:45,362 --> 01:57:48,887
♪ Bergman, Bergman
2794
01:57:48,931 --> 01:57:51,020
♪ Bergman, Bergman...
2795
01:57:51,064 --> 01:57:53,544
HARRIS: Ron and Russell
came up with the idea
2796
01:57:53,588 --> 01:57:55,807
of Ingmar Bergman,
the film director--
2797
01:57:55,851 --> 01:57:57,766
what if he had been
lured to Hollywood
2798
01:57:57,809 --> 01:57:59,202
with the promise
2799
01:57:59,246 --> 01:58:00,943
of big budgets and big bosoms?
2800
01:58:00,986 --> 01:58:04,729
And it was played
on Swedish national radio.
2801
01:58:04,773 --> 01:58:08,342
After that, they performed it
at the L.A. Film Festival
2802
01:58:08,385 --> 01:58:11,432
and, you know,
got a really good reaction.
2803
01:58:11,475 --> 01:58:14,826
KAPRANOS: They've always had
the desire to push on
2804
01:58:14,870 --> 01:58:16,915
and create something new,
and I think that's
2805
01:58:16,959 --> 01:58:20,005
probably what appealed to...
to them about the FFS project.
2806
01:58:22,878 --> 01:58:24,271
[Russell snickering]
2807
01:58:24,314 --> 01:58:26,142
-For fuck's sake.
-[laughter]
2808
01:58:26,186 --> 01:58:28,318
RUSSELL: We had met
the guys in Franz Ferdinand
2809
01:58:28,362 --> 01:58:31,713
12 or 13 years ago
in Los Angeles.
2810
01:58:31,756 --> 01:58:34,803
We had, you know, like bands
tend to do, they say,
2811
01:58:34,846 --> 01:58:37,980
"Hey, we should try to do
something together sometime."
2812
01:58:38,023 --> 01:58:41,462
♪ I'm just a little guy
from the suburbs... ♪
2813
01:58:41,505 --> 01:58:43,246
Ten years later,
2814
01:58:43,290 --> 01:58:45,118
we're walking in the morning,
just taking a little stroll
2815
01:58:45,161 --> 01:58:46,815
in downtown San Francisco,
2816
01:58:46,858 --> 01:58:48,947
and we see this guy
walking by, and we go,
2817
01:58:48,991 --> 01:58:52,125
"That looks like Alex Kapranos.
Hey, it is Alex Kapranos."
2818
01:58:52,168 --> 01:58:53,822
So we say, "Hey, Alex."
2819
01:58:53,865 --> 01:58:55,345
He goes, "Hey, Sparks guys."
2820
01:58:55,389 --> 01:58:56,955
He was on his way
to the dentist.
2821
01:58:56,999 --> 01:58:59,393
He had chipped
one of his teeth.
2822
01:58:59,436 --> 01:59:01,786
So we said, "Remember we were
gonna do a project together?"
2823
01:59:01,830 --> 01:59:04,049
He said, "Yeah,
we got to do that."
2824
01:59:04,093 --> 01:59:05,964
So we talked about,
"Well, let's just try
2825
01:59:06,008 --> 01:59:07,966
one song together,
see what happens."
2826
01:59:08,010 --> 01:59:12,101
KAPRANOS: In Ron's typically
perverse way... [laughs]
2827
01:59:12,145 --> 01:59:13,494
he sent over
2828
01:59:13,537 --> 01:59:15,757
"Collaborations Don't Work."
2829
01:59:15,800 --> 01:59:18,238
♪ Collaborations don't work
2830
01:59:18,281 --> 01:59:19,935
♪ They don't work
2831
01:59:19,978 --> 01:59:21,893
♪ They don't work...
2832
01:59:21,937 --> 01:59:23,939
And it was so obviously a test.
It was like,
2833
01:59:23,982 --> 01:59:25,810
"All right, you think
you can collaborate, do you?"
2834
01:59:25,854 --> 01:59:28,726
♪ Collaborations don't work
2835
01:59:28,770 --> 01:59:31,207
♪ They don't work,
they don't work... ♪
2836
01:59:31,251 --> 01:59:33,383
RON:
We opened up the door for, uh,
2837
01:59:33,427 --> 01:59:34,863
any return ammunition
2838
01:59:34,906 --> 01:59:36,125
coming our way.
2839
01:59:36,169 --> 01:59:39,563
♪ I ain't no collaborator...
2840
01:59:39,607 --> 01:59:41,174
CONGLETON:
As a response to that,
2841
01:59:41,217 --> 01:59:43,654
Alex sent kind of
a country groove.
2842
01:59:43,698 --> 01:59:44,873
So this song was
2843
01:59:44,916 --> 01:59:47,571
literally
a strange little argument
2844
01:59:47,615 --> 01:59:49,617
that they were doing online.
2845
01:59:49,660 --> 01:59:51,662
♪ I ain't no collaborator...
2846
01:59:51,706 --> 01:59:53,447
We sent it over to Ron,
and then suddenly,
2847
01:59:53,490 --> 01:59:56,450
it came back with Russell
singing on top of it
2848
01:59:56,493 --> 01:59:58,452
and these new melodies.
We got this great buzz.
2849
01:59:58,495 --> 02:00:00,845
It was like,
"Oh, God, this is fantastic."
2850
02:00:00,889 --> 02:00:02,543
Everybody was tentatively
kind of going like,
2851
02:00:02,586 --> 02:00:04,675
"You know, this sounds like
it could almost be...
2852
02:00:04,719 --> 02:00:06,329
[whispers]:
like, an album, maybe."
2853
02:00:06,373 --> 02:00:07,983
[laughs]
2854
02:00:08,026 --> 02:00:09,419
♪ I ain't no collaborator...
2855
02:00:09,463 --> 02:00:11,160
AUKERMAN:
One day, I pull up Pitchfork,
2856
02:00:11,204 --> 02:00:13,118
and I read that Franz Ferdinand
2857
02:00:13,162 --> 02:00:17,079
has made an entire record
with Sparks.
2858
02:00:17,122 --> 02:00:19,386
And it was just like, "What?"
2859
02:00:19,429 --> 02:00:22,345
It made me say,
"Yeah, Sparks is back.
2860
02:00:22,389 --> 02:00:24,304
"Okay, yeah,
let me pay attention
2861
02:00:24,347 --> 02:00:26,741
to what they've been doing
over the past ten years."
2862
02:00:31,789 --> 02:00:34,183
RUSSELL: "Johnny Delusional"
became the first single.
2863
02:00:34,227 --> 02:00:36,316
One of my favorite lines--
it's kind of one of
2864
02:00:36,359 --> 02:00:40,320
the saddest lines, I think,
in a, uh, Sparks song is:
2865
02:00:40,363 --> 02:00:41,756
"I'm borderline attractive
2866
02:00:41,799 --> 02:00:43,888
from afar."
2867
02:00:43,932 --> 02:00:46,456
And that-that line, to me,
is really, uh, touching.
2868
02:00:46,500 --> 02:00:50,678
♪ Some might find me borderline
attractive from afar... ♪
2869
02:00:50,721 --> 02:00:52,549
CONGLETON:
"Some might find me
2870
02:00:52,593 --> 02:00:55,291
"borderline attractive
from afar,
2871
02:00:55,335 --> 02:00:57,598
but afar is not where
I can stay, and there you are."
2872
02:00:57,641 --> 02:00:59,252
It's beautiful.
I mean, that's hilarious,
2873
02:00:59,295 --> 02:01:01,210
but it's also really beautiful.
2874
02:01:01,254 --> 02:01:03,256
♪ Though I want you
2875
02:01:04,518 --> 02:01:07,608
♪ I know I haven't
a chance... ♪
2876
02:01:07,651 --> 02:01:10,045
There's a real melancholic
vulnerability about it.
2877
02:01:10,088 --> 02:01:13,527
CONGLETON: It's very sad,
but it sounds celebratory.
2878
02:01:13,570 --> 02:01:14,528
It's, like, this meditation
2879
02:01:14,571 --> 02:01:15,964
on loneliness.
2880
02:01:16,007 --> 02:01:18,967
♪ Paging Mr. Delusional...
2881
02:01:19,010 --> 02:01:21,056
KAPRANOS: I often feel,
with Ron's lyricism,
2882
02:01:21,099 --> 02:01:22,840
that he's metaphorically,
2883
02:01:22,884 --> 02:01:24,494
like, slicing his chest open
2884
02:01:24,538 --> 02:01:26,583
and kind of going like,
"Here's my heart."
2885
02:01:26,627 --> 02:01:28,933
♪ You're wanted
at the front desk ♪
2886
02:01:28,977 --> 02:01:30,370
"Here's my heart.
2887
02:01:30,413 --> 02:01:31,893
Has nobody noticed?"
2888
02:01:31,936 --> 02:01:34,243
♪ Wouldn't it be terrible
2889
02:01:34,287 --> 02:01:37,202
♪ If there's no music there?
2890
02:01:37,246 --> 02:01:40,728
HARRIS: TheFFS album, it-it
introduced them to a crowd
2891
02:01:40,771 --> 02:01:42,686
that maybe hadn't been
aware of them before.
2892
02:01:42,730 --> 02:01:45,123
We particularly noticed it
in Latin America
2893
02:01:45,167 --> 02:01:47,822
where Franz Ferdinand, uh,
were very popular there.
2894
02:01:47,865 --> 02:01:50,651
♪ Wouldn't it be terrible
if there's no music there? ♪
2895
02:01:50,694 --> 02:01:52,783
RUSSELL:
A lot of those people,
2896
02:01:52,827 --> 02:01:54,742
they've become Sparks fans
and really
2897
02:01:54,785 --> 02:01:56,613
kind of hard-core Sparks fans,
2898
02:01:56,657 --> 02:01:59,877
and they had been introduced
via theFFS album.
2899
02:01:59,921 --> 02:02:02,402
♪ Though I want you...
2900
02:02:02,445 --> 02:02:04,142
INTERVIEWER:
Been watching you play live.
2901
02:02:04,186 --> 02:02:05,840
It seems to be more
2902
02:02:05,883 --> 02:02:07,624
of a kind of enjoyment thing.
It just seems to be fun.
2903
02:02:07,668 --> 02:02:08,669
Oh, we're faking it.
2904
02:02:08,712 --> 02:02:10,323
[laughter]
2905
02:02:10,366 --> 02:02:12,629
♪ Johnny Delusional here...
2906
02:02:12,673 --> 02:02:14,283
Does Franz Ferdinand know
how lucky they are
2907
02:02:14,327 --> 02:02:15,937
that that happened?
2908
02:02:15,980 --> 02:02:18,635
I hope that they were
grateful and psyched.
2909
02:02:18,679 --> 02:02:20,550
CONGLETON: That's their most
exciting record they've done
2910
02:02:20,594 --> 02:02:23,248
in quite some time, and I
really think they learned a lot
2911
02:02:23,292 --> 02:02:24,815
from working with these
2912
02:02:24,859 --> 02:02:27,688
elder statesmans of-of pop,
you know?
2913
02:02:29,646 --> 02:02:32,954
[playing "What the Hell
Is It This Time?"]
2914
02:02:32,997 --> 02:02:34,825
Hello.
2915
02:02:37,262 --> 02:02:40,744
♪ Historically, historically,
we make an appeal ♪
2916
02:02:40,788 --> 02:02:43,399
♪ To something greater
than we are ♪
2917
02:02:43,443 --> 02:02:45,358
♪ When we need to heal...
2918
02:02:45,401 --> 02:02:47,098
HARRIS:
Doing the FFS project,
2919
02:02:47,142 --> 02:02:49,753
they fell in love again
with the pop song,
2920
02:02:49,797 --> 02:02:50,928
and because of that love
for the pop song,
2921
02:02:50,972 --> 02:02:52,843
Hippopotamus was born.
2922
02:02:52,887 --> 02:02:57,108
♪ What the hell is it
this time? ♪
2923
02:02:57,152 --> 02:02:58,719
WINWOOD: Listening
toHippopotamus took me
2924
02:02:58,762 --> 02:03:01,504
straightaway back
toKimono My House.
2925
02:03:01,548 --> 02:03:03,288
The energy of that album
2926
02:03:03,332 --> 02:03:04,725
is just great.
2927
02:03:04,768 --> 02:03:06,422
MANKEY:
When I put the headphones on
2928
02:03:06,466 --> 02:03:08,685
and listened to it
for the first time, I thought,
2929
02:03:08,729 --> 02:03:11,427
"Holy cow.
This is like when we were back
2930
02:03:11,471 --> 02:03:13,821
at Ron and Russ's
mom's house, you know?"
2931
02:03:13,864 --> 02:03:15,039
I loved that.
2932
02:03:16,737 --> 02:03:19,130
HARRIS:
The reviews were incredible.
2933
02:03:19,174 --> 02:03:21,306
It was near four- and five-star
reviews across the board.
2934
02:03:21,350 --> 02:03:22,743
It was, um, included in
2935
02:03:22,786 --> 02:03:24,179
the "album of the year" lists,
2936
02:03:24,222 --> 02:03:26,007
you know, worldwide.
2937
02:03:26,050 --> 02:03:30,054
And the fact that Sparks
have had a top-ten record
2938
02:03:30,098 --> 02:03:34,232
is because they're not
trying to be
2939
02:03:34,276 --> 02:03:36,496
what other people
want them to be.
2940
02:03:36,539 --> 02:03:39,281
RUSSELL [a cappella]:
♪ I wish you were fun
2941
02:03:39,324 --> 02:03:42,371
♪ I wish you were fun
in every way ♪
2942
02:03:42,415 --> 02:03:44,939
♪ I wish you were fun
2943
02:03:44,982 --> 02:03:48,203
♪ To brighten the dark,
cold winter day ♪
2944
02:03:48,246 --> 02:03:52,990
♪ In every other way
I find you amazing but one ♪
2945
02:03:53,034 --> 02:03:58,082
♪ I wish you were fun,
I wish you were fun ♪
2946
02:03:58,126 --> 02:04:00,345
♪ La-la-la... Everybody.
2947
02:04:00,389 --> 02:04:01,869
-♪ La-la-la-la-la...
-[music joins in]
2948
02:04:01,912 --> 02:04:03,348
STEWART:
Here they are,
2949
02:04:03,392 --> 02:04:05,263
playing to some
of the largest crowds
2950
02:04:05,307 --> 02:04:06,743
in the last ten years
2951
02:04:06,787 --> 02:04:08,528
and playing to crowds
that weren't around
2952
02:04:08,571 --> 02:04:11,444
for the first, second
and often the third phase.
2953
02:04:13,010 --> 02:04:15,796
RUSSELL: The only part that...
that the public sees
2954
02:04:15,839 --> 02:04:18,755
is that 90 minutes onstage,
2955
02:04:18,799 --> 02:04:20,931
and they don't see
all the other stuff.
2956
02:04:20,975 --> 02:04:24,282
They don't see, uh, security
opening up our suitcases
2957
02:04:24,326 --> 02:04:26,197
and having the guy, uh,
you know,
2958
02:04:26,241 --> 02:04:27,982
taking out all your stuff
2959
02:04:28,025 --> 02:04:30,288
day after day after day
after day at the airport.
2960
02:04:30,332 --> 02:04:33,117
And, uh, they don't see
the jet lag
2961
02:04:33,161 --> 02:04:35,293
that I currently have
right now.
2962
02:04:35,337 --> 02:04:38,645
Uh, but obviously,
we're doing all this
2963
02:04:38,688 --> 02:04:41,735
'cause we really are
passionate about our music.
2964
02:04:41,778 --> 02:04:45,303
It definitely outweighs
all of the downside.
2965
02:04:45,347 --> 02:04:46,914
"Viva México, cabrones."
2966
02:04:46,957 --> 02:04:48,916
-Okay.
-Viva México...
2967
02:04:48,959 --> 02:04:50,265
-"Cabrones."
-"Cabrones."
2968
02:04:50,308 --> 02:04:52,397
-Cabrones.
-Yeah!
2969
02:04:58,752 --> 02:05:01,015
Viva México, cabrones.
2970
02:05:01,058 --> 02:05:02,973
[cheering]
2971
02:05:03,017 --> 02:05:04,322
♪ La-la-la-la-la♪
2972
02:05:04,366 --> 02:05:06,542
♪ I wish you were fun
2973
02:05:06,586 --> 02:05:08,805
♪ Fun in every way
2974
02:05:08,849 --> 02:05:10,764
♪ La-la-la-la-la♪
2975
02:05:10,807 --> 02:05:12,766
♪ I wish you were fun
2976
02:05:12,809 --> 02:05:15,377
♪ Have some chardonnay
2977
02:05:15,420 --> 02:05:20,034
♪ In every other way
I find you amazing but one ♪
2978
02:05:20,077 --> 02:05:21,862
♪ I wish you were fun
2979
02:05:22,819 --> 02:05:25,082
♪ I wish you were fun.
2980
02:05:26,170 --> 02:05:28,129
Okay, I'm tired.
2981
02:05:28,172 --> 02:05:29,565
I'm going to go to sleep.
2982
02:05:29,609 --> 02:05:31,175
Good night.
2983
02:05:31,219 --> 02:05:33,177
♪ La-la-la, la-la-la,
la-la-la♪
2984
02:05:33,221 --> 02:05:35,571
♪ I'm pushin'
on my lawn mower... ♪
2985
02:05:35,615 --> 02:05:37,660
SCHWARTZMAN:
The way they live their life
2986
02:05:37,704 --> 02:05:41,272
is just in service
of the music.
2987
02:05:41,316 --> 02:05:43,100
♪ The mornin',
it's my lawn mower... ♪
2988
02:05:43,144 --> 02:05:45,102
RON: I kind of have to force
myself to take this walk
2989
02:05:45,146 --> 02:05:47,278
'cause I've been doing it
2990
02:05:47,322 --> 02:05:49,585
for about 20 years
at this same park, and if...
2991
02:05:49,629 --> 02:05:52,806
I know, if I kind of
put it off for one day,
2992
02:05:52,849 --> 02:05:55,417
that it's all over
and I'll just be
2993
02:05:55,460 --> 02:05:57,593
laying in bed
extra long in the mornings.
2994
02:05:57,637 --> 02:06:01,641
♪ The neighbors look in awe
at my lawn mower... ♪
2995
02:06:01,684 --> 02:06:04,469
PUCKRIK:
They love ritual.
2996
02:06:04,513 --> 02:06:06,080
They love repetition.
2997
02:06:06,123 --> 02:06:08,865
I mean, you can hear
their love of repetition
2998
02:06:08,909 --> 02:06:10,432
in their music.
2999
02:06:10,475 --> 02:06:12,913
You know, they have a hook,
they have a phrase
3000
02:06:12,956 --> 02:06:15,872
that's repeated
over and over and over again.
3001
02:06:15,916 --> 02:06:19,659
And in their life, even the way
their day is structured--
3002
02:06:19,702 --> 02:06:23,706
you know, wake up, work out,
go to the studio,
3003
02:06:23,750 --> 02:06:26,143
have your 4:00 p.m.
coffee break,
3004
02:06:26,187 --> 02:06:29,407
go back to the studio,
you know, power down.
3005
02:06:31,235 --> 02:06:32,715
SCHWARTZMAN:
They are rock stars
3006
02:06:32,759 --> 02:06:34,238
that go to breakfast
at the same place
3007
02:06:34,282 --> 02:06:35,413
and get the same thing
in the morning,
3008
02:06:35,457 --> 02:06:36,893
and then go work at...
3009
02:06:36,937 --> 02:06:38,503
You know, they just...
they figured out
3010
02:06:38,547 --> 02:06:40,984
what works for them
and how to do it.
3011
02:06:41,028 --> 02:06:43,552
I come here religiously
every morning
3012
02:06:43,596 --> 02:06:46,076
to get a little
peace and quiet,
3013
02:06:46,120 --> 02:06:49,427
just to be by myself
before we start working.
3014
02:06:49,471 --> 02:06:52,430
And even once a week,
Ron comes here.
3015
02:06:55,346 --> 02:06:58,262
[quiet chatter]
3016
02:06:59,960 --> 02:07:02,179
HAYDON: They just keep
going up musically
3017
02:07:02,223 --> 02:07:03,833
with what they're writing.
3018
02:07:03,877 --> 02:07:06,836
They keep finding
new ways to tell their stories.
3019
02:07:08,403 --> 02:07:11,145
HARRIS:
Ron and Russell were in Cannes
3020
02:07:11,188 --> 02:07:13,843
and met the French
film director Leos Carax.
3021
02:07:13,887 --> 02:07:15,236
They got chatting,
3022
02:07:15,279 --> 02:07:17,151
and they were talking
to him about
3023
02:07:17,194 --> 02:07:20,110
their screenplay
calledAnnette.
3024
02:07:20,154 --> 02:07:22,591
We got along really well,
and when we came back to L.A.
3025
02:07:22,635 --> 02:07:24,375
after Cannes, we said,
3026
02:07:24,419 --> 02:07:26,682
"Let's send Leos this project,
Annette."
3027
02:07:26,726 --> 02:07:29,163
And then he said, uh,
"God, I really like this.
3028
02:07:29,206 --> 02:07:31,252
Let me think about it
a little bit more."
3029
02:07:31,295 --> 02:07:32,993
And he did, and he got
back to us, and he said,
3030
02:07:33,036 --> 02:07:35,299
"You know, I'd really like
to direct this."
3031
02:07:35,343 --> 02:07:37,388
We thought, "Oh, this is
amazing," but then we were also
3032
02:07:37,432 --> 02:07:40,087
thinking about
our Tim Burton experience
3033
02:07:40,130 --> 02:07:42,306
and our Jacques Tati experience
and going,
3034
02:07:42,350 --> 02:07:44,091
"Please, dear God,
we don't want
3035
02:07:44,134 --> 02:07:45,527
to have one more of those."
3036
02:07:45,570 --> 02:07:46,833
-Did you get it?
-That's a film project.
3037
02:07:46,876 --> 02:07:48,312
HARRIS:
Historically,
3038
02:07:48,356 --> 02:07:50,619
they've, you know,
nearly had films made on,
3039
02:07:50,663 --> 02:07:51,968
you know,
more than one occasion,
3040
02:07:52,012 --> 02:07:54,362
and you feel that
now is the time,
3041
02:07:54,405 --> 02:07:56,320
and it will be amazing
for them to be able
3042
02:07:56,364 --> 02:07:58,540
to see their work
on a big screen.
3043
02:07:58,583 --> 02:08:00,150
Oh, hello.
3044
02:08:00,194 --> 02:08:02,413
Welcome to the set.
3045
02:08:02,457 --> 02:08:05,982
RUSSELL: After several attempts
to get a movie off the ground,
3046
02:08:06,026 --> 02:08:08,506
Annette has finally
been the one
3047
02:08:08,550 --> 02:08:10,900
film project that's sticking,
3048
02:08:10,944 --> 02:08:14,730
and it's being shot here
in swinging Brussels, Belgium.
3049
02:08:14,774 --> 02:08:18,691
RON: To get a movie made
is a miracle.
3050
02:08:18,734 --> 02:08:21,084
We obviously feel good
about the film,
3051
02:08:21,128 --> 02:08:25,567
but we also feel good in
a really personal kind of way--
3052
02:08:25,610 --> 02:08:28,178
this proves that
we were right all along.
3053
02:08:28,222 --> 02:08:30,920
So, uh... so there.
3054
02:08:30,964 --> 02:08:33,140
Or voilà.
3055
02:08:34,619 --> 02:08:36,404
SCHWARTZMAN: When you get
a Sparks album, I feel like
3056
02:08:36,447 --> 02:08:38,536
that's where they are,
this is what they're into,
3057
02:08:38,580 --> 02:08:40,364
and they're not gonna
be here for long.
3058
02:08:40,408 --> 02:08:42,149
Do you know what I mean?
Like, I feel like by the time
3059
02:08:42,192 --> 02:08:43,324
you get the album,
they're already
3060
02:08:43,367 --> 02:08:44,760
on to something else.
3061
02:08:46,806 --> 02:08:49,896
RON: Sparks have a certain
sensibility that we've had
3062
02:08:49,939 --> 02:08:51,549
through all of our albums,
3063
02:08:51,593 --> 02:08:54,422
whatever the shift in styles
through time
3064
02:08:54,465 --> 02:08:57,207
or different producers
or different countries.
3065
02:08:57,251 --> 02:09:01,168
It's kind of something
that we really can't change.
3066
02:09:01,211 --> 02:09:03,997
♪ And all the holy places...
3067
02:09:04,040 --> 02:09:06,260
RUSSELL: From the beginning
of rock music
3068
02:09:06,303 --> 02:09:07,783
when, uh,Blackboard Jungle--
3069
02:09:07,827 --> 02:09:10,264
for them to go
and start ripping up,
3070
02:09:10,307 --> 02:09:12,657
uh, movie theater seats--
3071
02:09:12,701 --> 02:09:14,442
that, to us,
is like the essence
3072
02:09:14,485 --> 02:09:16,749
and the spirit
of what music can be.
3073
02:09:16,792 --> 02:09:18,794
And I think that
those sorts of things
3074
02:09:18,838 --> 02:09:20,753
have always been maybe
in the back of our minds.
3075
02:09:20,796 --> 02:09:22,929
We don't sit down and say,
"What can we do
3076
02:09:22,972 --> 02:09:25,409
to be provocative
or rebellious?"
3077
02:09:25,453 --> 02:09:27,890
But I think,
just by our nature,
3078
02:09:27,934 --> 02:09:30,066
that's just inherent
in what we do.
3079
02:09:30,110 --> 02:09:32,677
♪ All that we've done
3080
02:09:32,721 --> 02:09:36,072
♪ We've lost, we've won
3081
02:09:36,116 --> 02:09:39,467
♪ All that,
all that and more... ♪
3082
02:09:41,382 --> 02:09:42,775
PALLADINO: I think their
creative process has sustained
3083
02:09:42,818 --> 02:09:44,298
their friendship
and brotherliness,
3084
02:09:44,341 --> 02:09:46,866
and I think being brothers
has also sustained
3085
02:09:46,909 --> 02:09:48,476
their creativity
over the years.
3086
02:09:48,519 --> 02:09:49,520
It's-it's unusual,
3087
02:09:49,564 --> 02:09:51,044
but they like each other
3088
02:09:51,087 --> 02:09:52,523
and they respect each other.
3089
02:09:52,567 --> 02:09:54,177
[cheering]
3090
02:09:54,221 --> 02:09:55,918
HARRIS:
They are... first and foremost,
3091
02:09:55,962 --> 02:09:58,834
they're-they're gentlemen,
and they are,
3092
02:09:58,878 --> 02:10:00,749
you know... they're polite
and they're considerate,
3093
02:10:00,793 --> 02:10:05,275
extraordinarily creative,
you know, and they're funny.
3094
02:10:05,319 --> 02:10:06,973
-Oh, did I not push the button?
-Yeah.
3095
02:10:07,016 --> 02:10:09,018
[laughs]
You got to push the button.
3096
02:10:09,062 --> 02:10:12,674
RON: We're able to work kind of
without a lot of conversation.
3097
02:10:12,717 --> 02:10:14,763
The quieter it is,
the better it is,
3098
02:10:14,807 --> 02:10:17,113
because we know
we're kind of onto something
3099
02:10:17,157 --> 02:10:19,724
and we can communicate
with each other
3100
02:10:19,768 --> 02:10:22,510
in-in kind of nonverbal ways
3101
02:10:22,553 --> 02:10:25,208
just by having worked together
for so long.
3102
02:10:25,252 --> 02:10:26,862
DES BARRES:
It's some kind of magical
3103
02:10:26,906 --> 02:10:31,562
combination of brother blood
and, I don't know,
3104
02:10:31,606 --> 02:10:34,087
cosmic interference,
3105
02:10:34,130 --> 02:10:36,567
but I have loved them
for all these years,
3106
02:10:36,611 --> 02:10:38,352
and I'm really proud of it.
3107
02:10:38,395 --> 02:10:41,703
♪ All that we've done
3108
02:10:41,746 --> 02:10:43,879
♪ We've lost, we've won...
3109
02:10:43,923 --> 02:10:46,882
RUSSELL: I can't imagine having
done a career as a solo artist
3110
02:10:46,926 --> 02:10:50,407
'cause I just think the two
of us are sort of inseparable
3111
02:10:50,451 --> 02:10:53,323
when it comes to
our passion for music.
3112
02:10:53,367 --> 02:10:56,587
I think his songs
and my singing
3113
02:10:56,631 --> 02:10:58,894
are one and the same.
3114
02:10:58,938 --> 02:11:01,723
RON: I have that security
when I'm working with Russell.
3115
02:11:01,766 --> 02:11:04,639
If I were to work with myself,
3116
02:11:04,682 --> 02:11:08,686
I-I feel, you know,
really, really nervous.
3117
02:11:08,730 --> 02:11:11,124
It would put me in a position
3118
02:11:11,167 --> 02:11:14,823
where I-I just wouldn't
be able to-to take... take it.
3119
02:11:14,867 --> 02:11:17,913
EVAN WEISS: To me, they've been
such an example of how to age
3120
02:11:17,957 --> 02:11:20,829
in this business
with grace and dignity
3121
02:11:20,873 --> 02:11:22,962
and treat your band
and your crew, uh, kindly.
3122
02:11:23,005 --> 02:11:25,878
And not to reduce it
to such crude terms,
3123
02:11:25,921 --> 02:11:27,009
but they're just cool as fuck.
3124
02:11:27,053 --> 02:11:28,358
[laughing]:
Yeah.
3125
02:11:28,402 --> 02:11:29,794
RUSSELL:
Now that Ron isn't around,
3126
02:11:29,838 --> 02:11:31,971
I can finally tell
the real story.
3127
02:11:32,014 --> 02:11:33,363
Uh, all of the songs are mine.
3128
02:11:33,407 --> 02:11:36,845
All 840 songs written by me,
3129
02:11:36,889 --> 02:11:38,847
sung by me, performed by me.
3130
02:11:38,891 --> 02:11:43,330
So, uh, anyway, I just thought
it should come out now.
3131
02:11:45,245 --> 02:11:47,682
[whispers]:
Just between you and me...
3132
02:11:49,075 --> 02:11:50,990
Sparks.
3133
02:11:51,033 --> 02:11:52,861
He's just a singer.
3134
02:11:53,993 --> 02:11:56,778
[playing "When Do I Get
to Sing 'My Way'"]
3135
02:12:01,652 --> 02:12:04,960
♪ No, no use
in lecturing them... ♪
3136
02:12:05,004 --> 02:12:07,876
RUNDGREN: There's some comfort
in the fact that
3137
02:12:07,920 --> 02:12:10,444
something this weird
can survive
3138
02:12:10,487 --> 02:12:13,838
that long without being
corrupted ultimately
3139
02:12:13,882 --> 02:12:15,275
into something less weird.
3140
02:12:15,318 --> 02:12:17,146
♪ The plot is predictable...
3141
02:12:17,190 --> 02:12:18,756
I wouldn't really have seen how
they could've gotten any better,
3142
02:12:18,800 --> 02:12:20,149
'cause they were
kind of unique,
3143
02:12:20,193 --> 02:12:22,151
but they're doing
something right.
3144
02:12:22,195 --> 02:12:24,893
Nobody stays around that long
if they're making mistakes.
3145
02:12:24,937 --> 02:12:26,590
♪ No, no use in...
3146
02:12:26,634 --> 02:12:28,636
FLEA: If they had been
a band that just,
3147
02:12:28,679 --> 02:12:30,855
like, went and tried to make
hits that were sort of, like,
3148
02:12:30,899 --> 02:12:34,685
inorganic, outside of their
real natural inclinations,
3149
02:12:34,729 --> 02:12:37,123
they would've broken up
by 1977.
3150
02:12:37,166 --> 02:12:38,994
♪ It's hard to be vain...
3151
02:12:39,038 --> 02:12:40,865
ANTONOFF: Some of the greatest
artists in the world
3152
02:12:40,909 --> 02:12:42,519
just sort of had a period.
3153
02:12:42,563 --> 02:12:43,999
Sparks is way more
prolific than
3154
02:12:44,043 --> 02:12:45,958
all of the artists
we consider to be
3155
02:12:46,001 --> 02:12:48,308
the greatest in the world,
so it's overwhelming.
3156
02:12:48,351 --> 02:12:52,007
♪ So when do I get
to sing "My Way"? ♪
3157
02:12:52,051 --> 02:12:56,620
♪ When do I get to feel
like Sinatra felt? ♪
3158
02:12:56,664 --> 02:13:00,015
♪ When do I get
to sing "My Way"? ♪
3159
02:13:00,059 --> 02:13:02,235
♪ In heaven or hell...
3160
02:13:02,278 --> 02:13:04,150
RUSSELL:
You can knock us for not
3161
02:13:04,193 --> 02:13:06,717
having sold
two trillion records,
3162
02:13:06,761 --> 02:13:10,939
but staying true to our vision
and being consistent
3163
02:13:10,983 --> 02:13:13,289
for this long a period of time,
I think that that's
3164
02:13:13,333 --> 02:13:15,639
the measure of success.
3165
02:13:15,683 --> 02:13:17,990
♪ In heaven or hell...
3166
02:13:19,904 --> 02:13:22,037
JONES: I don't think
they could be really massive.
3167
02:13:22,081 --> 02:13:23,604
They're too weird.
3168
02:13:23,647 --> 02:13:26,215
Which is great.
Who wants to be really popular?
3169
02:13:26,259 --> 02:13:28,565
You know, you just want
to do your art
3170
02:13:28,609 --> 02:13:31,046
and love what you're doing
and be happy with that.
3171
02:13:31,090 --> 02:13:33,396
[cheering and applause]
3172
02:13:35,877 --> 02:13:37,966
It's been an amazing
evening for us.
3173
02:13:38,010 --> 02:13:39,272
Thank you very much.
3174
02:13:39,315 --> 02:13:40,925
RON:
We're deeply appreciative.
3175
02:13:40,969 --> 02:13:43,406
We don't... we don't take
any of this for granted,
3176
02:13:43,450 --> 02:13:46,366
and, uh, we'll be back soon.
3177
02:13:46,409 --> 02:13:48,368
[cheering]
3178
02:13:48,411 --> 02:13:49,978
Thank you.
3179
02:13:50,022 --> 02:13:51,675
RON: A lot of times,
people are trying
3180
02:13:51,719 --> 02:13:53,808
to find the key
to Sparks somehow,
3181
02:13:53,851 --> 02:13:55,897
and I think that really
it's out in the open
3182
02:13:55,940 --> 02:13:59,031
with what we're doing
lyrically and musically.
3183
02:14:00,119 --> 02:14:02,382
RUSSELL:
Being Russell and being Ron
3184
02:14:02,425 --> 02:14:04,775
and being Sparks,
it's kind of one and the same.
3185
02:14:05,776 --> 02:14:07,735
RON:
That is what we are.
3186
02:14:07,778 --> 02:14:11,521
There isn't some thing
behind the curtain.
3187
02:14:11,565 --> 02:14:13,393
SHERMAN-PALLADINO: The mystique
and that whole thing
3188
02:14:13,436 --> 02:14:17,092
is part of what makes them
cool no matter what.
3189
02:14:17,136 --> 02:14:18,746
They don't owe us anything.
3190
02:14:18,789 --> 02:14:20,356
They-they give us the music.
3191
02:14:20,400 --> 02:14:22,228
That's... We...
That's all we need.
3192
02:14:22,271 --> 02:14:24,056
BOHEM:
It is symbiotic.
3193
02:14:24,099 --> 02:14:25,666
It's like the two of them
make up
3194
02:14:25,709 --> 02:14:27,276
this whole that is Sparks.
3195
02:14:27,320 --> 02:14:28,886
You know, those of us
who've been lucky enough
3196
02:14:28,930 --> 02:14:30,627
to come and go in that,
like, it-it...
3197
02:14:30,671 --> 02:14:32,803
it's an amazing and
very cool thing to be around.
3198
02:14:32,847 --> 02:14:35,110
♪
3199
02:14:35,154 --> 02:14:37,156
STEWART: I don't feel
a kind of ownership with them.
3200
02:14:37,199 --> 02:14:40,594
I think it's really important
when people come along
3201
02:14:40,637 --> 02:14:43,205
20 or 40 years later,
you don't say,
3202
02:14:43,249 --> 02:14:45,642
"Oh, I was there all along,
and where were you?"
3203
02:14:45,686 --> 02:14:48,993
You say, "Welcome aboard,
and here's more."
3204
02:14:50,169 --> 02:14:51,909
WRIGHT: There's something
to be said for the fact
3205
02:14:51,953 --> 02:14:53,389
that sleeper success
3206
02:14:53,433 --> 02:14:55,304
will keep people talking
about them
3207
02:14:55,348 --> 02:14:57,915
a lot longer than artists
that are a lot more popular.
3208
02:14:59,178 --> 02:15:00,788
I think the fact that
they've always kept hungry
3209
02:15:00,831 --> 02:15:02,920
and consistently
pushed the envelope
3210
02:15:02,964 --> 02:15:05,358
is exactly why I wanted
to make this film.
3211
02:15:06,750 --> 02:15:08,404
OSWALT:
Their songs are worlds
3212
02:15:08,448 --> 02:15:10,841
that you really need
to delve into,
3213
02:15:10,885 --> 02:15:13,583
but once you delve into 'em,
the rewards are incredible.
3214
02:15:15,324 --> 02:15:18,284
JONES: I wish I had that drive
or that commitment.
3215
02:15:18,327 --> 02:15:20,590
I'm just like, "Ah, fuck it.
I can't be bothered."
3216
02:15:21,635 --> 02:15:23,376
FLEA: Some bands will give you
an outfit to wear,
3217
02:15:23,419 --> 02:15:25,769
and some bands will give you
a sewing machine
3218
02:15:25,813 --> 02:15:27,858
and some needle and some thread
3219
02:15:27,902 --> 02:15:29,817
and let you make what you want
but inspire you
3220
02:15:29,860 --> 02:15:31,471
and give you the energy
to make stuff.
3221
02:15:31,514 --> 02:15:33,690
And that's the kind of band
that Sparks is to me.
3222
02:15:35,214 --> 02:15:38,130
BECK: There's several
kind of archetypes of bands.
3223
02:15:38,173 --> 02:15:40,436
There's the bands
who are wildly popular
3224
02:15:40,480 --> 02:15:43,309
in their day and adulation,
3225
02:15:43,352 --> 02:15:46,268
and then there's bands
that sow all these seeds
3226
02:15:46,312 --> 02:15:50,838
and foment all these ideas
that grow up in other places.
3227
02:15:50,881 --> 02:15:53,710
And, uh, there's some
corollary in nature.
3228
02:15:53,754 --> 02:15:56,278
Like, we wouldn't survive
without the bees.
3229
02:15:56,322 --> 02:15:59,934
Sparks are part of
the ecosystem of music.
3230
02:15:59,977 --> 02:16:03,155
And they may have given birth
to other bands
3231
02:16:03,198 --> 02:16:07,855
who don't even know that
the lineage goes back to them.
3232
02:16:07,898 --> 02:16:10,727
They might not even
be aware of it.
3233
02:16:10,771 --> 02:16:16,211
♪ This is the number one song
in heaven ♪
3234
02:16:16,255 --> 02:16:18,257
[crowd cheering]
3235
02:16:19,214 --> 02:16:21,303
♪ Written, of course
3236
02:16:21,347 --> 02:16:25,525
♪ By the mightiest hand
3237
02:16:28,354 --> 02:16:30,660
♪ All of the angels are sheep
3238
02:16:30,704 --> 02:16:35,187
♪ In the fold of their master
3239
02:16:37,406 --> 02:16:43,238
♪ They always follow
the master and his plan ♪
3240
02:16:46,546 --> 02:16:52,160
♪ This is the number one song
in heaven ♪
3241
02:16:55,598 --> 02:17:01,474
♪ Why are you hearing it now,
you ask ♪
3242
02:17:04,694 --> 02:17:07,697
♪ Maybe you're closer to here
3243
02:17:07,741 --> 02:17:10,831
♪ Than you imagine
3244
02:17:13,747 --> 02:17:15,923
♪ Maybe you're closer to here
3245
02:17:15,966 --> 02:17:20,536
♪ Than you care to be...
3246
02:17:27,891 --> 02:17:30,546
We fear that, over the course
of the documentary,
3247
02:17:30,590 --> 02:17:32,722
we have revealed
way more about ourselves
3248
02:17:32,766 --> 02:17:34,942
than we are comfortable with.
3249
02:17:34,985 --> 02:17:37,292
So, in an attempt to create
some further mystique,
3250
02:17:37,336 --> 02:17:39,729
we'd like to leave you
with a bunch of Sparks facts
3251
02:17:39,773 --> 02:17:42,471
that are all 100% true.
3252
02:17:42,515 --> 02:17:44,908
Russell has been
an uncredited voice actor
3253
02:17:44,952 --> 02:17:48,912
in 27 Hollywood animated
feature films.
3254
02:17:48,956 --> 02:17:52,220
Ron briefly dated EÉdith Piaf.
3255
02:17:52,264 --> 02:17:56,659
Russell is not singing in
English on Kimono My House.
3256
02:17:56,703 --> 02:17:59,140
Ron has worn
the same white shirt,
3257
02:17:59,183 --> 02:18:01,316
a shirt he purchased
at Marks and Spencer
3258
02:18:01,360 --> 02:18:05,494
in December 1973,
for the last 46 years.
3259
02:18:05,538 --> 02:18:08,845
Between 1989 and 1993,
3260
02:18:08,889 --> 02:18:11,848
Russell was a NASCAR driver.
3261
02:18:11,892 --> 02:18:14,460
Ron has written many novels
under the pen name
3262
02:18:14,503 --> 02:18:16,766
John le Carré.
3263
02:18:16,810 --> 02:18:18,551
After realizing
he was too small
3264
02:18:18,594 --> 02:18:20,292
to compete in college football,
3265
02:18:20,335 --> 02:18:24,208
Russell trained
for nine months as a jockey.
3266
02:18:24,252 --> 02:18:29,039
26 days before every tour,
Ron goes on the alphabet diet,
3267
02:18:29,083 --> 02:18:31,738
eating foods
in alphabetical order.
3268
02:18:31,781 --> 02:18:34,480
Day one: avocados or asparagus.
3269
02:18:34,523 --> 02:18:37,047
Day 26: zucchini.
3270
02:18:37,091 --> 02:18:39,702
In 1982, we started
the first ever
3271
02:18:39,746 --> 02:18:43,576
seahorse rehabilitation ranch,
Back in the Saddle.
3272
02:18:43,619 --> 02:18:46,361
The tragic decline
in the seahorse population
3273
02:18:46,405 --> 02:18:50,365
has been a cause
we've long felt strongly about.
3274
02:18:50,409 --> 02:18:52,585
Sparks really only
have two songs,
3275
02:18:52,628 --> 02:18:54,500
a fast one and a slow one.
3276
02:18:54,543 --> 02:18:57,024
We constantly rewrite
the lyrics for these songs
3277
02:18:57,067 --> 02:18:58,852
to give the appearance
of having written
3278
02:18:58,895 --> 02:19:01,158
nearly 300 songs.
3279
02:19:01,202 --> 02:19:03,073
And finally,
we would like to reveal
3280
02:19:03,117 --> 02:19:05,772
that Ron is really Russell.
3281
02:19:05,815 --> 02:19:08,731
And Russell is really Ron.
3282
02:19:12,518 --> 02:19:17,697
♪ This is the number one song
in heaven ♪
3283
02:19:20,569 --> 02:19:26,836
♪ Why are you hearing it now,
you ask ♪
3284
02:19:29,535 --> 02:19:32,668
♪ Maybe you're closer to here
3285
02:19:32,712 --> 02:19:35,889
♪ Than you imagine
3286
02:19:38,587 --> 02:19:40,807
♪ Maybe you're closer to here
3287
02:19:40,850 --> 02:19:45,333
♪ Than you care to be.
3288
02:19:45,377 --> 02:19:47,596
♪
3289
02:19:47,640 --> 02:19:49,816
[audience cheering]
3290
02:19:49,859 --> 02:19:52,166
[audience clapping
rhythmically]
3291
02:20:14,623 --> 02:20:16,930
♪
3292
02:20:41,650 --> 02:20:43,957
♪
3293
02:20:49,092 --> 02:20:51,094
[song ends]
3294
02:20:51,138 --> 02:20:53,183
[cheering and applause]
238948
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