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[AMBIENT SYNTH MUSIC PLAYING]
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♪ Fanfare
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[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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He was born in
Culver City, California.
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Our father was an artist,
a painter
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and was also a commercial artist
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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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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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with Russell and our father.
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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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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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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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might have been, uh,
initiated in some way by that.
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♪
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RUSSELL:
Um, when our father died, uh,
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obviously, it was
a really traumatic experience.
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You don't even understand,
really, how that's possible
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or that he's not gonna
ever be there again.
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And-and, uh, it's something
that's so abstract,
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just the concept of death.
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And, uh... and it's when...
when it's your father,
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and then especially
at that age, too,
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that you're so young
that you never
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got to ask the questions
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that you would now like
to have asked to him
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and to have known
more about him.
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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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about, uh, your own father.
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RON:
We were both very, very young.
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I was... I was 11,
and Russell was eight, and...
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00:10:03,093 --> 00:10:06,967
kind of everything changed
at that moment for us,
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and I think it did
bring us closer together.
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RUSSELL: 'Cause it was all
very unexpected,
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00:10:15,323 --> 00:10:17,934
the three of us
were then kind of
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00:10:17,978 --> 00:10:20,589
forced to be stronger as a unit.
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00:10:20,633 --> 00:10:22,156
Um, Ron and I would,
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00:10:22,199 --> 00:10:24,637
you know,
do everything that we could
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00:10:24,680 --> 00:10:26,639
to help out our mom.
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00:10:28,292 --> 00:10:30,817
RON: Our mother decided that
I should have piano lessons.
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00:10:30,860 --> 00:10:32,557
I didn't want to admit
that I enjoyed
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00:10:32,601 --> 00:10:34,298
taking the piano lessons
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because, you know, there...
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00:10:35,735 --> 00:10:37,650
always a rebellious streak
in me,
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00:10:37,693 --> 00:10:40,870
but piano lessons were actually
something I really enjoyed.
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00:10:40,914 --> 00:10:44,178
And they would have talent
shows at elementary school,
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00:10:44,221 --> 00:10:46,920
and I would get up there
in a pink sport jacket
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00:10:46,963 --> 00:10:49,792
and a... a tie, and my hair
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00:10:49,836 --> 00:10:52,403
really kind of greased
and everything,
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00:10:52,447 --> 00:10:55,406
and performing those talent
shows was an addictive thing.
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00:10:55,450 --> 00:10:58,192
You really saw
the audience reaction,
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00:10:58,235 --> 00:10:59,628
and you thought,
"This is kind of cool."
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00:10:59,672 --> 00:11:01,151
And it-it also
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00:11:01,195 --> 00:11:03,066
blended in
with our interest in sports.
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00:11:03,110 --> 00:11:07,201
Both music and sports were
things that garnered attention.
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00:11:07,244 --> 00:11:10,030
♪ Going out when the rest
are coming home ♪
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00:11:10,073 --> 00:11:13,250
♪ Coming home when the rest
are going out ♪
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00:11:13,294 --> 00:11:16,384
♪ And when I'm broke
and really down, I'm down... ♪
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00:11:16,427 --> 00:11:18,821
RUSSELL: It's an odd thing
that our huge passion
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00:11:18,865 --> 00:11:22,825
when we were growing up
in school was-was athletics.
227
00:11:24,392 --> 00:11:27,830
Hard to believe that, uh,
this scrawny body
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00:11:27,874 --> 00:11:33,009
once played against, uh,
250-pound guys.
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00:11:33,053 --> 00:11:35,882
I sometimes equate
the experience
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00:11:35,925 --> 00:11:38,623
of going out onto the field
on Friday night
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00:11:38,667 --> 00:11:42,062
as the same sensation
as when you go onstage.
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00:11:42,105 --> 00:11:44,412
There's the same
adrenaline rush.
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00:11:46,893 --> 00:11:50,591
♪ I want to be, I want to be
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00:11:50,634 --> 00:11:54,029
♪ I want to be,
I want to be ♪
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00:11:54,073 --> 00:11:57,641
♪ I want to be like
everybody else. ♪
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00:12:01,341 --> 00:12:03,299
[SONG ENDS]
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00:12:03,343 --> 00:12:06,563
-♪ Ooh, ooh
-♪ Over the summer
238
00:12:06,607 --> 00:12:08,957
-♪ Over the summer
-♪ Ooh
239
00:12:09,001 --> 00:12:10,306
♪ Over the summer
240
00:12:10,350 --> 00:12:11,786
♪ Ooh...
241
00:12:11,830 --> 00:12:13,701
We lived always near
242
00:12:13,745 --> 00:12:16,312
the ocean, so both in Venice
and then Pacific Palisades.
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00:12:16,356 --> 00:12:20,055
♪ You've got to trust
in summer ♪
244
00:12:20,099 --> 00:12:23,102
♪ Miracles can happen
if you do... ♪
245
00:12:23,145 --> 00:12:24,843
In the summer,
we would walk down.
246
00:12:24,886 --> 00:12:26,758
There's a little bluff
that you have to walk
247
00:12:26,801 --> 00:12:28,237
from our house in the Palisades,
248
00:12:28,281 --> 00:12:30,065
and it led down to the ocean.
249
00:12:30,109 --> 00:12:32,546
It took maybe a half an hour.
250
00:12:32,589 --> 00:12:34,287
We'd do that routine every day.
251
00:12:34,330 --> 00:12:36,811
We'd stay from
like 9:00 in the morning
252
00:12:36,855 --> 00:12:38,639
to maybe, you know,
7:00 at night.
253
00:12:38,682 --> 00:12:41,424
So that was our life
for three months every year.
254
00:12:41,468 --> 00:12:44,819
♪ July, you were
the plainest of Janes... ♪
255
00:12:44,863 --> 00:12:48,127
RON: People say that
they don't see any Los Angeles
256
00:12:48,170 --> 00:12:51,826
in what we're doing,
and I think that, actually,
257
00:12:51,870 --> 00:12:54,873
they're missing a lot of
what the influence was on us.
258
00:12:57,614 --> 00:12:59,703
We had our transistor radio,
259
00:12:59,747 --> 00:13:02,271
and, uh, AM music
at that time in Los Angeles
260
00:13:02,315 --> 00:13:03,795
was really incredible.
261
00:13:03,838 --> 00:13:07,189
It was just one big mass
of pop music.
262
00:13:08,582 --> 00:13:10,323
RADIO ANNOUNCER: Ladies and
gentlemen, the beat goes on.
263
00:13:10,366 --> 00:13:12,455
♪ More music.
264
00:13:12,499 --> 00:13:15,154
The Real Don Steele.
265
00:13:15,197 --> 00:13:16,764
♪ 93 KHJ.
266
00:13:16,808 --> 00:13:19,811
♪ Please, please, please...
267
00:13:19,854 --> 00:13:22,552
RUSSELL: There was
no distinction between
268
00:13:22,596 --> 00:13:26,078
British bands or soul groups,
Black groups, white groups.
269
00:13:26,121 --> 00:13:27,906
It-it didn't really matter.
270
00:13:27,949 --> 00:13:32,693
Like, no one cared or
questioned the genres of music.
271
00:13:32,736 --> 00:13:36,436
You would always want
to go see any British band
272
00:13:36,479 --> 00:13:38,394
that would come to Los Angeles.
273
00:13:38,438 --> 00:13:41,223
The high point of our lives...
uh, we can actually say
274
00:13:41,267 --> 00:13:45,184
we've seen The Beatles twice
because we had a cool mom.
275
00:13:45,227 --> 00:13:46,707
ANNOUNCER:
The Beatles,
276
00:13:46,750 --> 00:13:48,751
on their way
to the Hollywood Bowl.
277
00:13:48,795 --> 00:13:51,102
Some of the youngsters
don't give up easily.
278
00:13:51,145 --> 00:13:52,886
RUSSELL:
For whatever reason,
279
00:13:52,930 --> 00:13:55,671
she agreed to drive us
to Las Vegas,
280
00:13:55,715 --> 00:13:58,065
where they were playing
a concert.
281
00:13:58,109 --> 00:14:02,069
So there we were in our little
Fiat Multipla that our mom had
282
00:14:02,113 --> 00:14:06,378
and had this sort of bad
futuristic shape to it.
283
00:14:06,421 --> 00:14:09,076
And, uh, we're putting along
the highway to Las Vegas
284
00:14:09,120 --> 00:14:11,209
just to see The Beatles.
285
00:14:11,252 --> 00:14:12,993
That's a mom.
286
00:14:13,037 --> 00:14:15,126
["HAPPENINGS TEN YEARS TIME
AGO" BY THE YARDBIRDS PLAYING]
287
00:14:20,696 --> 00:14:24,396
RON: While we were at UCLA,
everything coalesced for us
288
00:14:24,439 --> 00:14:28,530
as far as soaking in all of
these things from the outside.
289
00:14:28,574 --> 00:14:31,925
RUSSELL: We played in bands
early on with ridiculous names.
290
00:14:31,969 --> 00:14:34,885
I don't know,
we were in Moonbaker Abbey,
291
00:14:34,928 --> 00:14:37,496
and we were in
The Urban Renewal Project.
292
00:14:37,539 --> 00:14:40,542
I mean, how successful
could a band ever get
293
00:14:40,586 --> 00:14:43,241
calling themselves
Urban Renewal Project?
294
00:14:44,590 --> 00:14:46,679
RON: The first two songs
that we ever recorded
295
00:14:46,722 --> 00:14:50,204
were "Computer Girl" and, uh,
the other one... what was this?
296
00:14:50,248 --> 00:14:51,814
- What was the second one?
- RUSSELL: "Windmill."
297
00:14:51,858 --> 00:14:54,034
I'm ashamed that I forgot that,
but "W-Windmill."
298
00:14:54,078 --> 00:14:56,428
- So classic that he forgot it.
- Yeah.
299
00:14:56,471 --> 00:15:00,301
RON: It's really strange
to have a song in 1966
300
00:15:00,345 --> 00:15:02,695
called "Computer Girl,"
because we didn't even
301
00:15:02,738 --> 00:15:05,437
really know what
a computer was at that time.
302
00:15:05,480 --> 00:15:09,876
♪ Computer girl
303
00:15:09,920 --> 00:15:13,793
♪ My computer girl
304
00:15:13,836 --> 00:15:15,577
♪ This is a recording
305
00:15:15,621 --> 00:15:19,059
♪ She's got no arms
306
00:15:19,103 --> 00:15:25,544
♪ She's got no legs
307
00:15:25,587 --> 00:15:30,766
♪ For computers
308
00:15:30,810 --> 00:15:34,161
♪ Have no limbs...
309
00:15:34,205 --> 00:15:36,250
- WRIGHT: Pre-Kraftwerk?
- RON: Pre-Kraftwerk. Yes.
310
00:15:36,294 --> 00:15:37,730
RUSSELL:
Yeah, we predate Kraftwerk
311
00:15:37,773 --> 00:15:40,863
when it comes to computer songs.
312
00:15:40,907 --> 00:15:42,691
RON: The first time
that we really got
313
00:15:42,735 --> 00:15:46,260
serious about music
was when we met Earle Mankey
314
00:15:46,304 --> 00:15:48,306
and the three of us got together
315
00:15:48,349 --> 00:15:51,264
and had similar musical taste.
316
00:15:51,308 --> 00:15:53,092
EARLE MANKEY:
They seemed pretty much
317
00:15:53,136 --> 00:15:55,660
just like normal
college students.
318
00:15:55,703 --> 00:15:57,662
But once we got into
the recording process,
319
00:15:57,705 --> 00:16:00,447
they-they turned out
to be different.
320
00:16:00,491 --> 00:16:03,537
You have three people in a room
and a two-track tape recorder,
321
00:16:03,581 --> 00:16:06,671
and you want to emulate,
let's say The Beatles.
322
00:16:06,714 --> 00:16:09,239
Well, uh, first,
you might think you need drums.
323
00:16:09,282 --> 00:16:10,980
Well, we didn't have any drums.
324
00:16:11,023 --> 00:16:12,068
So, uh,
325
00:16:12,111 --> 00:16:13,721
bang on some boxes
326
00:16:13,765 --> 00:16:16,681
and find a table
that had a nice tone,
327
00:16:16,724 --> 00:16:18,683
and if you needed a cymbal,
that was harder.
328
00:16:18,726 --> 00:16:19,727
But as I recall,
329
00:16:19,771 --> 00:16:21,991
there was a brass lampshade
330
00:16:22,034 --> 00:16:24,471
that, uh, didn't really ring
like a cymbal,
331
00:16:24,515 --> 00:16:26,430
but it would give us
a nice clank.
332
00:16:27,866 --> 00:16:29,694
HARLEY FEINSTEIN:
When I joined the band,
333
00:16:29,737 --> 00:16:31,478
it was called Halfnelson.
334
00:16:31,522 --> 00:16:34,307
I was contacted by Russell,
and he explained to me,
335
00:16:34,351 --> 00:16:36,570
"Well, we're not just
getting together
336
00:16:36,614 --> 00:16:39,486
"to drink beer,
meet girls and play music.
337
00:16:39,530 --> 00:16:42,576
We're actually gonna
become big."
338
00:16:42,620 --> 00:16:45,014
That sounds like the scene
from our biopic
339
00:16:45,057 --> 00:16:46,841
that's, uh, upcoming soon.
340
00:16:48,495 --> 00:16:50,062
♪ Whoo!
341
00:16:50,106 --> 00:16:53,065
♪ Fa-fa-fa, fa-fa,
fa-fa-fa... ♪
342
00:16:53,109 --> 00:16:55,894
RUSSELL: I think, at the
beginning, I was trying to be
343
00:16:55,937 --> 00:17:00,333
as much like Mick Jagger
or Roger Daltrey
344
00:17:00,377 --> 00:17:02,292
as I could possibly be.
345
00:17:02,335 --> 00:17:06,078
I kind of missed the mark
by a few thousand miles,
346
00:17:06,122 --> 00:17:08,602
but something else emerged.
347
00:17:08,646 --> 00:17:10,343
♪ From champagne
348
00:17:10,387 --> 00:17:13,738
♪ And I have never
met the queen ♪
349
00:17:13,781 --> 00:17:16,567
♪ And I wish I could have
all he has got ♪
350
00:17:16,610 --> 00:17:19,744
♪ And I wish I could be
like David Watts... ♪
351
00:17:19,787 --> 00:17:21,093
RUSSELL:
I think there was
352
00:17:21,137 --> 00:17:22,442
sometimes a conscious
353
00:17:22,486 --> 00:17:24,879
and sometimes
an unconscious attempt
354
00:17:24,923 --> 00:17:27,882
at trying to emulate
the early Who songs
355
00:17:27,926 --> 00:17:30,581
and the early Kinks songs
that really felt
356
00:17:30,624 --> 00:17:32,757
in tune with what
we really wanted to be doing.
357
00:17:32,800 --> 00:17:35,064
♪ I'd lead the school team
to victory... ♪
358
00:17:35,107 --> 00:17:37,588
FEINSTEIN: I remember I liked
bands that they didn't like.
359
00:17:37,631 --> 00:17:39,677
And I remember one time
I made the comment that,
360
00:17:39,720 --> 00:17:42,245
"Hey, Blood Sweat & Tears,
they're great, huh?"
361
00:17:42,288 --> 00:17:45,465
All the eyes rolled back
simultaneously.
362
00:17:45,509 --> 00:17:46,901
It could've been worse.
He could have mentioned
363
00:17:46,945 --> 00:17:49,512
Chicago or somebody
like that, and...
364
00:17:49,555 --> 00:17:53,429
then he would have been
out of the band immediately.
365
00:17:53,472 --> 00:17:56,649
["WHEN YOU'RE A FRENCH
DIRECTOR" BY SPARKS PLAYING]
366
00:17:57,868 --> 00:18:01,741
♪ When you're
a French director... ♪
367
00:18:01,785 --> 00:18:03,569
RON:
There was a sense at the time
368
00:18:03,613 --> 00:18:06,268
that if you were
kind of a hip person
369
00:18:06,311 --> 00:18:09,271
that you would also
automatically be interested
370
00:18:09,314 --> 00:18:12,012
in French New Wave films
and Bergman.
371
00:18:12,056 --> 00:18:15,929
It kind of went hand in hand
with liking the British bands.
372
00:18:15,973 --> 00:18:18,193
It was just
kind of a badge of honor,
373
00:18:18,236 --> 00:18:22,284
liking nonmainstream things.
374
00:18:24,286 --> 00:18:27,289
LARRY DUPONT:
When I first met Ron,
375
00:18:27,332 --> 00:18:32,163
we were all deeply,
deeply rooted in film.
376
00:18:32,207 --> 00:18:35,210
As far as Russ
was concerned, uh,
377
00:18:35,253 --> 00:18:37,603
he wanted to be a filmmaker.
378
00:18:37,647 --> 00:18:38,865
Early on, I was dabbling
379
00:18:38,909 --> 00:18:41,433
in French New Wave cinema
380
00:18:41,477 --> 00:18:45,611
and, uh, made a film
when I was at UCLA.
381
00:18:45,655 --> 00:18:47,352
Um, and I don't know if it's...
382
00:18:47,396 --> 00:18:49,659
I-I wouldn't call it
a great film,
383
00:18:49,702 --> 00:18:52,401
- but it wasn't...
- Oh, don't be so modest.
384
00:18:52,444 --> 00:18:56,144
MANKEY: I starred
in Russell's student film,
385
00:18:56,187 --> 00:18:58,450
Très Sérieux,
which means, I guess,
386
00:18:58,494 --> 00:19:00,931
Very Serious
or something like that.
387
00:19:00,974 --> 00:19:04,761
My name in the movie was
Jean-Paul Mankey.
388
00:19:04,804 --> 00:19:09,157
You know, it was poking fun
at, uh, French art films.
389
00:19:10,375 --> 00:19:12,072
That's the cool thing
about them.
390
00:19:12,116 --> 00:19:13,639
You know, they take something
that seems to be
391
00:19:13,683 --> 00:19:15,728
really great and arty,
392
00:19:15,772 --> 00:19:17,730
and then they shoot it
in the pants.
393
00:19:17,774 --> 00:19:20,777
Other times, people think
they're making fun of something
394
00:19:20,820 --> 00:19:22,518
when they're deadly serious.
395
00:19:22,561 --> 00:19:24,302
[LAUGHING]: They're kind of
inscrutable, those guys.
396
00:19:27,262 --> 00:19:29,655
MIKE BERNS: Well, I had
a chance to meet Ron and Russell
397
00:19:29,699 --> 00:19:31,831
when I worked at, uh,
Universal Records.
398
00:19:31,875 --> 00:19:33,833
They brought their demo tape in,
399
00:19:33,877 --> 00:19:38,316
and I was taken
by the creativity,
400
00:19:38,360 --> 00:19:41,319
the artistry,
uh, the individuality.
401
00:19:41,363 --> 00:19:43,191
And it was something
402
00:19:43,234 --> 00:19:45,323
that you just knew
was something.
403
00:19:45,367 --> 00:19:50,154
And I lobbied my brains out
to have them get signed.
404
00:19:51,981 --> 00:19:54,940
MANKEY: Every office
we'd go into was all excited.
405
00:19:56,203 --> 00:19:58,248
They'd call their friends in
and say, "Listen to this stuff.
406
00:19:58,292 --> 00:20:00,032
Isn't this weird?
Isn't this great?"
407
00:20:00,076 --> 00:20:02,121
Uh, and then
they wouldn't sign us.
408
00:20:03,558 --> 00:20:05,473
DUPONT:
The thing that marked them
409
00:20:05,516 --> 00:20:08,824
was their unwillingness
to give up on rejection.
410
00:20:08,867 --> 00:20:11,261
They just wouldn't give up.
411
00:20:11,305 --> 00:20:13,045
RUSSELL:
There's always just been
412
00:20:13,089 --> 00:20:16,179
one person
throughout our whole career
413
00:20:16,223 --> 00:20:19,095
that would kind of get
what it was
414
00:20:19,138 --> 00:20:21,358
that we were doing
at any one particular time...
415
00:20:21,402 --> 00:20:24,013
and the first one
was Todd Rundgren...
416
00:20:24,056 --> 00:20:27,886
when everybody else at every
record label rejected us.
417
00:20:29,845 --> 00:20:31,281
If it hadn't been for him,
418
00:20:31,325 --> 00:20:34,153
there wouldn't have been
a Sparks now.
419
00:20:34,197 --> 00:20:37,156
RUNDGREN: Well, without me,
there would be no Halfnelson.
420
00:20:37,200 --> 00:20:40,464
Sparks was something
that happened a little later.
421
00:20:40,508 --> 00:20:42,901
ANNOUNCER: Todd Rundgren
first discovered Sparks
422
00:20:42,945 --> 00:20:44,860
and produced their debut album.
423
00:20:45,904 --> 00:20:47,558
BERNS:
We sent the demo album
424
00:20:47,602 --> 00:20:49,604
to Todd Rundgren.
I had some notoriety
425
00:20:49,647 --> 00:20:51,606
in the business,
so he took my call.
426
00:20:51,649 --> 00:20:57,264
My memory was that, uh,
Russell's, uh, girlfriend,
427
00:20:57,307 --> 00:21:00,484
part-time girlfriend,
girlfriend on and off, uh,
428
00:21:00,528 --> 00:21:03,444
was Miss Christine
from the GTO's.
429
00:21:03,487 --> 00:21:06,229
Miss Christine was like
my girlfriend for a while,
430
00:21:06,273 --> 00:21:08,971
and then she became Russell's
girlfriend for a while.
431
00:21:09,014 --> 00:21:10,451
RUSSELL:
We became friends
432
00:21:10,494 --> 00:21:13,628
with-with, uh,
Miss Christine as well.
433
00:21:13,671 --> 00:21:17,806
And so, um,
at that time, I, uh...
434
00:21:17,849 --> 00:21:19,851
- We did?
- [LAUGHING]: We did. We did.
435
00:21:19,895 --> 00:21:21,940
- [CREW LAUGHING]
- [RUSSELL CLEARS THROAT]
436
00:21:21,984 --> 00:21:23,855
Let me... let me, uh...
yeah, we were...
437
00:21:23,899 --> 00:21:26,771
So I became... I became friends
with Miss Christine.
438
00:21:28,556 --> 00:21:31,210
I think Russell thought
it was weird,
439
00:21:31,254 --> 00:21:33,169
but I didn't consider it
any sort of affront,
440
00:21:33,212 --> 00:21:34,953
but I think I knew
Miss Christine
441
00:21:34,997 --> 00:21:36,999
better than he did.
442
00:21:37,042 --> 00:21:38,566
PAMELA DES BARRES:
Yeah, I'm sure Miss Christine
443
00:21:38,609 --> 00:21:40,350
played Todd the demo.
444
00:21:40,394 --> 00:21:42,874
She was... she and Todd
were together quite a while,
445
00:21:42,918 --> 00:21:45,442
um, and she loved Sparks.
446
00:21:45,486 --> 00:21:46,965
MANKEY:
Christine said, "Oh, Todd,
447
00:21:47,009 --> 00:21:48,489
"you've got to hear these guys.
448
00:21:48,532 --> 00:21:51,621
It's so great.
You're gonna want to sign 'em."
449
00:21:53,188 --> 00:21:55,364
RUNDGREN: I was struck by
the fact that it wasn't like
450
00:21:55,408 --> 00:21:58,759
anything else
that I was normally getting.
451
00:21:58,802 --> 00:22:02,023
It is sometimes like
butterfly hunting.
452
00:22:02,066 --> 00:22:04,155
You're looking for some species
453
00:22:04,199 --> 00:22:07,376
that nobody has ever
discovered before.
454
00:22:10,292 --> 00:22:12,642
So they set up a demo
455
00:22:12,686 --> 00:22:14,688
as if it was like a whole venue.
456
00:22:14,731 --> 00:22:18,474
They had this rehearsal space
out in the Valley.
457
00:22:18,518 --> 00:22:20,476
They called it
the Doggy Factory,
458
00:22:20,520 --> 00:22:22,609
which implied that doggies
were made there,
459
00:22:22,652 --> 00:22:25,263
but it was actually doggy beds.
[CHUCKLES]
460
00:22:25,307 --> 00:22:27,353
JAMES LOWE: Yeah, that's...
it was all left-handed.
461
00:22:27,396 --> 00:22:29,616
It was... I mean, this band,
you're gonna go see 'em
462
00:22:29,659 --> 00:22:31,400
at a doggy bed factory.
463
00:22:31,444 --> 00:22:34,316
I thought they were joking.
I thought it was a club.
464
00:22:34,360 --> 00:22:36,318
RUNDGREN: We all sat down
in some folding chairs,
465
00:22:36,362 --> 00:22:38,451
and they put on a whole show.
466
00:22:38,494 --> 00:22:40,931
MANKEY:
The biggest number, uh,
467
00:22:40,975 --> 00:22:42,542
I guess it would have to be
the song
468
00:22:42,585 --> 00:22:44,457
"Slowboat."
469
00:22:44,500 --> 00:22:47,155
There was a papier-mâché boat.
470
00:22:47,198 --> 00:22:49,418
Russell would sit in this boat
471
00:22:49,462 --> 00:22:52,116
and be towed across the floor
by the roadie.
472
00:22:52,160 --> 00:22:55,163
RUSSELL: I got in it as if it
was like a Rose Parade float,
473
00:22:55,206 --> 00:22:57,252
and I was waving to the audience
474
00:22:57,295 --> 00:22:59,385
as the captain
of this slow boat.
475
00:22:59,428 --> 00:23:01,735
MANKEY: And about three feet
later, he'd have to stop
476
00:23:01,778 --> 00:23:04,564
because it would be
the end of the stage.
477
00:23:04,607 --> 00:23:05,652
LOWE:
My wife thought
478
00:23:05,695 --> 00:23:07,741
Russ was, uh, very cute,
479
00:23:07,784 --> 00:23:10,004
and I kept asking her
about the music,
480
00:23:10,047 --> 00:23:12,006
but she kept telling me
how cute Russ was.
481
00:23:12,049 --> 00:23:14,965
Russ was really cute. [LAUGHS]
482
00:23:17,664 --> 00:23:19,405
RUNDGREN:
I was
483
00:23:19,448 --> 00:23:21,711
well proud of the effort
that they put out
484
00:23:21,755 --> 00:23:24,497
and said,
"We'll make a record."
485
00:23:24,540 --> 00:23:29,545
♪ Slow boat, bring me back
another day... ♪
486
00:23:29,589 --> 00:23:32,809
Of course, everything
that happened after that was...
487
00:23:32,853 --> 00:23:34,637
was evolutionary.
488
00:23:34,681 --> 00:23:37,031
♪
489
00:23:48,956 --> 00:23:50,740
- [SONG ENDS]
- [CROWD CHEERING]
490
00:23:50,784 --> 00:23:53,089
[INDISTINCT RADIO CHATTER]
491
00:23:55,657 --> 00:23:57,790
MAN: Sorry, Sam, can we
take that back a little ways?
492
00:23:57,833 --> 00:23:59,705
We'll pick it up.
493
00:23:59,748 --> 00:24:02,447
RUSSELL: We really were
elated that now things
494
00:24:02,490 --> 00:24:04,231
seemed real for once.
495
00:24:04,274 --> 00:24:06,276
FEINSTEIN:
It was really amazing.
496
00:24:06,320 --> 00:24:07,713
It was really surreal.
497
00:24:07,756 --> 00:24:09,192
It was like, "My God, this is...
498
00:24:09,236 --> 00:24:10,411
How did I get here?
This is incredible."
499
00:24:10,455 --> 00:24:13,196
RUSSELL:
It just, uh, seemed like
500
00:24:13,240 --> 00:24:17,157
we were soon gonna be at
the Hollywood Bowl ourselves.
501
00:24:20,247 --> 00:24:22,510
FEINSTEIN: The making of
the album was so much fun.
502
00:24:22,554 --> 00:24:25,252
It was great.
Uh, we had what seemed like
503
00:24:25,295 --> 00:24:27,515
an unlimited amount of time
in a good studio.
504
00:24:27,559 --> 00:24:28,777
♪ All will join in
505
00:24:28,821 --> 00:24:30,692
♪ In the
big scene... ♪
506
00:24:30,736 --> 00:24:33,347
RON: To Todd's credit,
he really made us feel at home
507
00:24:33,390 --> 00:24:36,959
and more importantly
made us feel at home musically
508
00:24:37,003 --> 00:24:39,962
because he really wanted us
to keep to the essence
509
00:24:40,006 --> 00:24:42,138
of what the demos were.
510
00:24:42,182 --> 00:24:44,793
♪ Take a tall one,
take a small one... ♪
511
00:24:44,837 --> 00:24:46,752
RUNDGREN:
I didn't want to mess with
512
00:24:46,795 --> 00:24:49,624
this latent outsider genius.
513
00:24:49,668 --> 00:24:51,670
I'm just gonna figure out
514
00:24:51,713 --> 00:24:53,672
how to make it
a little bit more high-fidelity,
515
00:24:53,715 --> 00:24:55,891
and that... [LAUGHS]
and that will be fine,
516
00:24:55,935 --> 00:24:58,590
I think.
517
00:24:58,633 --> 00:25:00,374
FEINSTEIN:
This album was gonna be
518
00:25:00,417 --> 00:25:02,942
just phenomenal,
519
00:25:02,985 --> 00:25:04,247
just really good.
520
00:25:06,598 --> 00:25:09,209
RUSSELL: We released
the Halfnelson album,
521
00:25:09,252 --> 00:25:12,517
and it didn't really get
the commercial success
522
00:25:12,560 --> 00:25:16,477
that I think Todd
was hoping for.
523
00:25:17,609 --> 00:25:19,567
KAPRANOS:
With Sparks, you have this
524
00:25:19,611 --> 00:25:21,874
strange combination of...
525
00:25:21,917 --> 00:25:23,876
almost creative recklessness
526
00:25:23,919 --> 00:25:26,052
because they don't follow
the conventional path,
527
00:25:26,095 --> 00:25:28,054
which is what makes them
great as a fan.
528
00:25:30,186 --> 00:25:32,188
There's this force of creativity
529
00:25:32,232 --> 00:25:34,364
that goes into
that experimentation,
530
00:25:34,408 --> 00:25:36,584
but the culture isn't there yet.
531
00:25:36,628 --> 00:25:38,804
And then you find yourself
in the real world
532
00:25:38,847 --> 00:25:40,762
where you have to sell records.
533
00:25:40,806 --> 00:25:42,677
Well, you did it again.
534
00:25:42,721 --> 00:25:44,200
JACK ANTONOFF:
You look at Sparks,
535
00:25:44,244 --> 00:25:46,115
they're-they're just
blazing this trail, um,
536
00:25:46,159 --> 00:25:47,682
because there's just no...
537
00:25:47,726 --> 00:25:49,336
It-It's the ultimate experience
538
00:25:49,379 --> 00:25:51,120
of what you want
from your artists.
539
00:25:51,164 --> 00:25:54,993
There's just no connection
to what is actually going on
540
00:25:55,036 --> 00:25:57,299
in the world.
541
00:25:57,343 --> 00:25:59,954
FEINSTEIN: The album
didn't sell very well,
542
00:25:59,998 --> 00:26:04,219
so the, uh, marketing geniuses
at the record company said,
543
00:26:04,263 --> 00:26:06,134
"Well, maybe a different name
544
00:26:06,178 --> 00:26:08,484
and a different album cover
would make the difference."
545
00:26:08,528 --> 00:26:10,269
And he goes,
546
00:26:10,312 --> 00:26:12,271
"You guys like comedy.
You like the Marx Brothers.
547
00:26:12,314 --> 00:26:15,056
You're brothers.
So the Sparks Brothers."
548
00:26:15,100 --> 00:26:18,756
And that met with one of those
pregnant pauses from us
549
00:26:18,799 --> 00:26:22,281
where we both stare at-at him,
uh, kind of aghast.
550
00:26:22,324 --> 00:26:24,283
FEINSTEIN:
I think we negotiated out
551
00:26:24,326 --> 00:26:27,591
the word "brothers"
and ended up with just Sparks.
552
00:26:28,635 --> 00:26:31,116
["WONDER GIRL"
BY SPARKS PLAYING]
553
00:26:31,159 --> 00:26:32,726
♪ She was
a wonder girl ♪
554
00:26:32,770 --> 00:26:34,859
♪ Some girl, that girl
555
00:26:34,902 --> 00:26:36,904
♪ She was a wonder girl
556
00:26:36,948 --> 00:26:39,864
♪ Some girl, that girl
557
00:26:39,907 --> 00:26:45,043
♪ It was a grand old time
we had ♪
558
00:26:45,086 --> 00:26:46,914
♪ She was there
559
00:26:46,958 --> 00:26:49,743
♪ And I was pretty glad...
560
00:26:49,787 --> 00:26:51,876
HILLY MICHAELS:
We're driving around,
561
00:26:51,919 --> 00:26:54,008
and the radio is kind of on,
562
00:26:54,052 --> 00:26:56,532
and I hear this voice,
and I yell,
563
00:26:56,576 --> 00:26:58,839
"Yo, turn that up!
564
00:26:58,883 --> 00:27:01,973
"What is that? Turn that up.
565
00:27:02,016 --> 00:27:04,192
"Who is that?
566
00:27:04,236 --> 00:27:06,499
"Turn it up louder.
567
00:27:06,542 --> 00:27:08,588
That's amazing."
568
00:27:08,632 --> 00:27:10,198
♪ To her friends
569
00:27:10,242 --> 00:27:12,679
♪ It's a wonder that
570
00:27:12,723 --> 00:27:15,421
♪ She always
started trends... ♪
571
00:27:15,464 --> 00:27:19,033
MICHAELS: All the bells and
whistles went off in my head.
572
00:27:19,077 --> 00:27:20,774
The radio announcer
573
00:27:20,818 --> 00:27:23,603
never got back on
and said who that was,
574
00:27:23,647 --> 00:27:25,344
and it haunted me for years.
575
00:27:26,998 --> 00:27:31,306
♪ Ooh, wonder girl...
576
00:27:31,350 --> 00:27:33,439
RON: We had made
our first appearance
577
00:27:33,482 --> 00:27:35,615
onAmerican Bandstand,
which was pretty much
578
00:27:35,659 --> 00:27:38,792
the equivalent of being, like,
onTop of the Pops in the UK,
579
00:27:38,836 --> 00:27:41,360
but we still had no... no money
580
00:27:41,403 --> 00:27:44,537
and we were on food
assistance plans, food stamps.
581
00:27:44,580 --> 00:27:47,888
And so we went into
a supermarket the next week,
582
00:27:47,932 --> 00:27:50,151
and the checker said,
583
00:27:50,195 --> 00:27:52,719
"Hey, I saw you
on television last week.
584
00:27:52,763 --> 00:27:54,502
You guys were great."
585
00:27:54,546 --> 00:27:57,418
RUSSELL: And then we have
to pull out our food stamps
586
00:27:57,462 --> 00:27:59,551
to the nice lady,
and then she's going,
587
00:27:59,594 --> 00:28:01,771
"Can we get approval
for these poor guys
588
00:28:01,814 --> 00:28:03,903
"on aisle six, please?
589
00:28:03,947 --> 00:28:07,037
Poor people over here
who are on a television show."
590
00:28:07,080 --> 00:28:09,039
♪ Ooh, wonder girl...
591
00:28:09,082 --> 00:28:11,084
- Being humiliated in public.
- RON: Yeah. Yeah.
592
00:28:11,128 --> 00:28:13,347
- Good training.
- Yeah.
593
00:28:13,391 --> 00:28:17,351
I'm immune to humiliation
after that.
594
00:28:17,395 --> 00:28:19,223
♪ Hey, Lisa,
they're having a big party ♪
595
00:28:19,266 --> 00:28:21,442
♪ Down at
the Allele Pool tonight ♪
596
00:28:21,486 --> 00:28:24,184
♪ Ooh, let's do it
597
00:28:24,228 --> 00:28:26,404
["BIOLOGY 2" BY SPARKS PLAYING]
598
00:28:26,447 --> 00:28:28,667
DUPONT: It was a struggle
finding gigs for the band.
599
00:28:28,711 --> 00:28:29,712
So the thing that happened is
600
00:28:29,755 --> 00:28:31,583
the band went far afield.
601
00:28:31,626 --> 00:28:33,063
MANKEY:
It's just ridiculous.
602
00:28:33,106 --> 00:28:35,369
We played some
just terrible places
603
00:28:35,413 --> 00:28:37,807
where they all hated us.
[LAUGHS]
604
00:28:37,850 --> 00:28:39,460
DUPONT: They went
to Redding, California.
605
00:28:39,504 --> 00:28:41,462
It's like, why the hell Redding?
606
00:28:41,506 --> 00:28:46,119
But Houston got off to
a bad start and went downhill.
607
00:28:47,077 --> 00:28:49,079
FEINSTEIN:
So, there we are
608
00:28:49,122 --> 00:28:51,385
playing for
this redneck audience
609
00:28:51,429 --> 00:28:55,259
that had been there to come see
a band called Cold Blood.
610
00:28:55,302 --> 00:28:58,610
Needless to say, uh,
they did not like us very much.
611
00:28:59,959 --> 00:29:02,135
RUSSELL: I used to,
as part of the stage act,
612
00:29:02,179 --> 00:29:04,398
have this giant wooden
sledgehammer,
613
00:29:04,442 --> 00:29:07,619
with this, like,
really heavy mallet on it.
614
00:29:07,662 --> 00:29:09,882
MANKEY: He'd throw
the sledgehammer up in the air
615
00:29:09,926 --> 00:29:12,015
and catch it, but this time,
he didn't catch it.
616
00:29:14,626 --> 00:29:17,281
Came down... slam!
on his head.
617
00:29:17,324 --> 00:29:19,022
And I won't say
it knocked him out,
618
00:29:19,065 --> 00:29:20,850
but he was extremely bloody.
619
00:29:20,893 --> 00:29:23,591
RUSSELL: And I had
this giant gash on my head,
620
00:29:23,635 --> 00:29:25,942
and I'm bleeding
and blood's flowing down.
621
00:29:25,985 --> 00:29:27,813
But the audience seemed
to think it was
622
00:29:27,857 --> 00:29:29,467
part of our show,
like it was... you know,
623
00:29:29,510 --> 00:29:30,816
it was Alice Cooper
with a blood capsule,
624
00:29:30,860 --> 00:29:32,775
but this was no blood capsule.
625
00:29:32,818 --> 00:29:37,475
This was my kind of brain, uh,
oozing out onto the stage.
626
00:29:37,518 --> 00:29:41,000
We're all laughing
up until we see Ron's reaction.
627
00:29:41,044 --> 00:29:43,916
And Ron's reaction is
a combination of,
628
00:29:43,960 --> 00:29:47,050
"How dare you laugh?"
629
00:29:47,093 --> 00:29:50,053
and, "Oh, my God,
Russ is gonna die."
630
00:29:50,096 --> 00:29:51,750
FEINSTEIN:
I didn't even know
631
00:29:51,794 --> 00:29:53,447
he hit himself in the head
until after it was over.
632
00:29:53,491 --> 00:29:55,144
Then we went backstage,
633
00:29:55,187 --> 00:29:58,277
and I saw he was bleeding,
and big brother Ron,
634
00:29:58,321 --> 00:29:59,888
of course, was very concerned.
635
00:29:59,931 --> 00:30:01,759
- Was I?
- WRIGHT: Yeah.
636
00:30:01,803 --> 00:30:04,457
- Oh, times change.
- [LAUGHTER]
637
00:30:08,897 --> 00:30:10,333
RUSSELL:
The next album
638
00:30:10,376 --> 00:30:11,900
that we would come up with,
639
00:30:11,943 --> 00:30:13,727
which was called
Woofer in Tweeter's Clothing,
640
00:30:13,771 --> 00:30:15,686
was produced by Jim Lowe.
641
00:30:15,729 --> 00:30:17,122
LOWE:
They were what I thought
642
00:30:17,166 --> 00:30:19,385
rock and roll was
supposed to be.
643
00:30:19,429 --> 00:30:20,865
And I thought,
"If this doesn't happen,
644
00:30:20,909 --> 00:30:22,519
what am I gonna go do next?"
645
00:30:22,562 --> 00:30:25,000
What would you produce
after you did Sparks?
646
00:30:26,175 --> 00:30:28,046
MANKEY:
The fact that the second album
647
00:30:28,090 --> 00:30:30,309
was more experimental
than the first album,
648
00:30:30,353 --> 00:30:32,181
I think, was just
a natural progression.
649
00:30:32,224 --> 00:30:33,878
It might have been better.
650
00:30:33,922 --> 00:30:36,881
It was certainly
more complex, more artistic.
651
00:30:36,925 --> 00:30:40,363
I thought that made for
a more interesting album.
652
00:30:40,406 --> 00:30:43,670
RON: In a way, that album is
even more eccentric,
653
00:30:43,714 --> 00:30:45,890
I think, than...
than the first album.
654
00:30:45,934 --> 00:30:49,154
And so, you know, it was
really inspiring to us to know
655
00:30:49,198 --> 00:30:50,721
that they were giving us
this permission
656
00:30:50,764 --> 00:30:54,029
to kind of commit
self-destruction.
657
00:30:54,072 --> 00:30:56,422
[TIRES SQUEALING]
658
00:30:59,948 --> 00:31:01,993
♪ Whippings and apologies...
659
00:31:03,690 --> 00:31:06,824
LOWE: Those two records are
my two favorite records
660
00:31:06,868 --> 00:31:08,826
that I've been involved with.
661
00:31:08,870 --> 00:31:09,914
And I told my wife
662
00:31:09,958 --> 00:31:11,960
after the Wooferalbum,
663
00:31:12,003 --> 00:31:14,092
I said,
"If this album doesn't...
664
00:31:14,136 --> 00:31:15,789
"doesn't make some noise
or do something,
665
00:31:15,833 --> 00:31:17,704
I'm gonna go into
another business."
666
00:31:17,748 --> 00:31:20,055
It was just, "I-I don't know
anything about music.
667
00:31:20,098 --> 00:31:21,970
If people don't like
this stuff, it's crazy."
668
00:31:22,013 --> 00:31:24,668
And so I started, uh,
669
00:31:24,711 --> 00:31:26,757
directing
television commercials.
670
00:31:26,800 --> 00:31:28,541
[LAUGHTER]
671
00:31:28,585 --> 00:31:29,542
RUNDGREN:
It didn't create the spark
672
00:31:29,586 --> 00:31:30,848
that they... [LAUGHS]
673
00:31:30,892 --> 00:31:32,806
that they had hoped for.
674
00:31:34,417 --> 00:31:36,245
RUSSELL: They said,
"Well, it's not really
675
00:31:36,288 --> 00:31:38,290
"clicking here in the States,
but the sensibility
676
00:31:38,334 --> 00:31:40,510
"seems to be something
that we think
677
00:31:40,553 --> 00:31:42,599
would go over better
in the UK."
678
00:31:42,642 --> 00:31:44,775
And all of a sudden, one day,
679
00:31:44,818 --> 00:31:47,212
we're on a frigging airplane
to London.
680
00:31:49,345 --> 00:31:51,608
["GIRL FROM GERMANY" BY SPARKS
PLAYING]
681
00:31:55,698 --> 00:31:59,006
♪ How I wished my folks
were gracious hosts... ♪
682
00:31:59,049 --> 00:32:01,791
RUSSELL: Getting to see,
you know, Buckingham Palace
683
00:32:01,834 --> 00:32:04,185
and riding on the tube,
and we were
684
00:32:04,228 --> 00:32:07,188
living the good life
in our small little way.
685
00:32:09,581 --> 00:32:11,888
FEINSTEIN: Back in the Doggy
Factory, we had a picture
686
00:32:11,932 --> 00:32:13,934
on the wall of John's Children,
687
00:32:13,977 --> 00:32:16,153
and they were really
cool-looking guys.
688
00:32:16,197 --> 00:32:19,243
When we got over there,
John was our manager.
689
00:32:19,287 --> 00:32:21,071
JOHN HEWLETT: The idea was,
would I look after them
690
00:32:21,115 --> 00:32:24,031
and try and secure TV,
et cetera, and, uh,
691
00:32:24,074 --> 00:32:26,859
some shows in London and press,
which we did.
692
00:32:26,903 --> 00:32:29,123
♪ What a war, some war
693
00:32:29,166 --> 00:32:31,647
♪ Lord knows
she's from Germany ♪
694
00:32:31,690 --> 00:32:33,257
♪ Well, it's
the same old country ♪
695
00:32:33,301 --> 00:32:34,780
♪ But the people
have changed... ♪
696
00:32:34,824 --> 00:32:36,086
HEWLETT:
The only TV we did, I think,
697
00:32:36,130 --> 00:32:37,653
was theGrey Whistle Test,
698
00:32:37,696 --> 00:32:40,003
which Bob Harris said
was, like, the worst band
699
00:32:40,047 --> 00:32:41,178
he'd ever seen.
700
00:32:43,398 --> 00:32:45,443
MORLEY: Old Grey Whistle Test
was dark and underground,
701
00:32:45,487 --> 00:32:47,228
and it was a bit worthy.
702
00:32:47,271 --> 00:32:51,058
And the-the presenter
Bob Harris didn't like Sparks.
703
00:32:51,101 --> 00:32:52,842
That was actually
a-a real turn-on
704
00:32:52,885 --> 00:32:55,192
because whatever Bob
didn't like, you kind of liked.
705
00:32:55,236 --> 00:32:56,802
Great stuff.
706
00:32:56,846 --> 00:32:58,674
Everybody saw us
on Old Grey Whistle Test,
707
00:32:58,717 --> 00:33:00,284
and being on the telly
was a big deal.
708
00:33:00,328 --> 00:33:03,505
So, when we then got
the follow-up gig
709
00:33:03,548 --> 00:33:07,465
at the Marquee Club,
the place was packed.
710
00:33:07,509 --> 00:33:09,293
MORLEY:
Almost in that first moment,
711
00:33:09,337 --> 00:33:11,208
when you see something
like Sparks,
712
00:33:11,252 --> 00:33:12,644
which is just so distinctive
713
00:33:12,688 --> 00:33:14,690
and sounds so distinctive,
714
00:33:14,733 --> 00:33:16,344
everything that you ever
feel about them
715
00:33:16,387 --> 00:33:18,563
for the rest of time
is in there.
716
00:33:18,607 --> 00:33:21,479
♪ Oh, my word,
she's from Germany ♪
717
00:33:21,523 --> 00:33:23,438
♪ Well, it's
the same old country ♪
718
00:33:23,481 --> 00:33:25,788
♪ But the people
have changed... ♪
719
00:33:25,831 --> 00:33:28,138
RON: "Girl from Germany"
was kind of a harbinger
720
00:33:28,182 --> 00:33:32,229
of things to come for us
in a lyrical way, I think.
721
00:33:32,273 --> 00:33:36,277
It's about a guy
who's defending his girlfriend,
722
00:33:36,320 --> 00:33:38,366
who happens to be from Germany,
723
00:33:38,409 --> 00:33:40,759
to his parents who are Jewish.
724
00:33:40,803 --> 00:33:43,284
♪ Well, the car I drive
is parked outside... ♪
725
00:33:43,327 --> 00:33:44,850
JANE WIEDLIN:
They come out with this song,
726
00:33:44,894 --> 00:33:45,851
and it's like,
are you kidding me?
727
00:33:45,895 --> 00:33:47,679
They're, like, talking about
728
00:33:47,723 --> 00:33:50,117
how people still hate
Germans and stuff,
729
00:33:50,160 --> 00:33:52,162
and it's so sick and so funny.
730
00:33:53,468 --> 00:33:56,513
MIKE MYERS: My favorite lyric
from a Sparks song is
731
00:33:56,557 --> 00:33:59,386
from "Girl from Germany,"
which is, uh...
732
00:33:59,429 --> 00:34:01,649
"My word, she's from Germany.
733
00:34:01,692 --> 00:34:04,217
It's the same old country,
but the people have changed."
734
00:34:04,260 --> 00:34:07,742
Which is, like,
well played, well played.
735
00:34:07,785 --> 00:34:12,094
♪ With its splendid castles
and its fine cuisine ♪
736
00:34:12,138 --> 00:34:13,791
♪ Its lovely German women
737
00:34:13,835 --> 00:34:16,446
- ♪ And you and me.
- [SONG ENDS]
738
00:34:17,752 --> 00:34:19,406
FEINSTEIN: There's a better
than even chance
739
00:34:19,449 --> 00:34:22,148
that it would've continued
moving onward and upward
740
00:34:22,191 --> 00:34:24,672
had the record company
at that point not decided
741
00:34:24,715 --> 00:34:25,847
that, "Well, we've
invested enough.
742
00:34:25,890 --> 00:34:27,501
"We're gonna pull the plug,
743
00:34:27,544 --> 00:34:29,764
and we're gonna bring 'em
back to America."
744
00:34:29,807 --> 00:34:31,679
DUPONT: They literally were
thrown out of England.
745
00:34:31,722 --> 00:34:33,246
It was like one day's notice,
746
00:34:33,289 --> 00:34:35,291
you're on an airplane,
you're out of here.
747
00:34:35,335 --> 00:34:36,945
"Pack your gear
and get out of here."
748
00:34:38,294 --> 00:34:40,122
FEINSTEIN: We had built up
way more momentum
749
00:34:40,166 --> 00:34:41,776
in London than we had in L.A.,
750
00:34:41,819 --> 00:34:44,126
but whatever momentum
we had built up in L.A.
751
00:34:44,170 --> 00:34:46,389
had completely died out.
752
00:34:46,433 --> 00:34:48,739
My memory of what the mood
was like
753
00:34:48,783 --> 00:34:50,828
at that time was,
754
00:34:50,872 --> 00:34:53,614
"Well, you know, this thing
may have run its course."
755
00:34:53,657 --> 00:34:55,746
["DO-RE-MI" BY SPARKS PLAYING]
756
00:35:01,143 --> 00:35:03,319
RON:
We were kind of stuck in a way,
757
00:35:03,363 --> 00:35:05,147
knowing that there was
758
00:35:05,191 --> 00:35:08,150
this promised land that was...
that was there for us
759
00:35:08,194 --> 00:35:11,110
if we could only figure out
how to get there.
760
00:35:11,153 --> 00:35:13,677
HEWLETT: They called and said
they'd like to come over
761
00:35:13,721 --> 00:35:15,766
and, um, yeah, could I help?
762
00:35:15,810 --> 00:35:17,507
Which I could and did.
763
00:35:17,551 --> 00:35:20,597
I talked to David Betteridge
at Island Records,
764
00:35:20,641 --> 00:35:22,860
and David said,
"Yeah, go for it."
765
00:35:22,904 --> 00:35:24,210
[CHEERING]
766
00:35:24,253 --> 00:35:25,689
As soon as I saw the pictures
767
00:35:25,733 --> 00:35:26,908
of Ron and Russell...
768
00:35:26,951 --> 00:35:28,562
this was before I'd met them...
769
00:35:28,605 --> 00:35:30,172
just looking at the pictures
770
00:35:30,216 --> 00:35:33,001
and listening
to those first two albums,
771
00:35:33,044 --> 00:35:35,264
straightaway, it all made sense.
772
00:35:35,308 --> 00:35:37,832
It seemed to me
that the only way
773
00:35:37,875 --> 00:35:39,529
that we could get this happening
774
00:35:39,573 --> 00:35:42,750
is if we made it
a little bit more rock and roll
775
00:35:42,793 --> 00:35:46,057
and get an English
backing group with them.
776
00:35:46,101 --> 00:35:47,450
FEINSTEIN:
A friend of mine said,
777
00:35:47,494 --> 00:35:49,278
"I saw your old band buddies.
778
00:35:49,322 --> 00:35:51,193
"They're having a garage sale.
779
00:35:51,237 --> 00:35:53,195
And they told me that
they were moving to England."
780
00:35:53,239 --> 00:35:54,936
And I said, "What?
They're moving to England?
781
00:35:54,979 --> 00:35:55,980
News to me."
782
00:35:57,198 --> 00:35:58,460
RON:
A yard sale in anybody's yard
783
00:35:58,504 --> 00:36:01,594
in Los Angeles means
bad news for somebody.
784
00:36:01,637 --> 00:36:03,900
It was an agonizing decision
785
00:36:03,944 --> 00:36:05,989
for Ron and Russ to-to, uh,
786
00:36:06,033 --> 00:36:08,557
cut the band loose
and go to England.
787
00:36:08,601 --> 00:36:13,083
RON: To betray the other people
was a really difficult thing,
788
00:36:13,127 --> 00:36:16,565
but also knowing that being
789
00:36:16,609 --> 00:36:20,265
a British band
was a lifetime dream of ours.
790
00:36:20,308 --> 00:36:22,441
FEINSTEIN: They were
on the horns of a dilemma.
791
00:36:22,484 --> 00:36:24,573
Obviously, I think
they made the right decision.
792
00:36:24,617 --> 00:36:26,532
The rest is history.
793
00:36:26,575 --> 00:36:30,318
[BELLS CHIMING]
794
00:36:32,233 --> 00:36:34,235
RUSSELL:
The bands that we had admired,
795
00:36:34,279 --> 00:36:37,107
these English bands
that we liked so much,
796
00:36:37,151 --> 00:36:39,109
we always thought of them
as being glamorous
797
00:36:39,153 --> 00:36:41,895
and-and bigger than life.
798
00:36:41,938 --> 00:36:44,376
So, when we put out
these ads for band members,
799
00:36:44,419 --> 00:36:46,769
we were kind of trying
to find people
800
00:36:46,813 --> 00:36:50,033
that would fulfill that image
of ours of this England
801
00:36:50,077 --> 00:36:53,689
that was maybe
just in our minds.
802
00:36:55,213 --> 00:36:56,736
WINWOOD:
Straightaway, it worked.
803
00:36:56,779 --> 00:36:58,390
It just worked.
804
00:36:58,433 --> 00:37:00,696
HEWLETT: Each time
you'd go to the rehearsal room,
805
00:37:00,740 --> 00:37:03,177
there'd be something new there.
806
00:37:03,221 --> 00:37:04,613
I'm like, "Shit, that's good."
807
00:37:04,657 --> 00:37:06,136
Um, you know,
then the next rehearsal.
808
00:37:06,180 --> 00:37:07,399
"Wow, that song's good."
809
00:37:08,922 --> 00:37:11,664
WINWOOD: We found a momentum
very quickly,
810
00:37:11,707 --> 00:37:14,580
and when we got enough tracks
to make an album,
811
00:37:14,623 --> 00:37:16,321
then we said,
812
00:37:16,364 --> 00:37:17,757
"We've made an album."
813
00:37:17,800 --> 00:37:19,846
RUSSELL:
Well, everybody at Island was
814
00:37:19,889 --> 00:37:21,630
really ecstatic about the album
815
00:37:21,674 --> 00:37:23,371
and really supportive.
816
00:37:23,415 --> 00:37:24,938
And-and especially in picking
817
00:37:24,981 --> 00:37:26,418
"This Town Ain't Big Enough
for Both of Us"
818
00:37:26,461 --> 00:37:28,463
to be the first song,
'cause it was...
819
00:37:28,507 --> 00:37:30,291
you know,
it was taking a chance,
820
00:37:30,335 --> 00:37:33,686
it was going for something
that was really extreme.
821
00:37:35,209 --> 00:37:37,472
TONY VISCONTI: "This Town Ain't
Big Enough for the Both of Us"
822
00:37:37,516 --> 00:37:39,953
was the first record I heard
by them on the radio.
823
00:37:39,996 --> 00:37:42,695
I remember I-I had a, uh...
a darkroom in my home,
824
00:37:42,738 --> 00:37:44,436
and that came on in the dark.
825
00:37:44,479 --> 00:37:46,351
I nearly dropped my tongs,
826
00:37:46,394 --> 00:37:48,440
as they say
in the photography world.
827
00:37:48,483 --> 00:37:50,485
VINCE CLARKE: The first thing
that I ever bought was, um,
828
00:37:50,529 --> 00:37:52,182
"This Town Ain't Big Enough
for the Both of Us."
829
00:37:52,226 --> 00:37:53,793
I just played it nonstop
830
00:37:53,836 --> 00:37:56,230
until the grooves wore out
pretty much, you know.
831
00:37:56,274 --> 00:37:59,058
ANDY BELL: My granddad was
a wedding DJ, and he had
832
00:37:59,101 --> 00:38:00,146
"This Town Ain't Big Enough
833
00:38:00,189 --> 00:38:02,017
for the Both of Us" by Sparks.
834
00:38:02,061 --> 00:38:04,846
I remember hearing, uh,
835
00:38:04,890 --> 00:38:07,284
"This Town Ain't Big Enough for
the Both of Us" and just going,
836
00:38:07,327 --> 00:38:10,330
"I've never heard
anything like this."
837
00:38:10,374 --> 00:38:13,290
♪
838
00:38:24,039 --> 00:38:25,650
RUSSELL: Everyone at
the record label said,
839
00:38:25,693 --> 00:38:27,478
"It's gonna become a big hit
if we can just
840
00:38:27,521 --> 00:38:29,610
get you
on theTop of the Pops."
841
00:38:29,654 --> 00:38:32,221
The producer of the show was
a very dapper gentleman,
842
00:38:32,265 --> 00:38:34,876
and he said, "Oh, hello.
My name is Robin Nash.
843
00:38:34,920 --> 00:38:36,313
Nice to meet you."
844
00:38:36,356 --> 00:38:38,576
I said,
"Hi. My name is Russell."
845
00:38:38,619 --> 00:38:41,448
He was taken aback a bit
that I was an American,
846
00:38:41,492 --> 00:38:43,407
and he went
and made a phone call
847
00:38:43,450 --> 00:38:45,060
and had taken us off the show
848
00:38:45,104 --> 00:38:47,628
because we hadn't gotten
work permits.
849
00:38:47,672 --> 00:38:50,892
- So everyone at Island was
just distraught. - [SCREAMING]
850
00:38:50,936 --> 00:38:52,590
It allowed another band,
851
00:38:52,633 --> 00:38:54,809
one of the greats of all time,
The Rubettes,
852
00:38:54,853 --> 00:38:57,116
to take our place,
853
00:38:57,159 --> 00:38:59,901
and so they sadly reached
number one.
854
00:38:59,945 --> 00:39:02,469
RON: You know, all through
our career, there have been
855
00:39:02,513 --> 00:39:06,517
The Rubettes
in-in some form or other.
856
00:39:06,560 --> 00:39:08,867
I love "Sugar Baby Love"
by The Rubettes.
857
00:39:08,910 --> 00:39:11,478
- WRIGHT: Ron will hate you
for that. - [LAUGHS]
858
00:39:11,522 --> 00:39:14,438
DIFFORD:
But where are they now?
859
00:39:14,481 --> 00:39:17,092
RUSSELL: Finally, the British
Musicians' Union relented,
860
00:39:17,136 --> 00:39:18,703
and there we were.
861
00:39:18,746 --> 00:39:20,922
"This Town Ain't Big Enough
for the Both of Us."
862
00:39:20,966 --> 00:39:22,228
♪
863
00:39:22,271 --> 00:39:23,969
BJOÖRK:
I loved his voice.
864
00:39:24,012 --> 00:39:26,754
You know, I-I guess it was
kind of like a bit...
865
00:39:26,798 --> 00:39:30,018
I don't know what it was...
quite feminine, I guess.
866
00:39:30,062 --> 00:39:33,500
Quite sort of...
possessed or something.
867
00:39:33,544 --> 00:39:35,807
It definitely wasn't
like rock and roll.
868
00:39:35,850 --> 00:39:37,896
♪ Zoo time is
she and you time ♪
869
00:39:37,939 --> 00:39:39,854
♪ The mammals are
your favorite type ♪
870
00:39:39,898 --> 00:39:42,422
♪ And you want her tonight
871
00:39:42,466 --> 00:39:44,424
♪ Heartbeat,
increasing heartbeat ♪
872
00:39:44,468 --> 00:39:47,035
♪ You hear the thunder
of stampeding rhinos ♪
873
00:39:47,079 --> 00:39:49,255
♪ Elephants and tacky tigers
874
00:39:49,298 --> 00:39:53,085
♪ This town ain't big enough
for the both of us ♪
875
00:39:53,128 --> 00:39:57,045
♪ And it ain't me
who's gonna leave... ♪
876
00:39:57,089 --> 00:39:59,090
I think there were
60 million people
877
00:39:59,133 --> 00:40:00,961
at that time in the UK, and...
878
00:40:01,005 --> 00:40:04,312
and 15 million of them were
watching Top of the Pops.
879
00:40:05,792 --> 00:40:08,447
CLARKE: When I was growing up,
I never knew anybody
880
00:40:08,491 --> 00:40:10,362
that went to university,
but I never knew anyone
881
00:40:10,406 --> 00:40:12,016
that didn't watch
Top of the Pops.
882
00:40:12,059 --> 00:40:13,626
DIFFORD:
When I saw them
883
00:40:13,670 --> 00:40:15,149
onTop of the Pops
for the first time,
884
00:40:15,193 --> 00:40:18,501
I instantly wanted to be
the keyboard player.
885
00:40:18,544 --> 00:40:21,155
I wanted to be the quiet one
that didn't say anything.
886
00:40:21,199 --> 00:40:24,376
I remember sitting there
probably with my parents
887
00:40:24,420 --> 00:40:26,944
in front of Top of the Pops
on a Thursday night
888
00:40:26,987 --> 00:40:29,207
and seeing these two guys
on there,
889
00:40:29,250 --> 00:40:31,470
thinking, "What is that?"
890
00:40:31,514 --> 00:40:32,906
♪ Daily, except for Sunday
891
00:40:32,950 --> 00:40:35,039
♪ You dawdle into the café...
892
00:40:35,082 --> 00:40:36,257
MARK GATISS:
Everyone came
893
00:40:36,301 --> 00:40:37,824
to school the next day saying,
894
00:40:37,868 --> 00:40:39,522
"Did you see that guy?"
895
00:40:39,565 --> 00:40:40,958
[LAUGHS]
896
00:40:41,001 --> 00:40:42,176
The-the man
who looked like Hitler.
897
00:40:43,743 --> 00:40:46,137
RON: A lot of people say,
"Why the Charlie Chaplin look?"
898
00:40:46,180 --> 00:40:48,444
And a lot of people say,
"Why the Hitler look?"
899
00:40:48,487 --> 00:40:50,489
And both of those people
900
00:40:50,533 --> 00:40:54,145
seem to me to be
cartoon characters in a way.
901
00:40:55,538 --> 00:40:57,365
MORLEY: The next day,
when you talk about it,
902
00:40:57,409 --> 00:40:59,846
the word of mouth begins
in a way that is viral...
903
00:40:59,890 --> 00:41:01,326
like we now have, obviously,
on everything...
904
00:41:01,369 --> 00:41:02,893
but back then,
that was a rare thing.
905
00:41:02,936 --> 00:41:04,503
And you start
to make things up slightly.
906
00:41:04,547 --> 00:41:06,157
One of my favorite anecdotes
907
00:41:06,200 --> 00:41:08,376
about thatTop of the Pops
appearance is...
908
00:41:08,420 --> 00:41:10,901
is John Lennon ringing up
Ringo Starr and saying...
909
00:41:10,944 --> 00:41:13,469
- You won't believe what's
on the television. - What?
910
00:41:13,512 --> 00:41:16,907
- Marc Bolan is playing a song
with Adolf Hitler. - Hitler?
911
00:41:16,950 --> 00:41:18,909
MORLEY: But that's how,
unfortunately, we all thought.
912
00:41:18,952 --> 00:41:19,910
We all thought
913
00:41:19,953 --> 00:41:21,564
Adolf Hitler.
914
00:41:21,607 --> 00:41:24,001
SHELLEY WINTERS: Two years ago,
there was somebody
915
00:41:24,044 --> 00:41:26,046
dressed like Hitler
playing the piano on the BBC.
916
00:41:26,090 --> 00:41:29,528
Sparks.
She's talking about Sparks.
917
00:41:29,572 --> 00:41:31,835
He-he was born
looking like Hitler, that guy.
918
00:41:31,878 --> 00:41:33,097
[LAUGHTER]
919
00:41:34,707 --> 00:41:36,404
MORLEY: From then on,
every single piece ever written
920
00:41:36,448 --> 00:41:39,538
about the group would just say
"Adolf Hitler," which also
921
00:41:39,582 --> 00:41:41,061
really kind of weirdly
tangled up
922
00:41:41,105 --> 00:41:42,367
in the myth of the group.
923
00:41:42,410 --> 00:41:44,587
You know,
the shock to the system
924
00:41:44,630 --> 00:41:47,894
as a piece of choreography,
let alone his appearance,
925
00:41:47,938 --> 00:41:49,548
was so remarkable
that immediately
926
00:41:49,592 --> 00:41:51,985
it started to grow
in your imagination.
927
00:41:52,029 --> 00:41:53,334
GILLIAN GILBERT:
They're playing this upbeat,
928
00:41:53,378 --> 00:41:55,815
energetic, fantastic music,
929
00:41:55,859 --> 00:41:57,687
and he just stood there.
930
00:41:57,730 --> 00:42:00,558
I think it's really clever.
931
00:42:00,602 --> 00:42:03,343
WINWOOD: The following day,
I remember going in
932
00:42:03,387 --> 00:42:05,998
and one of
the sales guys saying,
933
00:42:06,042 --> 00:42:09,306
"We've done 200,000 singles
today already.
934
00:42:09,349 --> 00:42:10,960
"The vans are out everywhere,
935
00:42:11,003 --> 00:42:14,224
and there were people
buying boxes of them."
936
00:42:14,267 --> 00:42:16,922
That is a fantastic feeling.
937
00:42:16,966 --> 00:42:19,708
RHODES: John and I have said,
"Always judge an album
938
00:42:19,751 --> 00:42:21,405
by its cover."
939
00:42:21,448 --> 00:42:24,234
Um, so if something has
a dreadful album cover,
940
00:42:24,277 --> 00:42:25,888
don't buy it.
941
00:42:25,931 --> 00:42:28,586
♪
942
00:42:28,630 --> 00:42:30,370
JONATHAN ROSS: The cover's
amazing, with the two
943
00:42:30,414 --> 00:42:32,329
kind of Geisha girls
with the smeared makeup on.
944
00:42:32,372 --> 00:42:35,027
Here, you have this image
which should be and could be
945
00:42:35,071 --> 00:42:36,333
perfect and pristine,
and if it had been
946
00:42:36,376 --> 00:42:37,769
another band of the period,
947
00:42:37,813 --> 00:42:39,379
it would have been...
there would have been...
948
00:42:39,423 --> 00:42:40,859
They would have been
more objectified.
949
00:42:40,903 --> 00:42:42,426
They're doing...
even with the visual,
950
00:42:42,469 --> 00:42:44,167
they're doing
something interesting,
951
00:42:44,210 --> 00:42:45,951
but you can't quite put
your finger on what it is.
952
00:42:45,995 --> 00:42:48,606
MYERS: I was like, "Oh, my God,
this is fantastic."
953
00:42:48,650 --> 00:42:51,957
At once like
fashion photography,
954
00:42:52,001 --> 00:42:55,482
and at once making fun
of fashion photography.
955
00:42:55,526 --> 00:42:58,224
And I think that is something
I love about Sparks is that
956
00:42:58,268 --> 00:42:59,922
they are the ones
957
00:42:59,965 --> 00:43:01,750
they were to mock,
you know, in a weird way.
958
00:43:02,838 --> 00:43:04,579
TAYLOR:
The art direction's just superb.
959
00:43:04,622 --> 00:43:06,798
Imagine, you know, us trying
to convince our record label,
960
00:43:06,842 --> 00:43:09,105
"No, no, no, we don't want
the name of the band,
961
00:43:09,148 --> 00:43:11,629
"uh, uh, and the title
of the album on the front.
962
00:43:11,673 --> 00:43:14,066
No, that's going on the back."
963
00:43:14,110 --> 00:43:17,026
JULIA MARCUS: The joy of
actually having this fantastic
964
00:43:17,069 --> 00:43:18,462
12-inch vinyl in front of you,
965
00:43:18,505 --> 00:43:20,072
and it had the lyrics
on it as well,
966
00:43:20,116 --> 00:43:21,639
and then you're reading
through the lyrics,
967
00:43:21,683 --> 00:43:22,727
and you're thinking,
968
00:43:22,771 --> 00:43:24,599
"This band are amazing."
969
00:43:24,642 --> 00:43:26,905
I had to know everything
about them
970
00:43:26,949 --> 00:43:29,647
and threw myself
into being a fan.
971
00:43:29,691 --> 00:43:32,215
[CHEERING]
972
00:43:32,258 --> 00:43:34,347
♪
973
00:43:46,185 --> 00:43:48,274
RICHARD COBLE: The first tour
was really exciting.
974
00:43:48,318 --> 00:43:49,580
The audience would
just go crazy.
975
00:43:49,624 --> 00:43:52,801
I mean, it was just fandom.
976
00:43:52,844 --> 00:43:54,541
RUSSELL:
We were now thrown into kind of
977
00:43:54,585 --> 00:43:56,108
what we thought was the...
sort of the big league,
978
00:43:56,152 --> 00:43:59,285
having the success
ofKimono My House.
979
00:43:59,329 --> 00:44:02,026
The concerts we were doing
at that time were just
980
00:44:02,070 --> 00:44:03,637
- really wild events.
- [RAUCOUS CHEERING]
981
00:44:03,680 --> 00:44:05,943
And I remember one in Liverpool,
982
00:44:05,987 --> 00:44:07,597
we were pressed
against the glass
983
00:44:07,641 --> 00:44:09,425
of the exterior of the hotel,
984
00:44:09,468 --> 00:44:12,036
just smashed against
the front of the building,
985
00:44:12,080 --> 00:44:13,647
and then finally somebody
helped rescue us
986
00:44:13,690 --> 00:44:15,300
and we went through the kitchen.
987
00:44:15,344 --> 00:44:17,085
You know, it was
a really special period.
988
00:44:17,128 --> 00:44:19,478
♪ Amateur hour goes on and on,
and when you turn pro ♪
989
00:44:19,522 --> 00:44:21,045
♪ You know,
she'll let you know... ♪
990
00:44:21,089 --> 00:44:23,091
STEVE JONES:
I remember vividly seeing them
991
00:44:23,134 --> 00:44:24,962
at Hammersmith Odeon.
992
00:44:25,006 --> 00:44:28,487
And I remember being really
excited about seeing them.
993
00:44:28,531 --> 00:44:33,057
There was a lot of screaming
'cause of cutie-pie on vocals.
994
00:44:33,101 --> 00:44:35,625
It was a given after they'd
been onTop of the Pops.
995
00:44:35,669 --> 00:44:37,888
♪ Our voices change
at a rapid pace... ♪
996
00:44:37,932 --> 00:44:38,933
NICK HEYWARD:
I lived in Beckenham,
997
00:44:38,976 --> 00:44:41,370
and, uh, that's where I saw
998
00:44:41,413 --> 00:44:43,633
Ron and Russell
walking down the street.
999
00:44:43,677 --> 00:44:45,200
And that was
a very strange experience.
1000
00:44:45,243 --> 00:44:47,071
I thought they didn't
really exist.
1001
00:44:47,115 --> 00:44:49,378
You know, they existed onstage,
they existed on the TV,
1002
00:44:49,421 --> 00:44:51,728
and, you know,
they were from other lands.
1003
00:44:51,772 --> 00:44:53,208
I remember sort of
wanting to hide.
1004
00:44:53,251 --> 00:44:54,992
♪ Amateur hour goes on and on
1005
00:44:55,036 --> 00:44:56,777
♪ And when you turn pro,
you know... ♪
1006
00:44:56,820 --> 00:44:58,822
We knew when they were
gonna be at the BBC.
1007
00:44:58,866 --> 00:45:00,694
We knew when they
were gonna be at Capital.
1008
00:45:00,737 --> 00:45:02,957
We knew when they were getting
off a plane at Heathrow.
1009
00:45:03,000 --> 00:45:05,133
We were detectives
in terms of actually
1010
00:45:05,176 --> 00:45:06,874
finding stuff out about them.
1011
00:45:06,917 --> 00:45:08,702
You know, it was a full-time job
1012
00:45:08,745 --> 00:45:10,616
to make sure we were
on top of it.
1013
00:45:10,660 --> 00:45:13,750
We'd been to see them
quite a few times in London.
1014
00:45:13,794 --> 00:45:16,405
The excitement never,
ever went away.
1015
00:45:16,448 --> 00:45:18,712
It was always just a-a thrill.
1016
00:45:18,755 --> 00:45:21,105
COBLE: Somebody cut the budget
the morning of the show,
1017
00:45:21,149 --> 00:45:22,846
so they canceled security,
1018
00:45:22,890 --> 00:45:24,935
so it was really insane.
1019
00:45:24,979 --> 00:45:27,546
Oh, God, there I am, yeah.
1020
00:45:27,590 --> 00:45:29,679
- [COBLE LAUGHS]
- [RAUCOUS CHEERING]
1021
00:45:31,376 --> 00:45:33,291
MARCUS: Obviously,
Russell was beautiful,
1022
00:45:33,335 --> 00:45:34,945
but I always loved Ron.
1023
00:45:34,989 --> 00:45:37,034
He was different.
1024
00:45:37,078 --> 00:45:39,341
He was a little bit
more challenging.
1025
00:45:39,384 --> 00:45:44,041
I really felt like I could
kind of go places with Ron.
1026
00:45:44,085 --> 00:45:46,348
Oh, that's me.
That's me. That's me.
1027
00:45:46,391 --> 00:45:48,785
I've just put my arm round him.
1028
00:45:48,829 --> 00:45:51,309
[LAUGHING]
1029
00:45:51,353 --> 00:45:53,311
I kind of got to him
1030
00:45:53,355 --> 00:45:57,315
and sort of really did realize
in that moment
1031
00:45:57,359 --> 00:45:59,709
that this was
a terrible thing to do.
1032
00:45:59,753 --> 00:46:01,971
This was a disaster.
1033
00:46:02,015 --> 00:46:04,060
I'm never gonna be able
to talk to him
1034
00:46:04,104 --> 00:46:05,975
on a serious level now
about, you know,
1035
00:46:06,019 --> 00:46:08,935
his love of French cinema
or The Beach Boys.
1036
00:46:08,978 --> 00:46:12,503
I was doomed forever
to be a child to him.
1037
00:46:12,547 --> 00:46:15,637
For everyone's safety,
I think we should have
1038
00:46:15,680 --> 00:46:17,813
a little restraint
in the hall, okay?
1039
00:46:17,857 --> 00:46:20,207
HEWLETT:
I mean, I've always been, like,
1040
00:46:20,250 --> 00:46:22,775
a believer in just...
go for it, you know?
1041
00:46:22,818 --> 00:46:23,819
If you've got material,
1042
00:46:23,863 --> 00:46:25,168
record.
1043
00:46:25,212 --> 00:46:26,866
Tour, record.
Just keep doing it.
1044
00:46:26,909 --> 00:46:28,302
["NEVER TURN YOUR BACK ON
MOTHER EARTH" BY SPARKS PLAYS]
1045
00:46:28,345 --> 00:46:33,263
♪ When she's on
her best behavior ♪
1046
00:46:33,307 --> 00:46:38,181
♪ Don't be tempted
by her favors ♪
1047
00:46:38,225 --> 00:46:41,837
♪ Never turn your back
1048
00:46:41,881 --> 00:46:44,231
♪ On Mother Earth
1049
00:46:48,452 --> 00:46:52,935
♪ Towns are hurled
from A to B ♪
1050
00:46:52,979 --> 00:46:58,419
♪ By hands that looked
so smooth to me ♪
1051
00:46:58,462 --> 00:47:01,901
♪ Never turn your back
1052
00:47:01,944 --> 00:47:04,512
♪ On Mother Earth...
1053
00:47:04,555 --> 00:47:06,601
COBLE: For two years,
we toured the world,
1054
00:47:06,644 --> 00:47:07,776
and we had a great time.
1055
00:47:08,864 --> 00:47:10,605
IAN HAMPTON:
It was very, very hectic
1056
00:47:10,648 --> 00:47:12,650
touring withKimono
and then recordingPropaganda
1057
00:47:12,694 --> 00:47:14,565
kind of at the same time.
1058
00:47:14,609 --> 00:47:16,306
But it was good fun.
1059
00:47:16,350 --> 00:47:19,092
♪ To my friends
1060
00:47:19,135 --> 00:47:21,137
♪ To my friends...
1061
00:47:21,181 --> 00:47:22,835
HEWLETT:
Ron's like a writing machine.
1062
00:47:22,878 --> 00:47:24,488
He wasn't, you know, one for
1063
00:47:24,532 --> 00:47:26,316
drinking in the bar
with the guys,
1064
00:47:26,360 --> 00:47:28,231
and in some ways,
he was quite aloof,
1065
00:47:28,275 --> 00:47:29,842
but that's what Ronnie
would be doing...
1066
00:47:29,885 --> 00:47:31,321
thinking and writing.
1067
00:47:31,365 --> 00:47:33,584
And so the material kept coming.
1068
00:47:33,628 --> 00:47:35,891
Obviously, that was
a demand upon him
1069
00:47:35,935 --> 00:47:38,894
but one that I think
he kind of thrives on.
1070
00:47:38,938 --> 00:47:41,854
♪ On Mother Earth.
1071
00:47:46,380 --> 00:47:48,904
WINWOOD: There's always
massive pressures
1072
00:47:48,948 --> 00:47:50,732
if you've been successful
the first time
1073
00:47:50,775 --> 00:47:52,734
because, first of all,
everybody tells you
1074
00:47:52,777 --> 00:47:54,910
you're a genius,
and then they say,
1075
00:47:54,954 --> 00:47:57,565
"Now do it again."
1076
00:47:57,608 --> 00:48:00,046
Eins, zwei, drei, vier.
Eins, zwei, drei, vier.
1077
00:48:00,089 --> 00:48:03,048
♪ Something for the girl
with everything ♪
1078
00:48:03,091 --> 00:48:04,658
♪ See, the writing's
on the wall ♪
1079
00:48:04,701 --> 00:48:06,703
♪ You bought the girl a wall
1080
00:48:06,747 --> 00:48:09,184
♪ Complete with matching
ballpoint pen ♪
1081
00:48:09,228 --> 00:48:11,186
♪ You can breathe another day
1082
00:48:11,230 --> 00:48:14,059
♪ Secure in knowing
she won't break you yet ♪
1083
00:48:14,102 --> 00:48:16,757
♪ Something for the girl
with everything... ♪
1084
00:48:16,800 --> 00:48:18,585
RON:
I'm not exactly sure
1085
00:48:18,628 --> 00:48:21,196
how we were able to come up
with Propagandaso soon
1086
00:48:21,240 --> 00:48:23,938
after Kimono My House,
and especially
1087
00:48:23,982 --> 00:48:24,939
with all the touring.
1088
00:48:24,983 --> 00:48:26,027
I mean, I think
1089
00:48:26,071 --> 00:48:27,768
part of the thing was just being
1090
00:48:27,811 --> 00:48:28,943
in that milieu.
1091
00:48:28,987 --> 00:48:30,336
♪ Yes, everything
1092
00:48:30,379 --> 00:48:32,294
♪ Hey, come out and say hello
1093
00:48:32,338 --> 00:48:33,817
♪ Before our friends
all go... ♪
1094
00:48:33,861 --> 00:48:35,732
RON:
There was pure excitement
1095
00:48:35,776 --> 00:48:39,301
knowing that you're on this,
you know, fast-moving train
1096
00:48:39,345 --> 00:48:41,477
and-and kind of
you had to kind of
1097
00:48:41,521 --> 00:48:44,350
keep up with that
by coming up with the material.
1098
00:48:45,873 --> 00:48:48,049
MAN: Great, boys. We'll have
to put the piano on again
1099
00:48:48,093 --> 00:48:50,399
'cause Ronnie fell
off the stool.
1100
00:48:50,443 --> 00:48:52,445
- [TRAIN SCREECHING]
- Is that a train?
1101
00:48:53,707 --> 00:48:57,363
And now, as all good things
come to an end,
1102
00:48:57,406 --> 00:49:00,627
we must say goodbye to Zurich,
1103
00:49:00,670 --> 00:49:03,064
auf Wiedersehen to Zurich,
1104
00:49:03,108 --> 00:49:05,066
uh, ciao, Zurich,
1105
00:49:05,110 --> 00:49:08,200
and bon voyage, Zurich.
1106
00:49:08,243 --> 00:49:09,941
♪ Bon voyage...
1107
00:49:09,984 --> 00:49:11,594
HEWLETT:
When the idea was presented
1108
00:49:11,638 --> 00:49:13,683
for the cover,
there was no question.
1109
00:49:13,727 --> 00:49:16,860
I mean, it was like, "These
guys know what they're doing.
1110
00:49:16,904 --> 00:49:18,906
You know, we'll go along
with whatever you want."
1111
00:49:18,950 --> 00:49:22,866
WINWOOD: Yet again,
this is that thing of theirs
1112
00:49:22,910 --> 00:49:26,000
where somehow
they marry their music
1113
00:49:26,044 --> 00:49:29,264
and their visuals
so brilliantly together.
1114
00:49:29,308 --> 00:49:31,701
This is me holding up
the front of it
1115
00:49:31,745 --> 00:49:33,703
so that you can cut to it.
1116
00:49:33,747 --> 00:49:36,968
This is me holding up
the back of it.
1117
00:49:37,011 --> 00:49:39,883
They're obviously
being kidnapped.
1118
00:49:39,927 --> 00:49:42,147
Probably, they're gonna be
thrown overboard and drowned.
1119
00:49:42,190 --> 00:49:45,889
Then you go to the back,
and they're tied up
1120
00:49:45,933 --> 00:49:47,239
in the back of the car.
1121
00:49:47,282 --> 00:49:48,980
And the inside cover,
1122
00:49:49,023 --> 00:49:51,852
they have somehow
not been drowned,
1123
00:49:51,895 --> 00:49:53,549
they haven't been thrown
out of a car,
1124
00:49:53,593 --> 00:49:56,030
and by working together,
1125
00:49:56,074 --> 00:49:59,686
you think maybe they are
phoning the police.
1126
00:49:59,729 --> 00:50:03,036
And I love the fact that
there is some kind of story.
1127
00:50:03,080 --> 00:50:04,777
WRIGHT:
It could be in the other order.
1128
00:50:04,820 --> 00:50:06,518
It could be that
the hotel one is the start,
1129
00:50:06,561 --> 00:50:07,998
then they're put in the car,
1130
00:50:08,041 --> 00:50:09,564
and then they're killed
on the boat.
1131
00:50:09,608 --> 00:50:12,045
- That's why you're a director.
- [LAUGHTER]
1132
00:50:12,089 --> 00:50:15,570
WINWOOD: When you make
successful records,
1133
00:50:15,614 --> 00:50:20,488
there's always a moment in time
where you've got to say,
1134
00:50:20,532 --> 00:50:23,709
"Do we carry on
using the same formula,
1135
00:50:23,752 --> 00:50:26,016
or do we change the formula?"
1136
00:50:26,059 --> 00:50:27,669
You've got to make changes.
1137
00:50:27,713 --> 00:50:29,367
You've got to move things on.
1138
00:50:29,410 --> 00:50:31,717
And, uh, I was one of
the things that was moved on,
1139
00:50:31,760 --> 00:50:33,327
but that's okay.
1140
00:50:33,371 --> 00:50:35,808
["GET IN THE SWING"
BY SPARKS PLAYING]
1141
00:50:35,851 --> 00:50:37,940
♪ Get in
the swing, pal ♪
1142
00:50:37,984 --> 00:50:39,507
♪ Get in the swing
1143
00:50:39,551 --> 00:50:42,206
♪ With everybody
and everything... ♪
1144
00:50:42,249 --> 00:50:46,253
HAMPTON: I loved what Muff did
onPropaganda andKimono,
1145
00:50:46,297 --> 00:50:48,081
and the next album went
to Tony Visconti,
1146
00:50:48,125 --> 00:50:50,040
and it changed rapidly.
1147
00:50:50,083 --> 00:50:52,172
Everything changed.
1148
00:50:52,216 --> 00:50:54,870
♪ When salmon spawn...
1149
00:50:54,914 --> 00:50:56,916
They certainly got Tony Visconti
1150
00:50:56,959 --> 00:50:58,700
at the height of his powers,
1151
00:50:58,744 --> 00:51:01,573
when he was working
with Bowie a lot and T. Rex,
1152
00:51:01,616 --> 00:51:04,315
uh, making
amazing-sounding records.
1153
00:51:04,358 --> 00:51:06,360
♪ But on they go...
1154
00:51:06,404 --> 00:51:08,362
VISCONTI: They didn't want
to make it necessarily
1155
00:51:08,406 --> 00:51:10,669
a strict, straight-up
band record.
1156
00:51:10,712 --> 00:51:11,713
They wanted
1157
00:51:11,757 --> 00:51:13,628
kind of the equivalent of
1158
00:51:13,672 --> 00:51:16,283
Sgt. Pepper's Lonely Hearts
Club Bandfor themselves,
1159
00:51:16,327 --> 00:51:19,417
which was difficult for
the other members of the band.
1160
00:51:19,460 --> 00:51:21,984
♪ And have a warm bed
waiting... ♪
1161
00:51:22,028 --> 00:51:23,682
RON:
We're not gonna be fooling
1162
00:51:23,725 --> 00:51:25,553
either ourselves or anybody else
1163
00:51:25,597 --> 00:51:29,122
if the thing just sounds like
it's going through the motions.
1164
00:51:29,166 --> 00:51:30,993
We're willing
to take the chance,
1165
00:51:31,037 --> 00:51:33,561
however many people are...
feel alienated.
1166
00:51:33,605 --> 00:51:35,215
♪ With everybody
and everything... ♪
1167
00:51:35,259 --> 00:51:37,043
BECK:
I know that feeling.
1168
00:51:37,087 --> 00:51:39,350
Maybe that's just
the-the instinct
1169
00:51:39,393 --> 00:51:42,048
of somebody who's coming
1170
00:51:42,092 --> 00:51:43,571
from a place of art,
1171
00:51:43,615 --> 00:51:45,530
not necessarily trying
to make a hit.
1172
00:51:45,573 --> 00:51:48,228
♪ All for one, one for all...
1173
00:51:48,272 --> 00:51:49,534
VISCONTI:
We just let our imaginations
1174
00:51:49,577 --> 00:51:51,144
soar on every song in it.
1175
00:51:51,188 --> 00:51:53,364
You know, it does sound
like Sparks, but I mean,
1176
00:51:53,407 --> 00:51:54,800
it's so far out.
1177
00:51:54,843 --> 00:51:57,150
♪ One, two, three, one, two
1178
00:51:57,194 --> 00:51:59,065
["UNDER THE TABLE WITH HER"
BY SPARKS PLAYING]
1179
00:51:59,109 --> 00:52:00,936
HAMPTON: I never understood
any of it, actually.
1180
00:52:00,980 --> 00:52:03,112
Things like
"Under the Table with Her."
1181
00:52:03,155 --> 00:52:05,157
My God, what's that about?
[CHUCKLES]
1182
00:52:05,201 --> 00:52:06,898
♪ Nobody misses
1183
00:52:06,941 --> 00:52:09,161
♪ Diminutive offspring
1184
00:52:09,205 --> 00:52:11,424
♪ Not when there's
big wigs there... ♪
1185
00:52:11,468 --> 00:52:13,165
VISCONTI:
"Dinner for 12 is now
1186
00:52:13,209 --> 00:52:15,733
dinner for ten because I'm
under the table with her."
1187
00:52:15,776 --> 00:52:18,388
I mean, it... I...
[LAUGHS]: That's just so funny.
1188
00:52:18,431 --> 00:52:20,390
♪ With her...
1189
00:52:23,219 --> 00:52:25,699
GAIMAN:
You had Russell singing songs
1190
00:52:25,743 --> 00:52:29,747
with lyrics
that I always suspected,
1191
00:52:29,790 --> 00:52:33,751
as a 12-, 13-, 14-year-old,
were dirty.
1192
00:52:33,794 --> 00:52:36,145
What made it even weirder
was the only song of theirs
1193
00:52:36,188 --> 00:52:39,409
that I was convinced
wasn't dirty
1194
00:52:39,452 --> 00:52:41,106
was called "Tits."
1195
00:52:41,150 --> 00:52:42,803
GARY STEWART: The minute,
I think, a lot of people
1196
00:52:42,847 --> 00:52:44,501
see that or saw that song title,
1197
00:52:44,544 --> 00:52:46,720
which was asterisked,
think like,
1198
00:52:46,764 --> 00:52:49,288
"Oh, this is, like,
a, you know...
1199
00:52:49,332 --> 00:52:52,073
a sexy, rockin',
hyper-masculine song,"
1200
00:52:52,117 --> 00:52:53,727
if you didn't know Sparks.
1201
00:52:53,771 --> 00:52:56,295
If you knew Sparks, you probably
should have known better.
1202
00:52:56,339 --> 00:52:59,037
GAIMAN:
It's about a drunk in a bar
1203
00:52:59,080 --> 00:53:02,562
grumbling about the fact
that his wife's tits
1204
00:53:02,606 --> 00:53:05,565
are no longer recreational
pleasure objects for him
1205
00:53:05,609 --> 00:53:07,785
but she's using them
for feeding the baby.
1206
00:53:09,439 --> 00:53:10,831
♪ God, these drinks...
1207
00:53:10,875 --> 00:53:13,443
And by the way, you realize
1208
00:53:13,486 --> 00:53:16,228
he's also, uh, complaining that
the guy that he is drunkenly
1209
00:53:16,272 --> 00:53:19,449
telling this to is also having
an affair with his wife.
1210
00:53:19,492 --> 00:53:20,754
♪ Fine from behind...
1211
00:53:20,798 --> 00:53:22,321
That one, at least,
1212
00:53:22,365 --> 00:53:25,194
I-I figured
I got to decode properly.
1213
00:53:25,237 --> 00:53:27,021
♪ Harry, drink
till you can't see... ♪
1214
00:53:27,065 --> 00:53:29,589
And normally, the codes
were not that easily cracked.
1215
00:53:29,633 --> 00:53:31,156
You can look at the title,
1216
00:53:31,200 --> 00:53:33,114
you can look at the idea
and laugh,
1217
00:53:33,158 --> 00:53:34,507
or you can go deeper
1218
00:53:34,551 --> 00:53:36,770
and grow
and maybe have a good time,
1219
00:53:36,814 --> 00:53:38,903
maybe a sense of humor.
1220
00:53:38,946 --> 00:53:41,253
And... cue Sparks.
1221
00:53:41,297 --> 00:53:43,560
FLEA: Something that's always
kind of confounded me
1222
00:53:43,603 --> 00:53:45,257
in popular music
1223
00:53:45,301 --> 00:53:48,695
is people's inability
to take humor seriously.
1224
00:53:48,739 --> 00:53:50,697
And I think that's
one of the things, like,
1225
00:53:50,741 --> 00:53:52,917
why a band like Sparks
isn't as big
1226
00:53:52,960 --> 00:53:54,310
as the biggest bands
in the world.
1227
00:53:54,353 --> 00:53:56,225
'Cause they're fucking funny.
1228
00:53:56,268 --> 00:53:58,270
♪ Looks, looks, looks
1229
00:53:58,314 --> 00:54:01,404
♪ You had sense, you had style,
you had cash galore... ♪
1230
00:54:01,447 --> 00:54:03,536
"WEIRD AL" YANKOVIC:
A lot of critics and some fans,
1231
00:54:03,580 --> 00:54:04,754
uh, sometimes denigrate bands
1232
00:54:04,797 --> 00:54:06,408
that show their sense of humor.
1233
00:54:06,451 --> 00:54:08,801
Like, "Oh, it's a comedy band.
It's a joke band."
1234
00:54:08,845 --> 00:54:10,499
I just don't get that.
1235
00:54:10,542 --> 00:54:12,718
I don't know why it has
to be so stinking serious.
1236
00:54:12,762 --> 00:54:15,243
♪ You got a built-in seat
that makes you look effete... ♪
1237
00:54:15,286 --> 00:54:17,462
VISCONTI: I thought it was
gonna be a smash hit album
1238
00:54:17,506 --> 00:54:19,638
because it was so different
and anyone could see
1239
00:54:19,682 --> 00:54:22,815
that we spent hours of work
and put detail in it
1240
00:54:22,859 --> 00:54:24,556
and the songs were so great
1241
00:54:24,600 --> 00:54:25,862
and Russell's singing
1242
00:54:25,905 --> 00:54:27,516
was amazing.
1243
00:54:27,559 --> 00:54:29,344
The world just didn't
agree with us, you know?
1244
00:54:29,387 --> 00:54:31,737
It did well but not that well.
1245
00:54:31,781 --> 00:54:35,263
RON:
We were so irate at just
1246
00:54:35,306 --> 00:54:37,221
the lack of acceptance
for what we thought
1247
00:54:37,265 --> 00:54:39,615
was an amazing album
1248
00:54:39,658 --> 00:54:41,312
that we were
seriously considering
1249
00:54:41,356 --> 00:54:43,271
recording "Louie Louie"
as our next single,
1250
00:54:43,314 --> 00:54:45,751
you know, just for spite.
1251
00:54:45,795 --> 00:54:51,061
♪ Someday we'll have
one extra coastline ♪
1252
00:54:51,104 --> 00:54:55,152
♪ We'll tire of the Atlantic
1253
00:54:55,195 --> 00:54:58,764
♪ By then, we'll be rid
of your lot ♪
1254
00:54:58,808 --> 00:55:01,593
♪ A shot heard round the world
will soon be shot ♪
1255
00:55:01,637 --> 00:55:03,595
♪ Will soon be shot...
1256
00:55:03,639 --> 00:55:05,815
HEWLETT: When that tour ended,
Ron and Russell put it in
1257
00:55:05,858 --> 00:55:07,817
that they don't want
to live in London anymore.
1258
00:55:07,860 --> 00:55:10,341
They want to go back to L.A.
Totally understandable.
1259
00:55:10,385 --> 00:55:12,561
Um, after, you know,
some years away and touring.
1260
00:55:12,604 --> 00:55:16,956
But to ditch the band
needn't have been part of that.
1261
00:55:17,000 --> 00:55:18,697
HAMPTON:
They didn't actually sack me.
1262
00:55:18,741 --> 00:55:20,830
It was mutual, really.
1263
00:55:22,092 --> 00:55:23,702
That was it.
1264
00:55:23,746 --> 00:55:25,269
Band over.
1265
00:55:25,313 --> 00:55:26,836
HEWLETT:
Certainly, it gutted me.
1266
00:55:26,879 --> 00:55:28,664
I mean, I was really upset.
1267
00:55:28,707 --> 00:55:31,014
I mean, it was just folded,
and that was it.
1268
00:55:31,057 --> 00:55:32,972
You know, people went
their separate ways.
1269
00:55:33,016 --> 00:55:35,192
It was a shock,
of course, you know,
1270
00:55:35,235 --> 00:55:37,760
but Ian, I think,
just accepted it.
1271
00:55:37,803 --> 00:55:39,892
HAMPTON:
I could understand why.
1272
00:55:39,936 --> 00:55:42,721
They don't care about
the money or the fame.
1273
00:55:42,765 --> 00:55:43,722
Art for art's sake...
1274
00:55:43,766 --> 00:55:45,724
I respect them for it.
1275
00:55:45,768 --> 00:55:48,510
♪ I am the king.
1276
00:55:48,553 --> 00:55:50,599
[CHEERING]
1277
00:55:52,905 --> 00:55:54,820
- Thank you! Thank you!
- [SONG ENDS]
1278
00:56:00,739 --> 00:56:04,134
RON: I've always admired
French directors like Godard
1279
00:56:04,177 --> 00:56:07,005
that were kind of rebellious
against the whole system
1280
00:56:07,049 --> 00:56:09,617
and the whole idea even
of what cinema was
1281
00:56:09,660 --> 00:56:13,751
that they were almost
slightly standing outside
1282
00:56:13,795 --> 00:56:16,537
of filmmaking while
they were making a film.
1283
00:56:16,580 --> 00:56:18,887
It was kind of
inspirational to us.
1284
00:56:18,930 --> 00:56:21,411
HEWLETT: Ron and Russell
always had a desire
1285
00:56:21,455 --> 00:56:23,065
to write music in movies,
1286
00:56:23,108 --> 00:56:26,416
and they love movies and
wanted to be a part of movies.
1287
00:56:26,460 --> 00:56:28,505
RON: In the '70s, one of
our favorite filmmakers
1288
00:56:28,549 --> 00:56:30,638
was Jacques Tati.
1289
00:56:30,681 --> 00:56:33,771
Tati, at that time, was looking
to expand his audience
1290
00:56:33,815 --> 00:56:35,904
to younger people,
1291
00:56:35,947 --> 00:56:37,558
and somehow he thought that
1292
00:56:37,601 --> 00:56:39,386
maybe connecting with a band
1293
00:56:39,429 --> 00:56:41,126
would be a way for him
to broaden
1294
00:56:41,170 --> 00:56:42,824
the appeal of his films.
1295
00:56:42,867 --> 00:56:45,130
INTERVIEWER: Well, how was
that, uh, film project
1296
00:56:45,174 --> 00:56:46,697
with, uh, Jacques Tati?
1297
00:56:46,741 --> 00:56:48,438
- Whoa. There. You got it.
- Lost the cake.
1298
00:56:48,482 --> 00:56:50,266
Did you get it? Did you get it?
1299
00:56:50,309 --> 00:56:51,572
That's a film project, that is.
1300
00:56:51,615 --> 00:56:53,225
Did you get it?
1301
00:56:53,269 --> 00:56:56,838
Our-our film project
with Tati is...
1302
00:56:56,881 --> 00:56:59,884
could relate to that cake,
what just happened to it.
1303
00:56:59,928 --> 00:57:01,756
It's just fallen to bits.
1304
00:57:01,799 --> 00:57:05,237
RON: His health was not
as good as it had been,
1305
00:57:05,281 --> 00:57:08,066
and so the project
just sort of dissipated.
1306
00:57:08,110 --> 00:57:10,286
You know, we have
very few things
1307
00:57:10,329 --> 00:57:13,463
that we regret
not having happened, but,
1308
00:57:13,507 --> 00:57:15,900
you know, I probably
would have retired after that.
1309
00:57:16,858 --> 00:57:19,774
♪
1310
00:57:19,817 --> 00:57:23,952
HEWLETT:
Evolving their concept of art is
1311
00:57:23,995 --> 00:57:25,693
paramount to them.
1312
00:57:25,736 --> 00:57:27,912
That's what they have always
striven for and believe in.
1313
00:57:27,956 --> 00:57:29,740
RUSSELL: I think,
when we didBig Beat,
1314
00:57:29,784 --> 00:57:31,046
we really just wanted
1315
00:57:31,089 --> 00:57:33,701
to change the sound yet again.
1316
00:57:33,744 --> 00:57:37,705
RON: We're trying to be
a little less British,
1317
00:57:37,748 --> 00:57:39,663
in a certain sense.
1318
00:57:40,708 --> 00:57:42,666
In any sort of art form,
you need to keep
1319
00:57:42,710 --> 00:57:44,668
pushing yourself forward.
1320
00:57:44,712 --> 00:57:46,931
Otherwise, you just sort of...
you're a shark,
1321
00:57:46,975 --> 00:57:49,064
and you stop moving,
and you just... you die.
1322
00:57:49,107 --> 00:57:51,719
SAL MAIDA: Ron and Russell
had come to New York
1323
00:57:51,762 --> 00:57:53,590
to do this hard rock record
1324
00:57:53,634 --> 00:57:55,287
and change directions
1325
00:57:55,331 --> 00:57:58,116
and try to break America.
1326
00:57:58,160 --> 00:58:00,249
MICHAELS:
Russell says, "Well, look,
1327
00:58:00,292 --> 00:58:01,642
"we don't have a band
1328
00:58:01,685 --> 00:58:04,906
anymore, so do you know
a great drummer?"
1329
00:58:04,949 --> 00:58:07,168
- [DRUMBEAT PLAYING]
- [LAUGHS]
1330
00:58:09,866 --> 00:58:15,698
Sparks is musically
an enigma to begin with.
1331
00:58:15,742 --> 00:58:20,311
Indiscreet doesn't sound
likeKimono My House,
1332
00:58:20,355 --> 00:58:24,359
and Big Beatis
completely different.
1333
00:58:24,402 --> 00:58:27,754
THURSTON MOORE: I remember
Big Beat coming out
1334
00:58:27,797 --> 00:58:28,842
and sort of considering it,
1335
00:58:28,885 --> 00:58:31,540
like, more as this kind of part
1336
00:58:31,584 --> 00:58:33,847
of the new punk records.
1337
00:58:36,589 --> 00:58:38,982
PETER KNEGO: Sparks are always
pushing new boundaries
1338
00:58:39,026 --> 00:58:40,549
and changing their sound,
1339
00:58:40,593 --> 00:58:42,769
often to the deep frustration
of their fan base.
1340
00:58:42,812 --> 00:58:44,727
♪ I'm coming and I'm going...
1341
00:58:44,771 --> 00:58:47,687
KAPRANOS: You know, I think
the fans of Kimono My House
1342
00:58:47,730 --> 00:58:49,166
and Indiscreet
1343
00:58:49,210 --> 00:58:50,820
and Propaganda,
1344
00:58:50,864 --> 00:58:53,170
I imagine they felt
a little bit let down.
1345
00:58:53,214 --> 00:58:55,433
And that's great...
you shouldn't pander
1346
00:58:55,477 --> 00:58:57,131
to the expectations
1347
00:58:57,174 --> 00:59:00,700
of the conservative element
of your fan base.
1348
00:59:00,743 --> 00:59:03,703
Because if you did, you-you'd
make conservative music.
1349
00:59:05,139 --> 00:59:07,881
MICHAEL SILVERBLATT:
That record is written by
1350
00:59:07,924 --> 00:59:10,231
the anti-Sparks.
1351
00:59:10,274 --> 00:59:12,189
Lyrically,
they'd just go mental.
1352
00:59:12,233 --> 00:59:14,235
[CHUCKLES]
"Everybody's Stupid," right?
1353
00:59:14,278 --> 00:59:16,933
[IMITATING GUITAR RIFF
FROM "EVERYBODY'S STUPID"]
1354
00:59:18,195 --> 00:59:19,849
TOSH BERMAN:
When I first heard that record,
1355
00:59:19,893 --> 00:59:21,459
I found it kind of shocking
because the songs were
1356
00:59:21,503 --> 00:59:22,896
so angry and kind of bitter.
1357
00:59:22,939 --> 00:59:24,506
What's he saying? What's he...
1358
00:59:24,550 --> 00:59:26,160
No, you know what he's saying.
1359
00:59:26,203 --> 00:59:27,988
It's clear as a bell.
1360
00:59:28,031 --> 00:59:30,294
♪ Everybody's stupid
1361
00:59:30,338 --> 00:59:32,079
♪ That's for sure.
1362
00:59:32,122 --> 00:59:35,169
I could visibly see
the audience being confused.
1363
00:59:35,212 --> 00:59:36,779
♪ You're stupid,
you're stupid. ♪
1364
00:59:36,823 --> 00:59:38,651
[LAUGHING]
1365
00:59:38,694 --> 00:59:41,001
♪ Everybody's stupid
1366
00:59:41,044 --> 00:59:42,959
♪ That's for sure.
1367
00:59:43,003 --> 00:59:45,614
MAIDA: There's probably
two of the most
1368
00:59:45,658 --> 00:59:48,225
politically incorrect songs
on that record,
1369
00:59:48,269 --> 00:59:49,792
which are "White Women"
1370
00:59:49,836 --> 00:59:51,707
and "Throw Her Away
[AND GET A NEW ONE]."
1371
00:59:52,839 --> 00:59:54,580
Which...
1372
00:59:54,623 --> 00:59:56,582
uh, you got to have
a sense of humor
1373
00:59:56,625 --> 01:00:00,107
and know the ironic intent
on both those.
1374
01:00:00,150 --> 01:00:02,892
♪ Throw her away
and get a new one... ♪
1375
01:00:02,936 --> 01:00:05,068
RUSSELL:
We want to shake up people,
1376
01:00:05,112 --> 01:00:07,330
and we think that pop music
at its best
1377
01:00:07,374 --> 01:00:09,332
has always been something
where you-you hear it
1378
01:00:09,376 --> 01:00:11,421
and you go,
"Oh, my God, what is that?"
1379
01:00:11,465 --> 01:00:13,467
ROSS: Sparks often do
that kind of thing
1380
01:00:13,510 --> 01:00:16,165
which has, I think,
a punk sensibility to it.
1381
01:00:16,209 --> 01:00:18,515
A desire to stir things up
1382
01:00:18,559 --> 01:00:20,648
and shake things up
and make you think.
1383
01:00:20,692 --> 01:00:23,695
- [PLAYFUL SCREAMING]
- [DRAMATIC MUSIC PLAYS]
1384
01:00:28,090 --> 01:00:29,962
My first experience of Sparks
1385
01:00:30,005 --> 01:00:32,573
was watching the film
Rollercoaster.
1386
01:00:32,617 --> 01:00:35,837
[GUITAR SOLO PLAYING]
1387
01:00:35,881 --> 01:00:39,014
I assumed that
they were a made-up band
1388
01:00:39,058 --> 01:00:41,451
because I'd never
heard of them before.
1389
01:00:41,495 --> 01:00:44,454
And then years later,
I came across
1390
01:00:44,498 --> 01:00:46,935
"This Town Ain't Big Enough for
the Both of Us" and thought,
1391
01:00:46,979 --> 01:00:48,894
"Oh, it's those guys
from Rollercoaster."
1392
01:00:48,937 --> 01:00:52,375
MICHAELS: I had never been
on a huge movie set like that.
1393
01:00:52,419 --> 01:00:54,377
And I didn't know what
to make of it.
1394
01:00:54,421 --> 01:00:56,815
And I was looking
to Ron and Russell,
1395
01:00:56,858 --> 01:00:59,078
and I remember Ron...
I'll never forget this...
1396
01:00:59,121 --> 01:01:01,210
Ron said...
1397
01:01:01,254 --> 01:01:03,430
"This might be great.
1398
01:01:03,473 --> 01:01:05,780
"Maybe this is gonna be the one
1399
01:01:05,824 --> 01:01:09,044
that breaks the band
worldwide."
1400
01:01:09,088 --> 01:01:11,177
This disaster movie.
1401
01:01:11,220 --> 01:01:13,179
I-I mean, you know,
the movie is what it was.
1402
01:01:13,222 --> 01:01:16,661
It was kind of like...
it-it was pretty lame,
1403
01:01:16,704 --> 01:01:18,401
but how else
was I gonna see them?
1404
01:01:19,228 --> 01:01:21,274
[CHEERING]
1405
01:01:21,317 --> 01:01:23,755
MAIDA: They're connoisseurs,
and this was just,
1406
01:01:23,798 --> 01:01:25,147
you know, "a disaster movie"
1407
01:01:25,191 --> 01:01:27,236
in more ways than one.
1408
01:01:27,280 --> 01:01:30,631
I-I think I leaned over to him
at one point, I said,
1409
01:01:30,675 --> 01:01:33,590
"I guess this is not
a Jacques Tati movie." [LAUGHS]
1410
01:01:33,634 --> 01:01:34,983
♪ Big boy...
1411
01:01:35,027 --> 01:01:36,593
RON:
Rollercoaster is kind of
1412
01:01:36,637 --> 01:01:39,161
theCitizen Kane
of disaster movies.
1413
01:01:39,205 --> 01:01:42,077
I mean, the disaster was that
nobody went to see the movie.
1414
01:01:47,387 --> 01:01:50,564
- [SIRENS BLARING]
- [TIRES SCREECHING]
1415
01:01:50,607 --> 01:01:52,697
♪
1416
01:01:55,743 --> 01:01:57,658
FLEA:
I was in high school,
1417
01:01:57,702 --> 01:01:59,878
and I had a friend who was
the first friend in my group
1418
01:01:59,921 --> 01:02:01,575
to have his own apartment.
1419
01:02:01,618 --> 01:02:03,359
We used to just get
in all kinds of crazy
1420
01:02:03,403 --> 01:02:05,535
drugged-out states
at this guy's house.
1421
01:02:05,579 --> 01:02:07,885
I remember, like, stumbling
into his bathroom all the time
1422
01:02:07,928 --> 01:02:09,756
to either throw up or pee,
1423
01:02:09,800 --> 01:02:11,497
and on the wall,
1424
01:02:11,540 --> 01:02:13,586
there was a picture of Sparks.
1425
01:02:13,629 --> 01:02:15,109
And I remember just
seeing them all the time,
1426
01:02:15,153 --> 01:02:16,937
like, "Who are those guys?"
1427
01:02:16,981 --> 01:02:18,896
And I was kind of in love,
and they were sort of like
1428
01:02:18,939 --> 01:02:22,987
these mysterious, like, icons,
like patron saints.
1429
01:02:23,030 --> 01:02:26,077
I looked at that picture,
like, kind of marveled at it
1430
01:02:26,120 --> 01:02:28,557
a thousand times
before I heard them.
1431
01:02:28,601 --> 01:02:31,778
♪ Why is there time?
1432
01:02:33,824 --> 01:02:37,001
♪ Why is there space?
1433
01:02:37,044 --> 01:02:40,221
♪ Why are there dogs and cats
1434
01:02:40,265 --> 01:02:44,486
♪ And trees
and the human race? ♪
1435
01:02:44,530 --> 01:02:47,228
MICHAELS:
I was sitting in my motel room
1436
01:02:47,272 --> 01:02:49,230
doing nothing, thinking,
1437
01:02:49,274 --> 01:02:50,710
"No matter what happens,
1438
01:02:50,754 --> 01:02:51,885
I'm sticking with you guys."
1439
01:02:51,929 --> 01:02:53,278
[LAUGHS]
1440
01:02:53,321 --> 01:02:56,150
And then we got
a phone call saying,
1441
01:02:56,194 --> 01:02:58,109
"Party's over, guys.
1442
01:02:58,152 --> 01:03:01,373
"Big Beat didn't do
what it was supposed to do.
1443
01:03:01,416 --> 01:03:03,897
We're flying you guys
back to New York."
1444
01:03:03,941 --> 01:03:06,421
That was the end of it.
1445
01:03:06,465 --> 01:03:08,597
I was really brokenhearted.
1446
01:03:08,641 --> 01:03:12,514
And, uh, they came out
with a new record,
1447
01:03:12,558 --> 01:03:15,300
Introducing Sparks.
1448
01:03:16,475 --> 01:03:18,129
♪ Ooh, those mysteries...
1449
01:03:18,172 --> 01:03:21,045
Here you have Russell,
and here you have Ron here.
1450
01:03:21,088 --> 01:03:24,178
This is a great fucking album.
1451
01:03:24,222 --> 01:03:27,399
"Those Mysteries,"
most poignant song,
1452
01:03:27,442 --> 01:03:30,837
like, that's funny as hell
but also a question...
1453
01:03:30,881 --> 01:03:32,665
this kind of yearning,
searching,
1454
01:03:32,708 --> 01:03:35,189
trying to make sense
of, like, the awkwardness
1455
01:03:35,233 --> 01:03:36,930
and the pain of being
a human being
1456
01:03:36,974 --> 01:03:40,978
and doing it
in a funny, smart way.
1457
01:03:41,021 --> 01:03:43,371
Cool. I'm into it.
1458
01:03:43,415 --> 01:03:46,157
STEWART: I think so much
of their music requires
1459
01:03:46,200 --> 01:03:48,637
not taking it on face value.
1460
01:03:48,681 --> 01:03:52,772
If you want to work with them
and think about the music,
1461
01:03:52,816 --> 01:03:54,295
you can get more out of it.
1462
01:03:54,339 --> 01:03:56,384
If you want to just absorb it,
1463
01:03:56,428 --> 01:03:58,778
you're going to be
missing the point entirely.
1464
01:03:58,822 --> 01:04:00,345
That's what hurt them, I think.
1465
01:04:00,388 --> 01:04:02,869
It hurt Sparks
that they came of age
1466
01:04:02,913 --> 01:04:06,133
at a time when people could
only take things at face value.
1467
01:04:06,177 --> 01:04:07,134
One of the snottier
1468
01:04:07,178 --> 01:04:09,353
metal/punk magazines,
1469
01:04:09,396 --> 01:04:12,660
THE REVIEW WAS:"Introducing
Sparks, dot-dot-dot.
1470
01:04:12,704 --> 01:04:14,967
Unfortunately,
we've already met."
1471
01:04:17,448 --> 01:04:20,451
HEWLETT: From the adulation
that they had been receiving
1472
01:04:20,494 --> 01:04:22,932
to the non-adulation around
1473
01:04:22,975 --> 01:04:24,759
Big Beatand Introducing,
1474
01:04:24,803 --> 01:04:27,153
it was just obvious
it wasn't working.
1475
01:04:27,197 --> 01:04:29,155
It became very difficult,
1476
01:04:29,199 --> 01:04:30,853
and I really liked
Ron and Russell.
1477
01:04:30,896 --> 01:04:33,246
I still admired their abilities,
1478
01:04:33,290 --> 01:04:38,382
but I couldn't be 100% behind
what they were doing.
1479
01:04:38,425 --> 01:04:40,471
I mean, Ronnie was really
desperate, too, at this time.
1480
01:04:40,514 --> 01:04:42,255
I mean, he knew
it wasn't working.
1481
01:04:42,299 --> 01:04:45,998
♪ I want a big surprise
tonight... ♪
1482
01:04:46,042 --> 01:04:48,479
STEWART:
The record comes out in the heat
1483
01:04:48,522 --> 01:04:50,220
of punk rock,
1484
01:04:50,263 --> 01:04:51,830
and an album
1485
01:04:51,874 --> 01:04:56,879
that could not sound
more out of sorts with that.
1486
01:04:56,922 --> 01:04:58,750
♪
1487
01:04:58,793 --> 01:05:02,580
♪ Where is that
Yankee ingenuity? ♪
1488
01:05:02,623 --> 01:05:04,495
RON:
The whole passion and energy
1489
01:05:04,538 --> 01:05:06,149
and kind of statement of punk
1490
01:05:06,192 --> 01:05:08,499
seemed like it was
almost partially directed
1491
01:05:08,542 --> 01:05:10,414
towards what we were doing.
1492
01:05:10,457 --> 01:05:12,024
So we thought, "Is this, like,
1493
01:05:12,068 --> 01:05:13,634
kind of dinosaur music?"
1494
01:05:13,678 --> 01:05:15,593
We never felt that before,
1495
01:05:15,636 --> 01:05:17,769
and we've never felt that since.
1496
01:05:17,812 --> 01:05:19,597
-♪ Big surprise tonight
-♪ Big surprise
1497
01:05:19,640 --> 01:05:22,600
♪ A really big surprise
tonight ♪
1498
01:05:22,643 --> 01:05:26,386
♪ I want a big surprise
tonight... ♪
1499
01:05:26,430 --> 01:05:28,301
RON: The Sex Pistols'
album is one of
1500
01:05:28,345 --> 01:05:30,390
the greatest albums of all time,
1501
01:05:30,434 --> 01:05:33,263
but that wasn't
where we should be going,
1502
01:05:33,306 --> 01:05:36,048
so we had to find
a proper direction
1503
01:05:36,092 --> 01:05:38,833
so that we would feel
unthreatened.
1504
01:05:38,877 --> 01:05:41,662
- [APPLAUSE]
- [CHUCKLING]
1505
01:05:41,706 --> 01:05:44,970
[ANNOUNCER SPEAKING FRENCH]
1506
01:05:45,014 --> 01:05:47,930
RUSSELL: After we did
the Introducing Sparks album,
1507
01:05:47,973 --> 01:05:50,976
we did an interview with
a journalist in Los Angeles.
1508
01:05:51,020 --> 01:05:53,718
She said, "Well,
what's next for Sparks?"
1509
01:05:53,761 --> 01:05:55,763
And then we said,
"Oh, well, we're going to be
1510
01:05:55,807 --> 01:05:58,375
working with Giorgio Moroder
on our next album."
1511
01:05:58,418 --> 01:06:00,420
She said, "Oh, that's funny.
1512
01:06:00,464 --> 01:06:02,335
"Giorgio didn't
mention that to me.
1513
01:06:02,379 --> 01:06:04,163
I'm really good friends
with him." And we went,
1514
01:06:04,207 --> 01:06:06,557
"Uh, eh, uh..." Gulp.
1515
01:06:06,600 --> 01:06:08,819
RON:
'Cause it was a total lie.
1516
01:06:08,862 --> 01:06:10,908
♪ Ooh...
1517
01:06:10,952 --> 01:06:12,692
We wanted to work
with Giorgio Moroder,
1518
01:06:12,736 --> 01:06:15,130
and we had heard "I Feel Love"
on the radio,
1519
01:06:15,173 --> 01:06:18,002
the great Donna Summer song
that Giorgio produced,
1520
01:06:18,046 --> 01:06:21,440
but we didn't know how
to contact Giorgio.
1521
01:06:21,484 --> 01:06:23,921
RUSSELL: And then she said,
"Well, I could introduce you."
1522
01:06:23,965 --> 01:06:27,011
ANNOUNCER: The number 30 song
this week on the Top 30,
1523
01:06:27,055 --> 01:06:28,578
the young man called Giorgio,
who's with us here
1524
01:06:28,621 --> 01:06:30,319
on Top of the Pops this evening.
1525
01:06:30,362 --> 01:06:31,711
Let's give him a nice
Top of the Popswelcome.
1526
01:06:31,755 --> 01:06:33,104
- Thank you.
- [CHEERING, APPLAUSE]
1527
01:06:33,148 --> 01:06:34,976
RUSSELL:
And he was really,
1528
01:06:35,019 --> 01:06:36,978
surprisingly to us,
up for the challenge
1529
01:06:37,021 --> 01:06:39,197
of working with a...
you know, a band.
1530
01:06:39,241 --> 01:06:42,418
RON: It really was
pretty brave of him.
1531
01:06:42,461 --> 01:06:45,160
["LA DOLCE VITA" BY SPARKS
PLAYING]
1532
01:06:45,203 --> 01:06:47,771
We did the recordings
in Los Angeles.
1533
01:06:48,946 --> 01:06:52,689
Interesting studio because
it was totally electronic
1534
01:06:52,732 --> 01:06:57,476
with a massive amount
of Moog modular
1535
01:06:57,520 --> 01:07:01,045
and Roland synthesizers
1536
01:07:01,089 --> 01:07:03,308
and thousands of sounds.
1537
01:07:04,788 --> 01:07:07,008
RON: We were aware that we were
kind of reinventing ourselves
1538
01:07:07,051 --> 01:07:08,661
as we were making that,
1539
01:07:08,705 --> 01:07:10,750
but we knew that we were
doing something
1540
01:07:10,794 --> 01:07:12,926
that was totally new.
1541
01:07:14,363 --> 01:07:16,452
For me as a fan,
it would be hard to know
1542
01:07:16,495 --> 01:07:19,542
if it's willful
or if it's the innocence of:
1543
01:07:19,585 --> 01:07:21,979
"Wouldn't it be a great idea
if we just made
1544
01:07:22,023 --> 01:07:26,940
a synthesizer record in 1979,
before the '80s?"
1545
01:07:26,984 --> 01:07:30,118
♪ You're the only bank
that's open all night ♪
1546
01:07:30,161 --> 01:07:33,599
♪ La dolce vita
1547
01:07:33,643 --> 01:07:36,820
♪ Now that that's clear,
can you give me a light? ♪
1548
01:07:36,863 --> 01:07:39,736
♪ La dolce vita...
1549
01:07:39,779 --> 01:07:42,086
RUSSELL: We all went in it
with this kind of
1550
01:07:42,130 --> 01:07:44,741
naive spirit to just do
something that we thought
1551
01:07:44,784 --> 01:07:46,917
was really fresh-sounding.
1552
01:07:46,960 --> 01:07:48,745
And we think it was
something really special.
1553
01:07:48,788 --> 01:07:53,097
♪ Can I have another plate
of your la dolce vita? ♪
1554
01:07:53,141 --> 01:07:57,362
It took one year
after that album was recorded
1555
01:07:57,406 --> 01:08:00,235
before a label wanted
to sign it.
1556
01:08:00,278 --> 01:08:03,238
♪ Gold diggers are we
1557
01:08:03,281 --> 01:08:06,458
♪ Step up, follow me...
1558
01:08:06,502 --> 01:08:08,982
Someone at Virgin Records
in Germany
1559
01:08:09,026 --> 01:08:10,983
saw the tape sitting there
and said,
1560
01:08:11,027 --> 01:08:13,986
"Hmm, Sparks, Giorgio Moroder.
Let me give that a listen."
1561
01:08:14,030 --> 01:08:15,771
And said,
"This is pretty amazing,"
1562
01:08:15,814 --> 01:08:18,382
and shipped it off
to Richard Branson and company
1563
01:08:18,426 --> 01:08:21,733
in-in the UK, and they agreed.
1564
01:08:21,777 --> 01:08:23,648
STEWART:
WhenNo. 1 in Heaven came out,
1565
01:08:23,692 --> 01:08:26,999
it was two years after the
massive failure of Introducing,
1566
01:08:27,043 --> 01:08:30,264
and you're kind of seeing
the DNA of so much
1567
01:08:30,307 --> 01:08:32,744
of what would come later on.
1568
01:08:32,788 --> 01:08:34,572
TAYLOR: This was probably
one of the first
1569
01:08:34,616 --> 01:08:36,357
electropop dance records
1570
01:08:36,400 --> 01:08:37,662
of all time.
1571
01:08:37,706 --> 01:08:39,882
[DANCE BEAT PLAYING]
1572
01:08:39,925 --> 01:08:42,145
[IMITATING BEAT]
1573
01:08:42,189 --> 01:08:44,756
MOORE: That, to me, was
such an astounding record.
1574
01:08:44,800 --> 01:08:46,323
It seemed really audacious.
1575
01:08:46,367 --> 01:08:48,064
DJ LANCE ROCK:
It just takes you on
1576
01:08:48,108 --> 01:08:50,545
this incredible, hypnotic trip.
1577
01:08:50,588 --> 01:08:53,330
Just belied and denied anything
else that was happening.
1578
01:08:53,374 --> 01:08:55,245
It just rose above it.
1579
01:08:55,289 --> 01:08:57,029
♪ We're just gleams
in lovers' eyes ♪
1580
01:08:57,073 --> 01:09:00,381
♪ Steam on sweaty bodies
in the night ♪
1581
01:09:02,339 --> 01:09:04,689
♪ But one of us
might make it through ♪
1582
01:09:04,733 --> 01:09:08,563
♪ All the rest
will disappear like dew ♪
1583
01:09:09,999 --> 01:09:12,132
♪ Pressure building,
getting hot ♪
1584
01:09:12,175 --> 01:09:15,744
♪ Give it, give it,
give it all you got ♪
1585
01:09:17,659 --> 01:09:19,835
♪ When that
love explosion comes ♪
1586
01:09:19,878 --> 01:09:22,751
♪ My, oh, my,
we want to be someone ♪
1587
01:09:23,839 --> 01:09:25,884
♪ Tryouts for
the human race... ♪
1588
01:09:25,928 --> 01:09:29,845
RHODES: It was a huge influence
on-on our early material.
1589
01:09:29,888 --> 01:09:32,152
Uh, we were already
big Moroder fans,
1590
01:09:32,195 --> 01:09:34,980
but this combination, uh,
it was just perfect.
1591
01:09:35,024 --> 01:09:37,983
♪ We just want
to be someone... ♪
1592
01:09:38,027 --> 01:09:39,768
That's why I ended up
working with Vince...
1593
01:09:39,811 --> 01:09:41,552
'cause those synths,
1594
01:09:41,596 --> 01:09:43,293
they just drove me.
1595
01:09:44,294 --> 01:09:45,991
MAN:
Sparks, "Beat the Clock,"
1596
01:09:46,035 --> 01:09:48,820
uh, Millaney/Grant,
sixth of June.
1597
01:09:48,864 --> 01:09:51,997
["BEAT THE CLOCK" BY SPARKS
PLAYING]
1598
01:09:52,041 --> 01:09:55,000
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1599
01:09:55,044 --> 01:09:57,133
Sparks... well,
they're back in Britain,
1600
01:09:57,177 --> 01:09:58,700
they're back in business,
1601
01:09:58,743 --> 01:10:00,571
and they're currently trying
to beat the clock.
1602
01:10:00,615 --> 01:10:02,704
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1603
01:10:02,747 --> 01:10:04,358
BERNARD BUTLER:
As a synthesizer duo,
1604
01:10:04,401 --> 01:10:06,098
I guess you could say that
1605
01:10:06,142 --> 01:10:08,188
they sort of set a template.
1606
01:10:08,231 --> 01:10:10,232
♪ You gotta beat the clock,
you gotta beat the clock... ♪
1607
01:10:10,276 --> 01:10:15,194
WRIGHT: I became first aware
of Sparks in their 1979 period.
1608
01:10:15,237 --> 01:10:18,240
Just seeing them on, like, Top
of the Popsaround that time.
1609
01:10:18,284 --> 01:10:21,852
You know, it's a very
sort of stark dynamic image...
1610
01:10:21,896 --> 01:10:24,246
Russell singing,
Ron on the synths.
1611
01:10:24,290 --> 01:10:27,206
He had his '79
kind of hipster hair.
1612
01:10:27,249 --> 01:10:29,164
ANNOUNCER:
Sparks and their new single
1613
01:10:29,208 --> 01:10:30,948
called "Beat the Clock."
Billy?
1614
01:10:30,992 --> 01:10:32,689
I think it was real great.
1615
01:10:32,733 --> 01:10:34,517
♪ Well, I've seen
everything there is ♪
1616
01:10:34,561 --> 01:10:36,519
♪ I've done
everything there is... ♪
1617
01:10:36,563 --> 01:10:38,695
There's myself, uh, there's
the guy from the Pet Shop Boys,
1618
01:10:38,739 --> 01:10:40,393
there's the guy
from Duran Duran.
1619
01:10:40,436 --> 01:10:42,569
I mean, we were all
miserable fuckers, you know?
1620
01:10:42,612 --> 01:10:44,310
It's a look, isn't it,
which we just stole
1621
01:10:44,353 --> 01:10:46,268
from Sparks.
1622
01:10:46,312 --> 01:10:49,358
["THE NUMBER ONE SONG
IN HEAVEN" BY SPARKS PLAYING]
1623
01:10:53,623 --> 01:10:56,713
RUSTY EGAN:
I was desperately searching
1624
01:10:56,757 --> 01:11:01,501
for music to put in my DJ sets
1625
01:11:01,544 --> 01:11:03,154
at the Blitz Club.
1626
01:11:03,198 --> 01:11:06,636
I came across
"Number One Song in Heaven."
1627
01:11:06,680 --> 01:11:08,421
BELL:
It's just one of those songs
1628
01:11:08,464 --> 01:11:10,031
that gives me goose bumps.
1629
01:11:10,074 --> 01:11:12,033
EGAN:
What I loved about it
1630
01:11:12,076 --> 01:11:13,904
was the first four minutes,
1631
01:11:13,948 --> 01:11:16,864
and it was all synthesizers
1632
01:11:16,907 --> 01:11:18,605
and sequences.
1633
01:11:18,648 --> 01:11:20,650
And I was like,
"This is great."
1634
01:11:21,869 --> 01:11:26,090
♪ This is the number one song
in heaven ♪
1635
01:11:28,528 --> 01:11:33,010
♪ Written, of course,
by the mightiest hand... ♪
1636
01:11:33,054 --> 01:11:34,925
STEPHEN MORRIS: In Joy
Division, when we were doing
1637
01:11:34,969 --> 01:11:36,536
"Love Will Tear Us Apart,"
1638
01:11:36,579 --> 01:11:39,974
there were two records
that we were listening to.
1639
01:11:40,017 --> 01:11:41,062
Uh, one was
1640
01:11:41,105 --> 01:11:42,890
Frank Sinatra's Greatest Hits,
1641
01:11:42,933 --> 01:11:45,109
and then the other one was
"Number One Song in Heaven."
1642
01:11:45,153 --> 01:11:47,721
ANTONOFF: "Number One Song
in Heaven" just sort of, like,
1643
01:11:47,764 --> 01:11:49,244
moves in this crazy way.
1644
01:11:49,288 --> 01:11:51,072
And there's even
a moment of silence
1645
01:11:51,115 --> 01:11:52,769
pretty early on in the song.
It's, like, this cut
1646
01:11:52,813 --> 01:11:55,032
and then it starts back up.
It's wild.
1647
01:11:55,076 --> 01:11:56,033
EGAN:
One, two, three.
1648
01:11:56,077 --> 01:11:57,121
[IMITATES DRUMBEAT]
1649
01:11:57,165 --> 01:11:58,558
And it goes, like, I don't know,
1650
01:11:58,601 --> 01:12:00,429
180 BPM or something.
1651
01:12:00,473 --> 01:12:03,345
Oh, my God, that's...
that's too fast.
1652
01:12:03,389 --> 01:12:06,740
♪
1653
01:12:06,783 --> 01:12:08,698
MARTYN WARE:
This is the absolute apogee
1654
01:12:08,742 --> 01:12:09,960
of electronic pop music
1655
01:12:10,004 --> 01:12:11,309
for me.
1656
01:12:11,352 --> 01:12:13,136
I can't think
of anything better.
1657
01:12:13,180 --> 01:12:15,269
We can only, with Heaven 17,
1658
01:12:15,313 --> 01:12:17,271
kind of aspire to it.
1659
01:12:17,315 --> 01:12:19,360
♪
1660
01:12:21,971 --> 01:12:25,061
♪ It's number one
all over heaven ♪
1661
01:12:25,105 --> 01:12:26,454
♪ It's number one
1662
01:12:26,498 --> 01:12:28,326
♪ All over heaven
1663
01:12:28,369 --> 01:12:31,285
♪ It's number one
all over heaven ♪
1664
01:12:31,329 --> 01:12:34,897
♪ The number one song
all over heaven... ♪
1665
01:12:34,941 --> 01:12:38,771
MORODER: If they would
release nowNo. 1 in Heaven,
1666
01:12:38,814 --> 01:12:41,208
they would say,
"Wow, geniuses."
1667
01:12:41,251 --> 01:12:43,819
I mean, they were geniuses
then, but now even more
1668
01:12:43,863 --> 01:12:47,127
because this could be
the second sound of the future.
1669
01:12:47,170 --> 01:12:48,998
♪ Gabriel plays it
1670
01:12:49,042 --> 01:12:50,565
♪ God, how he plays it
1671
01:12:50,609 --> 01:12:52,175
♪ Gabriel plays it
1672
01:12:52,219 --> 01:12:53,742
♪ God, how he plays it
1673
01:12:53,786 --> 01:12:55,265
♪ Gabriel plays it
1674
01:12:55,309 --> 01:12:56,789
♪ God, how he plays it
1675
01:12:56,832 --> 01:12:58,617
♪ Gabriel plays it
1676
01:12:58,660 --> 01:13:00,836
♪ Let's hear him play it...
1677
01:13:00,880 --> 01:13:04,057
♪
1678
01:13:04,100 --> 01:13:06,842
ROSS: I really liked
seeing them stripped down,
1679
01:13:06,886 --> 01:13:08,191
and in a way, it made the image
1680
01:13:08,235 --> 01:13:10,063
more impactful.
1681
01:13:10,106 --> 01:13:11,717
♪
1682
01:13:11,760 --> 01:13:13,458
It was shortly after
that period, I guess,
1683
01:13:13,501 --> 01:13:17,766
that Paul McCartney did
that video "Coming Up."
1684
01:13:17,810 --> 01:13:20,856
♪ You want a love
to last forever... ♪
1685
01:13:20,900 --> 01:13:22,945
It was all Paul McCartney
doing loads of
1686
01:13:22,989 --> 01:13:24,512
very instantly
recognizable characters.
1687
01:13:24,556 --> 01:13:26,079
And, of course, he did Ron.
1688
01:13:26,122 --> 01:13:27,863
I mean, I know how much
Ron and Russell
1689
01:13:27,907 --> 01:13:29,561
are fans of The Beatles,
1690
01:13:29,604 --> 01:13:31,954
and so I suspect they were
really excited to see that.
1691
01:13:31,998 --> 01:13:33,652
SCHWARTZMAN:
That's amazing, like,
1692
01:13:33,695 --> 01:13:35,436
that a Beatle would pretend
to be all these...
1693
01:13:35,480 --> 01:13:37,264
like, Buddy Holly
and all these different people,
1694
01:13:37,307 --> 01:13:39,048
and he's Ron Mael.
1695
01:13:40,441 --> 01:13:42,051
RUSSELL: I started
respecting Ron a lot more
1696
01:13:42,095 --> 01:13:43,749
after Paul McCartney, uh,
1697
01:13:43,792 --> 01:13:46,665
gave his tribute to Ron...
then I realized,
1698
01:13:46,708 --> 01:13:49,668
"God, I'm working with somebody
that Paul McCartney likes."
1699
01:13:49,711 --> 01:13:51,409
FRED ARMISEN:
How cool is that?
1700
01:13:51,452 --> 01:13:52,671
It is the ultimate.
1701
01:13:52,714 --> 01:13:54,324
And it's Paul McCartney.
1702
01:13:54,368 --> 01:13:56,283
Just incredible.
1703
01:13:56,326 --> 01:13:58,807
RON:
After doingNo. 1 in Heaven
1704
01:13:58,851 --> 01:14:00,896
and working
with Giorgio Moroder,
1705
01:14:00,940 --> 01:14:03,246
which was
such an inspiring experience,
1706
01:14:03,290 --> 01:14:05,335
it was the time
for the follow-up album,
1707
01:14:05,379 --> 01:14:08,077
but Giorgio wasn't,
uh, available,
1708
01:14:08,121 --> 01:14:10,210
so it was kind of farmed out.
1709
01:14:10,253 --> 01:14:14,648
I think, for that reason,
the album became more generic.
1710
01:14:16,258 --> 01:14:18,565
To Giorgio's credit, he was
1711
01:14:18,609 --> 01:14:20,480
involved with the selection,
1712
01:14:20,524 --> 01:14:23,222
and there was the song
"When I'm with You."
1713
01:14:23,265 --> 01:14:26,617
He thought that that song
was really something special.
1714
01:14:26,660 --> 01:14:28,749
["WHEN I'M WITH YOU" BY SPARKS
PLAYING]
1715
01:14:30,751 --> 01:14:32,623
EGAN: "When I'm with You."
[IMITATES BASS LINE]
1716
01:14:32,666 --> 01:14:34,712
That bass line,
1717
01:14:34,755 --> 01:14:36,365
that beautiful string line.
1718
01:14:38,237 --> 01:14:40,413
It wasn't anything
that we kind of planned on,
1719
01:14:40,457 --> 01:14:42,023
but it became, uh,
1720
01:14:42,067 --> 01:14:45,244
the biggest-selling song
that we've ever done.
1721
01:14:45,287 --> 01:14:48,116
♪ When I'm with you
1722
01:14:48,160 --> 01:14:50,075
♪ I never have a problem
1723
01:14:50,118 --> 01:14:52,338
♪ When I'm with you...
1724
01:14:52,381 --> 01:14:54,383
RON: Most of those sales
were in France,
1725
01:14:54,427 --> 01:14:57,517
and the song was kind of
the soundtrack of the country
1726
01:14:57,561 --> 01:15:00,215
during that whole period.
1727
01:15:01,303 --> 01:15:03,305
"When I'm with You," the Sparks.
1728
01:15:03,349 --> 01:15:04,872
♪ When I'm with you...
1729
01:15:04,916 --> 01:15:06,570
RUSSELL: The video
for "When I'm with You"
1730
01:15:06,613 --> 01:15:09,311
was Ron being the ventriloquist
1731
01:15:09,355 --> 01:15:10,965
and me being the dummy,
1732
01:15:11,009 --> 01:15:14,229
and some things
never change in life.
1733
01:15:14,273 --> 01:15:16,580
DAVID WEIGEL: It's a love song.
Someone's in love.
1734
01:15:16,623 --> 01:15:18,146
Okay, I know what's going on.
1735
01:15:18,190 --> 01:15:19,931
And then the more he sings,
1736
01:15:19,974 --> 01:15:21,933
you realize that-that you're
listening to somebody panic.
1737
01:15:21,976 --> 01:15:24,849
♪ It's the break in the song
1738
01:15:24,892 --> 01:15:28,374
♪ When I should say
something special ♪
1739
01:15:29,854 --> 01:15:32,639
♪ But the pressure is on
1740
01:15:32,683 --> 01:15:36,774
♪ And I can't make up
nothing special ♪
1741
01:15:36,817 --> 01:15:39,951
♪ Not when I'm with you
1742
01:15:39,994 --> 01:15:42,083
♪ When I'm with you...
1743
01:15:42,127 --> 01:15:44,521
OSWALT: There is never
a "June, moon, spoon"
1744
01:15:44,564 --> 01:15:46,610
aspect to their lyrics.
1745
01:15:46,653 --> 01:15:48,786
There is always a three, four,
1746
01:15:48,829 --> 01:15:51,702
five times removed aspect of:
1747
01:15:51,745 --> 01:15:54,356
So, is the narrator...
This is clearly not the singer.
1748
01:15:54,400 --> 01:15:56,707
He's playing a character,
and then the... and you kind of
1749
01:15:56,750 --> 01:15:59,666
work out what
the character's biography is.
1750
01:15:59,710 --> 01:16:02,843
Each song has such
a personality to it.
1751
01:16:02,887 --> 01:16:04,715
That middle eight is
the thing that I think,
1752
01:16:04,758 --> 01:16:07,369
for some listeners
who might be investing
1753
01:16:07,413 --> 01:16:09,807
in, like, a love song,
will say, like,
1754
01:16:09,850 --> 01:16:12,026
"Oh, hold up. Is this a joke?"
1755
01:16:12,070 --> 01:16:14,288
It could be seen
as being insincere.
1756
01:16:14,332 --> 01:16:15,899
In reality,
1757
01:16:15,942 --> 01:16:17,553
it's the thing
that makes them more memorable.
1758
01:16:17,596 --> 01:16:19,816
[CHEERING AND APPLAUSE]
1759
01:16:19,859 --> 01:16:22,470
RUSSELL: The thing of doing
TV shows that we did
1760
01:16:22,514 --> 01:16:25,561
in a period of, like,
"When I'm with You" in France...
1761
01:16:25,604 --> 01:16:27,563
and we did a lot
in Germany at that time...
1762
01:16:27,606 --> 01:16:30,217
I think, you know, we realized
that the appeal of Sparks
1763
01:16:30,261 --> 01:16:32,263
was going to an area that wasn't
1764
01:16:32,306 --> 01:16:34,004
where we wanted to be going.
1765
01:16:34,047 --> 01:16:37,137
And so, um, that was why
we wanted to start having
1766
01:16:37,181 --> 01:16:39,009
a band context again.
1767
01:16:39,052 --> 01:16:41,272
Please, uh, can you smile?
1768
01:16:41,315 --> 01:16:43,317
Uh, cheese.
1769
01:16:43,361 --> 01:16:45,276
Ah. [SPEAKS FRENCH]
1770
01:16:45,319 --> 01:16:47,539
- Merci. Thank you.
- [APPLAUSE]
1771
01:16:47,583 --> 01:16:49,541
[CONTINUES IN FRENCH]
1772
01:16:49,585 --> 01:16:51,456
BOHEM:
My relationship to Sparks,
1773
01:16:51,499 --> 01:16:52,979
like most everything else,
is based on coffee.
1774
01:16:53,023 --> 01:16:55,939
I am an avid, to this day,
coffee drinker.
1775
01:16:55,982 --> 01:16:58,550
And in 1980,
it was pretty rough.
1776
01:16:58,594 --> 01:17:00,596
The one place you could go
in Los Angeles
1777
01:17:00,639 --> 01:17:02,554
was the Farmers Market.
1778
01:17:02,598 --> 01:17:04,948
They had a Belgian waffle stand
with one espresso machine.
1779
01:17:04,991 --> 01:17:06,558
RODDY BOTTUM:
People started to say,
1780
01:17:06,602 --> 01:17:09,213
"I saw the Sparks brothers
1781
01:17:09,256 --> 01:17:10,823
at Farmers Market."
1782
01:17:10,867 --> 01:17:12,564
And we're like, "What?"
1783
01:17:13,826 --> 01:17:16,829
- Small soy cappuccino, please.
- And for you?
1784
01:17:16,873 --> 01:17:18,918
Uh, what's a red-eye?
1785
01:17:18,962 --> 01:17:21,878
So, a coffee with
a shot of espresso.
1786
01:17:21,921 --> 01:17:23,619
- Really?
- Yeah, double caffeine.
1787
01:17:23,662 --> 01:17:25,011
- Wow. I'll try that.
- You want one?
1788
01:17:25,055 --> 01:17:26,534
- Yeah. Yeah.
- Small?
1789
01:17:26,578 --> 01:17:28,319
I'll... I hope I live
to tell the tale.
1790
01:17:28,362 --> 01:17:29,755
BOHEM:
I started noticing
1791
01:17:29,799 --> 01:17:31,496
Ron and Russell
at this other table.
1792
01:17:31,539 --> 01:17:33,411
They were there almost
every day that we were there,
1793
01:17:33,454 --> 01:17:35,326
and then after a while,
we-we started saying
1794
01:17:35,369 --> 01:17:36,980
sort of a grudging hello
to each other.
1795
01:17:37,023 --> 01:17:40,548
RUSSELL: One thing led
to the next, and we, uh,
1796
01:17:40,592 --> 01:17:42,202
poached their entire band,
1797
01:17:42,246 --> 01:17:43,987
and, uh, that was the end
of Bates Motel.
1798
01:17:44,030 --> 01:17:47,468
But it was the start of
the '80s version of Sparks.
1799
01:17:50,994 --> 01:17:52,909
BOHEM:
We went to S.I.R...
1800
01:17:52,952 --> 01:17:54,998
Studio Instrument Rentals...
on Santa Monica
1801
01:17:55,041 --> 01:17:58,001
and we started
rehearsing the songs
1802
01:17:58,044 --> 01:18:00,612
for what eventually was
Whomp That Sucker.
1803
01:18:00,656 --> 01:18:02,527
KENDRICK: It was very
different thanTerminal Jive.
1804
01:18:02,570 --> 01:18:04,790
It was like, this is
a new thing going on.
1805
01:18:04,834 --> 01:18:07,663
I want to say we rehearsed
for six weeks,
1806
01:18:07,706 --> 01:18:09,447
and then we were
on a plane to Munich
1807
01:18:09,490 --> 01:18:11,144
and-and recording the album.
1808
01:18:11,188 --> 01:18:13,016
♪ And, boy, am I sorry...
1809
01:18:14,407 --> 01:18:16,279
All of a sudden,
we're in Musicland Studios.
1810
01:18:16,322 --> 01:18:18,237
It's Giorgio Moroder's studio.
1811
01:18:18,281 --> 01:18:21,023
It's in the basement
of this groovy hotel.
1812
01:18:21,066 --> 01:18:22,677
RON: Sometimes, we just
kind of drift into things,
1813
01:18:22,720 --> 01:18:25,897
but that really was
a conscious decision
1814
01:18:25,941 --> 01:18:28,247
to work with a band.
1815
01:18:28,291 --> 01:18:29,814
KENDRICK:
They were inseparable.
1816
01:18:29,858 --> 01:18:31,511
At that time,
I kind of had this thing.
1817
01:18:31,555 --> 01:18:34,166
They were almost like
a symbiotic thing.
1818
01:18:34,210 --> 01:18:36,125
They were like one
sort of complete form.
1819
01:18:36,168 --> 01:18:37,692
You know, it's
an interesting thing
1820
01:18:37,735 --> 01:18:39,084
about how they wrote
at that time
1821
01:18:39,128 --> 01:18:40,782
that the lyrics came last.
1822
01:18:40,825 --> 01:18:42,784
Russell would kind of do,
1823
01:18:42,827 --> 01:18:46,570
like, nonsense verbiage
just to fill in the space.
1824
01:18:46,613 --> 01:18:48,093
It was kind of incredible.
1825
01:18:48,137 --> 01:18:50,574
Ron would furiously
finish the lyrics,
1826
01:18:50,617 --> 01:18:53,359
literally, it seemed like,
the night before.
1827
01:18:53,403 --> 01:18:55,144
The lyrics would show up,
and we'd go,
1828
01:18:55,187 --> 01:18:57,233
"Wow, I had no idea." [LAUGHS]
1829
01:18:57,276 --> 01:19:00,802
♪ I've got a snapshot
of your Aunt Maureen ♪
1830
01:19:00,845 --> 01:19:03,805
♪ She's 90 and you're a teen
1831
01:19:03,848 --> 01:19:06,372
♪ I'm trying to cheer you up
1832
01:19:06,416 --> 01:19:09,636
♪ Don't be so mean,
don't be so mean... ♪
1833
01:19:12,074 --> 01:19:14,032
"I've got a snapshot
of your Aunt Maureen."
1834
01:19:14,076 --> 01:19:15,860
[CAMERA CLICKS]
1835
01:19:15,904 --> 01:19:19,429
I can't think of a cooler way
to start a pop song than that.
1836
01:19:19,472 --> 01:19:22,432
Who are you?
Who is Aunt Maureen?
1837
01:19:22,475 --> 01:19:24,129
I love that lyric.
1838
01:19:24,173 --> 01:19:25,870
It grabs me.
1839
01:19:25,914 --> 01:19:29,395
♪ Crash, bam,
now you're looking good ♪
1840
01:19:29,439 --> 01:19:32,529
♪ Tip-top,
now you're feeling good ♪
1841
01:19:32,572 --> 01:19:34,487
♪ Once more,
here's your Aunt Maureen ♪
1842
01:19:34,531 --> 01:19:37,795
♪ Don't you feel good?
Don't you feel good? ♪
1843
01:19:37,839 --> 01:19:39,797
RICHARDSON: It was
a funny thing of listening
1844
01:19:39,841 --> 01:19:41,538
to, like, two grown men
being like,
1845
01:19:41,581 --> 01:19:43,366
"Here are tips for teens,"
then sing about, like, zits.
1846
01:19:43,409 --> 01:19:44,802
Like, literally being like,
1847
01:19:44,846 --> 01:19:46,282
"Here's what you do
when you get a zit."
1848
01:19:46,325 --> 01:19:47,936
That's genius.
1849
01:19:47,979 --> 01:19:49,589
Songs are about,
like, two things.
1850
01:19:49,633 --> 01:19:51,026
Will you please fuck me?
1851
01:19:51,069 --> 01:19:52,592
Don't shut my party down.
1852
01:19:52,636 --> 01:19:54,812
♪ Tips for teens,
the kind you don't see... ♪
1853
01:19:54,856 --> 01:19:58,555
ANNOUNCER: Their wacko training
bra and blemish cream sound
1854
01:19:58,598 --> 01:20:02,080
is not typical fare
in the L.A. club scene,
1855
01:20:02,124 --> 01:20:06,171
and after several albums,
brothers Russell and Ron Mael
1856
01:20:06,215 --> 01:20:09,827
have yet to give up
the fight back home.
1857
01:20:09,871 --> 01:20:12,177
RON: The radio station
that really mattered was
1858
01:20:12,221 --> 01:20:15,397
"K-Rock," KROQ,
and they were playing
1859
01:20:15,440 --> 01:20:18,879
a lot of things
that just fit into our style.
1860
01:20:18,922 --> 01:20:20,706
["DON'T GO" BY YAZOO PLAYING]
1861
01:20:20,750 --> 01:20:23,057
I never knew Ron and Russell
to ever make
1862
01:20:23,100 --> 01:20:25,711
a calculated move
to capture an audience.
1863
01:20:25,755 --> 01:20:27,626
Sometimes they hit it
1864
01:20:27,670 --> 01:20:29,890
because they liked something
everybody else liked.
1865
01:20:29,933 --> 01:20:33,067
KROQ played all the-the weird
stuff coming from England:
1866
01:20:33,110 --> 01:20:37,201
The Cure, Depeche Mode,
Duran Duran, New Order.
1867
01:20:37,245 --> 01:20:39,595
SHERMAN-PALLADINO: If you
listened to KROQ, you generally
1868
01:20:39,638 --> 01:20:42,424
didn't listen to other stations.
1869
01:20:42,467 --> 01:20:44,818
Like, it was sort of like
you just listened to KROQ.
1870
01:20:44,861 --> 01:20:46,558
KNEGO:
I remember just falling out
1871
01:20:46,602 --> 01:20:48,734
of my chair, you know,
hearing Sparks
1872
01:20:48,778 --> 01:20:50,432
actually on the radio.
1873
01:20:50,475 --> 01:20:51,955
BOHEM: You know, we're in
Munich, and somebody's calling,
1874
01:20:51,999 --> 01:20:53,087
like, "Hey they're playing
'Tips for Teens'
1875
01:20:53,130 --> 01:20:54,175
on KROQ every 15 minutes."
1876
01:20:54,218 --> 01:20:55,524
I'm like,
1877
01:20:55,567 --> 01:20:57,134
"Can we hear it?"
[LAUGHS]: You know?
1878
01:20:57,178 --> 01:20:59,006
Sparks is extraordinarily
popular in Europe.
1879
01:20:59,049 --> 01:21:01,660
You are very popular
in this country,
1880
01:21:01,704 --> 01:21:03,662
but I think it's safe
to say that perhaps
1881
01:21:03,706 --> 01:21:05,664
you-your reception over there
is wilder
1882
01:21:05,708 --> 01:21:07,753
and more, uh, outgoing
than it is here.
1883
01:21:07,797 --> 01:21:09,755
What are you doing
to correct that situation?
1884
01:21:09,799 --> 01:21:11,627
We're gonna be
concentrating really heavily
1885
01:21:11,670 --> 01:21:13,629
on the States in the next year.
1886
01:21:13,672 --> 01:21:15,457
DICK CLARK: Would you introduce
me to your associates, please?
1887
01:21:15,500 --> 01:21:17,415
RUSSELL:
On bass, Les Bohem.
1888
01:21:17,459 --> 01:21:18,895
BOHEM:
I thinkWhomp That Sucker is
1889
01:21:18,939 --> 01:21:21,245
the Bates Motel backup band,
1890
01:21:21,289 --> 01:21:24,858
andAngst, that is the point
where we were a band.
1891
01:21:24,901 --> 01:21:28,035
STEWART: Angst in My Pants
is a record where culture
1892
01:21:28,078 --> 01:21:30,994
and zeitgeist all come together
in that record.
1893
01:21:31,038 --> 01:21:34,476
We have Ron and Russell.
Who is the older?
1894
01:21:34,519 --> 01:21:36,043
You are.
1895
01:21:36,086 --> 01:21:37,871
[LAUGHTER]
1896
01:21:37,914 --> 01:21:38,872
RICHARDSON:
First of all, best cover.
1897
01:21:38,915 --> 01:21:40,525
That cover totally rules.
1898
01:21:40,569 --> 01:21:42,136
This is how you do
an album cover.
1899
01:21:43,137 --> 01:21:44,573
DJ LANCE ROCK:
I just remember
1900
01:21:44,616 --> 01:21:46,053
looking at that, and it's like,
1901
01:21:46,096 --> 01:21:48,229
there's this guy
in a wedding dress with this,
1902
01:21:48,272 --> 01:21:49,708
you know, weird mustache.
1903
01:21:49,752 --> 01:21:51,406
It was just
such a striking image.
1904
01:21:51,449 --> 01:21:53,190
Even now, it is.
1905
01:21:53,234 --> 01:21:55,149
STEWART: They themselves
are heterosexual, but they had
1906
01:21:55,192 --> 01:21:56,759
a huge gay following.
1907
01:21:56,802 --> 01:21:58,717
Their songs questioned
notions of masculinity.
1908
01:21:58,761 --> 01:22:01,807
They did it in their music,
they did it in their videos,
1909
01:22:01,851 --> 01:22:03,722
and I think they did it
on that album cover.
1910
01:22:03,766 --> 01:22:07,639
I mean, that is in the great
rock and roll tradition of:
1911
01:22:07,683 --> 01:22:10,120
"'F' you, America."
1912
01:22:10,164 --> 01:22:13,428
You know, it's-it's disturbing,
it's unsettling.
1913
01:22:13,471 --> 01:22:15,472
It's not right.
It's not Republican.
1914
01:22:15,516 --> 01:22:17,431
It's not apple pie.
1915
01:22:17,474 --> 01:22:18,998
MADELINE BOCCHIARO: Some dudes
wouldn't even buy the album,
1916
01:22:19,041 --> 01:22:20,695
'cause they didn't want to
bring it to the counter,
1917
01:22:20,738 --> 01:22:22,305
but that's their problem.
1918
01:22:22,349 --> 01:22:24,351
RON: We think it's
important to do something
1919
01:22:24,394 --> 01:22:26,527
that is polarizing.
1920
01:22:26,570 --> 01:22:29,399
We don't feel bad about that
in-in the slightest.
1921
01:22:29,443 --> 01:22:31,401
It kind of encourages us to...
1922
01:22:31,445 --> 01:22:34,709
to push what we're doing
even more.
1923
01:22:34,752 --> 01:22:37,886
["I PREDICT" BY SPARKS PLAYING]
1924
01:22:37,930 --> 01:22:41,368
♪ You're gonna take
a walk in the rain ♪
1925
01:22:41,411 --> 01:22:43,892
♪ And you're gonna get wet
1926
01:22:43,936 --> 01:22:46,242
♪ I predict...
1927
01:22:46,286 --> 01:22:48,331
It's probably one of
the most macho,
1928
01:22:48,375 --> 01:22:51,595
badass Sparks songs
that's out there.
1929
01:22:51,639 --> 01:22:53,902
And the way
they illustrate it is
1930
01:22:53,946 --> 01:22:56,296
with Ron stripping,
1931
01:22:56,339 --> 01:22:59,908
and it's disgusting and creepy
1932
01:22:59,952 --> 01:23:02,128
and delicious.
1933
01:23:02,171 --> 01:23:05,174
♪ Philip don't care,
I predict... ♪
1934
01:23:05,218 --> 01:23:07,785
PUCKRIK: There's Russell being
the pretty boy, matinee idol,
1935
01:23:07,829 --> 01:23:11,398
and Ron, in his own way,
is a matinee idol,
1936
01:23:11,441 --> 01:23:14,879
but he's one from
the dark side of the lens.
1937
01:23:14,923 --> 01:23:16,707
[CROWD CHEERING]
1938
01:23:16,751 --> 01:23:18,622
KAPRANOS: He doesn't fit in any
of the traditional roles
1939
01:23:18,666 --> 01:23:21,103
that you would have in a...
a rock and roll band.
1940
01:23:21,147 --> 01:23:22,626
That's almost
1941
01:23:22,670 --> 01:23:25,194
more powerful than a front man
in many ways.
1942
01:23:25,238 --> 01:23:26,326
Certainly very distracting.
1943
01:23:30,199 --> 01:23:31,766
FLEA: Yeah, it's shtick
and it's showbiz,
1944
01:23:31,809 --> 01:23:34,290
but it's also
1945
01:23:34,334 --> 01:23:36,510
emblematic and symbolic
1946
01:23:36,553 --> 01:23:39,382
of what their true essence
of who they are is.
1947
01:23:39,426 --> 01:23:41,428
BOTTUM:
Who is the star of Sparks?
1948
01:23:41,471 --> 01:23:43,430
Sometimes it's Ron,
sometimes it's Russell.
1949
01:23:43,473 --> 01:23:45,693
Russell is, like,
a sort of traditional singer,
1950
01:23:45,736 --> 01:23:48,043
but Ron was...
yeah, really shined
1951
01:23:48,087 --> 01:23:50,828
as just this sort of strange,
odd presence.
1952
01:23:51,829 --> 01:23:54,528
Thank you. Thank you.
1953
01:23:54,571 --> 01:23:56,051
Tell us, though, about Sparks.
1954
01:23:56,095 --> 01:23:57,835
I know that you're
an underground band.
1955
01:23:57,879 --> 01:23:59,228
What-what are you saying
1956
01:23:59,272 --> 01:24:00,577
to those kids out there
or to adults?
1957
01:24:00,621 --> 01:24:02,057
What-what is Sparks saying?
1958
01:24:02,101 --> 01:24:04,581
Sparks is a rock band
with a point of view.
1959
01:24:04,625 --> 01:24:07,671
The thing that we wish
to convey is-is a sense of joy
1960
01:24:07,715 --> 01:24:09,891
about the music
that we are creating.
1961
01:24:09,934 --> 01:24:12,024
And I think most
of this sense of joy
1962
01:24:12,067 --> 01:24:16,592
is from Russell's singing
and from my lyrical approach.
1963
01:24:16,636 --> 01:24:18,855
Sometimes it's satirical
1964
01:24:18,899 --> 01:24:22,468
but never without some sort
of witty point of view.
1965
01:24:22,511 --> 01:24:25,079
- HOST: Sparks.
- [CHEERING]
1966
01:24:28,474 --> 01:24:30,215
DJ LANCE ROCK:
"Cool Places" is a big hit.
1967
01:24:30,258 --> 01:24:31,259
I think that's the first time
1968
01:24:31,303 --> 01:24:32,782
some of my contemporaries
1969
01:24:32,826 --> 01:24:34,567
became aware of Sparks.
1970
01:24:34,610 --> 01:24:36,090
- Our time has come.
- Okay.
1971
01:24:36,134 --> 01:24:38,092
- And here we are.
- We've arrived.
1972
01:24:38,136 --> 01:24:40,834
I hope you like our new
single, "Cool Places."
1973
01:24:42,053 --> 01:24:45,360
♪ I wanna go to cool places
with you ♪
1974
01:24:45,404 --> 01:24:48,102
♪ I wanna take you
cool places tonight... ♪
1975
01:24:48,146 --> 01:24:50,539
RUSSELL:
The video for that song was
1976
01:24:50,583 --> 01:24:53,238
really played a lot on MTV
in the States,
1977
01:24:53,281 --> 01:24:55,762
and so it was really reaching
1978
01:24:55,805 --> 01:24:57,851
a new audience that perhaps
we wouldn't have had.
1979
01:24:57,894 --> 01:24:59,983
♪ A minimum of chitchat...
1980
01:25:00,027 --> 01:25:04,466
WIEDLIN: It's hard to overstate
how important MTV was
1981
01:25:04,510 --> 01:25:07,382
to the music business
at that time.
1982
01:25:07,426 --> 01:25:11,865
And the "Cool Places" video
is so wacky and so fun.
1983
01:25:11,908 --> 01:25:13,736
♪ I gotta tell you...
1984
01:25:13,780 --> 01:25:14,955
CHRISTI HAYDON: I guess
I would've been in high school
1985
01:25:14,998 --> 01:25:16,522
when "Cool Places" came out.
1986
01:25:16,565 --> 01:25:19,394
And I saw the video on MTV.
1987
01:25:19,438 --> 01:25:21,353
And I knew exactly
who Jane Wiedlin was
1988
01:25:21,396 --> 01:25:22,832
'cause I loved the Go-Go's.
1989
01:25:22,876 --> 01:25:24,399
But I thought,
"Who are these two guys
1990
01:25:24,443 --> 01:25:26,532
with my Go-Go?" [LAUGHS]
1991
01:25:26,575 --> 01:25:28,577
♪ And they could tell
we're cooler now... ♪
1992
01:25:28,621 --> 01:25:31,363
SCOTT AUKERMAN: I remember
the video very, very distinctly
1993
01:25:31,406 --> 01:25:33,321
for the dancing in it,
1994
01:25:33,365 --> 01:25:34,931
which was very '80s dancing,
1995
01:25:34,975 --> 01:25:38,457
which was just basic swaying.
1996
01:25:38,500 --> 01:25:40,241
Has anybody traced back
that dance?
1997
01:25:40,285 --> 01:25:43,157
People call it
the Molly Ringwald.
1998
01:25:43,201 --> 01:25:46,291
WIEDLIN: No, no, no. I think
we thought of it, personally.
1999
01:25:46,334 --> 01:25:47,988
When we saw Molly Ringwald
doing it,
2000
01:25:48,031 --> 01:25:50,469
we were like, "Oh, my God,
she stole our dance."
2001
01:25:50,512 --> 01:25:53,689
♪ I wanna go, I wanna go...
2002
01:25:53,733 --> 01:25:56,127
How did you fall in
with this company?
2003
01:25:56,170 --> 01:25:58,999
- We met on a love boat cruise.
- [LAUGHS]
2004
01:25:59,042 --> 01:26:01,132
No, no, seriously.
How did the...
2005
01:26:01,175 --> 01:26:02,829
Did you get a telephone call?
Did you see her?
2006
01:26:02,872 --> 01:26:04,700
What...
Who made the first call?
2007
01:26:04,744 --> 01:26:06,789
Oh, it was mutual admiration
2008
01:26:06,833 --> 01:26:10,141
for, uh, each other's
respective groups
2009
01:26:10,184 --> 01:26:12,926
and then mutual, uh, admiration
2010
01:26:12,969 --> 01:26:14,884
for each other's bodies.
2011
01:26:14,928 --> 01:26:16,885
- [LAUGHTER]
- Would you stop that?
2012
01:26:16,929 --> 01:26:19,714
I knew, if I let you go long
enough, I'd be in trouble.
2013
01:26:19,758 --> 01:26:22,152
WIEDLIN: As you can imagine, I
was madly in love with Russell
2014
01:26:22,195 --> 01:26:26,678
all through my teenage-hood,
and then I got to meet him, and
2015
01:26:26,721 --> 01:26:29,246
I basically threw myself at him.
2016
01:26:29,289 --> 01:26:31,204
Let's just put it that way.
And, um...
2017
01:26:31,248 --> 01:26:35,687
so we had sort of this brief,
brief romance
2018
01:26:35,730 --> 01:26:39,212
that, uh, didn't ever really
get deep or anything,
2019
01:26:39,256 --> 01:26:42,172
and it was fun, and I think,
really, a lot of it for me
2020
01:26:42,215 --> 01:26:44,261
was getting to fulfill
a fantasy.
2021
01:26:44,304 --> 01:26:46,567
You know, one thing led
to the next, you know.
2022
01:26:46,611 --> 01:26:48,178
You're now getting
a little insight
2023
01:26:48,221 --> 01:26:49,875
into how things happen
in the music world.
2024
01:26:49,918 --> 01:26:51,355
You think it's all just
kind of...
2025
01:26:51,398 --> 01:26:52,834
people come out
with albums and record
2026
01:26:52,878 --> 01:26:54,140
and it's all lovey-dovey.
2027
01:26:54,184 --> 01:26:55,533
You know, this...
this is how...
2028
01:26:55,576 --> 01:26:56,664
We thought it was
limos and ludes,
2029
01:26:56,708 --> 01:26:58,231
but it's really sex, huh?
2030
01:26:58,275 --> 01:27:00,233
- This is how it happens, yes.
- It's really sex.
2031
01:27:00,277 --> 01:27:01,843
WIEDLIN: I was so in love with
Russell 'cause he was so cute,
2032
01:27:01,887 --> 01:27:04,106
so I chose beauty
over brains, but...
2033
01:27:04,150 --> 01:27:05,978
and I'm not saying
Russell's not smart
2034
01:27:06,021 --> 01:27:08,676
or Ron's not beautiful...
don't get me wrong...
2035
01:27:08,720 --> 01:27:11,636
but, like, now, like,
I think of Ron, and I'm like...
2036
01:27:11,679 --> 01:27:13,159
[SWOONING]:
"Oh, Ron Mael."
2037
01:27:13,203 --> 01:27:14,856
Like, I mean, he just wrote
2038
01:27:14,900 --> 01:27:16,815
some of my favorite songs
I've ever heard.
2039
01:27:16,858 --> 01:27:18,860
["I WISH I LOOKED A LITTLE
BETTER" BY SPARKS PLAYING]
2040
01:27:18,904 --> 01:27:21,123
KAPRANOS:
There is this continual theme
2041
01:27:21,167 --> 01:27:22,560
through Ron's lyrics
2042
01:27:22,603 --> 01:27:24,083
in Sparks songs
2043
01:27:24,126 --> 01:27:26,259
of somehow
not being good enough.
2044
01:27:26,303 --> 01:27:27,913
VERA HEGARTY:
Sparks do that thing...
2045
01:27:27,956 --> 01:27:29,393
it's like, they have
a really poignant theme,
2046
01:27:29,436 --> 01:27:33,179
and they're addressing
something quite serious,
2047
01:27:33,223 --> 01:27:35,137
but it's done in
a kind of a playful,
2048
01:27:35,181 --> 01:27:36,791
slightly throwaway way.
2049
01:27:36,835 --> 01:27:38,402
And then you kind of
think about it and you go,
2050
01:27:38,445 --> 01:27:41,231
"You know, it really
is quite sad."
2051
01:27:41,274 --> 01:27:42,667
♪ Turn out the light,
yeah, the light ♪
2052
01:27:42,710 --> 01:27:43,972
♪ And I might have a chance
2053
01:27:44,016 --> 01:27:45,626
♪ I guess I look
slightly worse ♪
2054
01:27:45,670 --> 01:27:47,106
♪ Than the Elephant Man
2055
01:27:47,149 --> 01:27:48,760
♪ Whoa-oh-oh
2056
01:27:48,803 --> 01:27:51,676
♪ I wish I looked
a little better... ♪
2057
01:27:53,243 --> 01:27:56,724
BOTTUM: All of the songs come
from the perspective of Ron,
2058
01:27:56,768 --> 01:27:59,466
and, you know,
he's socially awkward
2059
01:27:59,510 --> 01:28:02,295
and sort of, you know, like,
runs into issues,
2060
01:28:02,339 --> 01:28:04,950
which is what makes the band
so interesting to me, too,
2061
01:28:04,993 --> 01:28:09,259
'cause the face of Sparks and
the voice of Sparks is Russell,
2062
01:28:09,302 --> 01:28:10,825
and Russell is so handsome
2063
01:28:10,869 --> 01:28:12,479
and, you know,
kind of a ladies' man,
2064
01:28:12,523 --> 01:28:14,873
but he's singing these
really fucked-up, like,
2065
01:28:14,916 --> 01:28:17,527
"can't get the girl" lyrics.
2066
01:28:17,570 --> 01:28:18,832
JONES:
It didn't occur to me,
2067
01:28:18,876 --> 01:28:21,835
but being brothers, at the time,
2068
01:28:21,879 --> 01:28:23,315
when he was the cutie-pie
2069
01:28:23,359 --> 01:28:25,274
and all the teenagers loved him,
2070
01:28:25,317 --> 01:28:28,712
did he get jealous that he
wasn't getting any attention?
2071
01:28:28,755 --> 01:28:31,845
I mean, that would've done
me in if I was his brother.
2072
01:28:33,804 --> 01:28:35,196
CONGLETON:
He's celebrating all the things
2073
01:28:35,240 --> 01:28:37,373
that awkward kids feel.
2074
01:28:37,416 --> 01:28:38,678
Ultimately,
at the end of the day,
2075
01:28:38,722 --> 01:28:39,853
he's making you feel less alone.
2076
01:28:39,897 --> 01:28:42,595
♪ Dress for success
2077
01:28:42,639 --> 01:28:45,337
♪ Oh, that's what they said
2078
01:28:45,381 --> 01:28:47,513
♪ Oh, give me some clothes
2079
01:28:47,557 --> 01:28:50,516
♪ To slap over my head
2080
01:28:50,560 --> 01:28:54,172
♪ I went to Balboa Island
and laid in the sand ♪
2081
01:28:54,215 --> 01:28:57,088
♪ I may be ugly as sin,
but at least now I'm tan ♪
2082
01:28:57,131 --> 01:28:58,785
♪ Whoa-oh-oh
2083
01:28:58,829 --> 01:29:01,614
♪ I wish I looked
a little better... ♪
2084
01:29:01,658 --> 01:29:03,660
KENDRICK:
We were headlining,
2085
01:29:03,703 --> 01:29:05,618
like, the Greek Theatre
by the end,
2086
01:29:05,662 --> 01:29:08,055
which is, like,
a 5,000-seat venue.
2087
01:29:08,099 --> 01:29:09,492
You know, it was big.
2088
01:29:10,362 --> 01:29:11,755
STEWART:
There they are, playing
2089
01:29:11,798 --> 01:29:13,322
multiple nights at the Whisky,
2090
01:29:13,365 --> 01:29:14,801
and then larger venues
2091
01:29:14,845 --> 01:29:16,499
like the Country Club
or the Palace
2092
01:29:16,542 --> 01:29:18,196
and even headlining
the Hollywood Bowl.
2093
01:29:18,239 --> 01:29:19,328
YANKOVIC:
I thought they were one of
2094
01:29:19,371 --> 01:29:20,894
the biggest bands in the world,
2095
01:29:20,938 --> 01:29:22,766
because if you lived in L.A.
in the early '80s,
2096
01:29:22,809 --> 01:29:24,985
that was pretty much
the impression you got.
2097
01:29:25,029 --> 01:29:27,814
♪
2098
01:29:27,858 --> 01:29:29,381
KNEGO:
I was happy for them
2099
01:29:29,425 --> 01:29:30,861
because they deserved
the success.
2100
01:29:30,904 --> 01:29:33,167
♪ Let's go.
2101
01:29:33,211 --> 01:29:34,865
[CHEERING AND APPLAUSE]
2102
01:29:34,908 --> 01:29:37,084
And then sadly, you know,
with Pulling Rabbits,
2103
01:29:37,128 --> 01:29:39,217
you know, everything started
going south.
2104
01:29:41,262 --> 01:29:43,917
I can't believe what I'm seeing.
2105
01:29:43,961 --> 01:29:46,224
Me, either. [LAUGHS]
2106
01:29:47,443 --> 01:29:49,532
♪ That is what I had intended
2107
01:29:49,575 --> 01:29:51,360
♪ Pretending to be drunk...
2108
01:29:51,403 --> 01:29:54,798
SILVERBLATT: Along comes Sparks
with a swing song
2109
01:29:54,841 --> 01:29:58,105
called
"Pretending to Be Drunk."
2110
01:29:58,149 --> 01:30:00,151
♪ You think I am
weak and feeble ♪
2111
01:30:00,194 --> 01:30:02,327
♪ You think I'm a bore...
2112
01:30:02,371 --> 01:30:04,808
Doesn't sound like
a Sparks song...
2113
01:30:04,851 --> 01:30:07,376
♪ Soon I'm out the door...
2114
01:30:07,419 --> 01:30:10,117
...but it doesn't sound like
any other kind of song, either.
2115
01:30:10,161 --> 01:30:13,730
It sounds like
an alpine glockenspiel song.
2116
01:30:13,773 --> 01:30:15,384
It's crazy.
2117
01:30:15,427 --> 01:30:17,951
♪ Pretending to be drunk...
2118
01:30:17,995 --> 01:30:19,952
RON: We really do enjoy
those periods
2119
01:30:19,996 --> 01:30:22,041
when we do have
commercial success,
2120
01:30:22,085 --> 01:30:23,608
but we wanted to do something
2121
01:30:23,652 --> 01:30:26,045
that was not
as easily pigeonholed,
2122
01:30:26,089 --> 01:30:28,134
obviously not wanting to commit
2123
01:30:28,178 --> 01:30:30,398
commercial suicide
at the same time.
2124
01:30:30,441 --> 01:30:32,443
♪ Pretending
to be drunk... ♪
2125
01:30:32,487 --> 01:30:36,882
In America,
Sparks had a hard time.
2126
01:30:36,926 --> 01:30:38,449
They were a bit much
for most people.
2127
01:30:38,493 --> 01:30:40,538
DJ LANCE ROCK: What can I say?
I'm an American,
2128
01:30:40,582 --> 01:30:42,410
so I don't want
to criticize too much,
2129
01:30:42,453 --> 01:30:44,499
but, you know,
Sparks are a lot of things
2130
01:30:44,542 --> 01:30:47,719
that many Americans
don't seem to care for.
2131
01:30:47,763 --> 01:30:50,026
People were immediately,
you know, taken aback.
2132
01:30:50,069 --> 01:30:51,375
They just thought
they were weird
2133
01:30:51,419 --> 01:30:52,855
or that they were a novelty.
2134
01:30:52,898 --> 01:30:55,901
♪ That is what I had intended
2135
01:30:55,945 --> 01:30:58,600
♪ Pretending to be drunk...
2136
01:30:58,643 --> 01:31:00,253
ROSS: I felt like
their career was over
2137
01:31:00,297 --> 01:31:01,864
more often than any other band.
2138
01:31:01,907 --> 01:31:03,735
You know, it felt to me like,
"I love this band.
2139
01:31:03,779 --> 01:31:05,128
"Oh, they're gone.
2140
01:31:05,171 --> 01:31:06,651
Oh, never mind.
Oh, they're back."
2141
01:31:06,695 --> 01:31:08,566
[LAUGHS]
Some music from two young men
2142
01:31:08,610 --> 01:31:10,655
who had a host of hits
when I was but a...
2143
01:31:10,699 --> 01:31:12,265
but a child disc jockey.
2144
01:31:12,309 --> 01:31:13,832
I'm pleased to say
they're back to delight us
2145
01:31:13,876 --> 01:31:15,399
with a record
entitled "Change."
2146
01:31:15,443 --> 01:31:17,357
Ladies and gentlemen, Sparks.
2147
01:31:17,401 --> 01:31:19,534
- [APPLAUSE]
- ["CHANGE" PLAYING]
2148
01:31:19,577 --> 01:31:21,579
WIEDLIN:
They just keep doing it,
2149
01:31:21,623 --> 01:31:23,755
and they never let
anything stop them.
2150
01:31:23,799 --> 01:31:25,757
Whether they're popular
or not popular,
2151
01:31:25,801 --> 01:31:28,107
it just doesn't seem
to matter to them,
2152
01:31:28,151 --> 01:31:30,153
and I love that about them.
2153
01:31:30,196 --> 01:31:32,242
ROSS: They don't want to stick
with just one thing.
2154
01:31:32,285 --> 01:31:34,810
You know, and what an audience
seems to want is:
2155
01:31:34,853 --> 01:31:36,376
"This is what this band does,
2156
01:31:36,420 --> 01:31:38,248
and this is what they'll
continue doing for me."
2157
01:31:38,291 --> 01:31:39,945
And if you change too much,
I think it upsets people,
2158
01:31:39,989 --> 01:31:41,512
but in their case,
they needed to.
2159
01:31:41,556 --> 01:31:44,254
And I kind of love them
all the more for that.
2160
01:31:44,297 --> 01:31:47,170
♪ The rain is falling down...
2161
01:31:47,213 --> 01:31:48,998
RON:
People, a lot of the time,
2162
01:31:49,041 --> 01:31:51,957
they think of our image
as being maybe a bit eccentric
2163
01:31:52,001 --> 01:31:53,829
and they don't think
that it's dealing
2164
01:31:53,872 --> 01:31:55,526
with-with sort of real things,
2165
01:31:55,570 --> 01:31:57,223
and we really think
that by and large...
2166
01:31:57,267 --> 01:31:58,964
and I emphasize
"by and large"...
2167
01:31:59,008 --> 01:31:59,922
we're dealing
2168
01:31:59,965 --> 01:32:01,358
with real situations.
2169
01:32:01,401 --> 01:32:03,273
♪ But wait,
there's a rainbow... ♪
2170
01:32:03,316 --> 01:32:06,232
STEWART:
"Change" was this, um,
2171
01:32:06,276 --> 01:32:07,538
radical departure for them.
2172
01:32:07,582 --> 01:32:09,714
HEGARTY:
It was kind of more muted,
2173
01:32:09,758 --> 01:32:11,455
and it was sort of darker.
2174
01:32:11,499 --> 01:32:13,892
STEWART: You couldn't make
a less commercial record
2175
01:32:13,936 --> 01:32:15,764
or release it as a single.
2176
01:32:15,807 --> 01:32:19,288
And I remember how much
I loved it at the time
2177
01:32:19,331 --> 01:32:20,681
because of those qualities.
2178
01:32:20,724 --> 01:32:22,378
♪ Change
2179
01:32:22,421 --> 01:32:27,209
♪ Every dog is gonna
have his day ♪
2180
01:32:27,252 --> 01:32:29,080
♪ Change
2181
01:32:29,124 --> 01:32:33,694
♪ Every loser's gonna
have his way ♪
2182
01:32:33,737 --> 01:32:35,522
♪ Change
2183
01:32:35,565 --> 01:32:38,960
♪ I don't care
what other people say... ♪
2184
01:32:39,003 --> 01:32:41,005
BOHEM:
There's this ability...
2185
01:32:41,049 --> 01:32:42,877
so few people have it...
it's like...
2186
01:32:42,920 --> 01:32:46,010
you say very little,
you're funny as could be,
2187
01:32:46,054 --> 01:32:48,665
and all of a sudden,
it-it's devastating.
2188
01:32:48,709 --> 01:32:51,494
♪ It's a complete
waste of time... ♪
2189
01:32:51,538 --> 01:32:53,931
DEAN MENTA: When I was touring
with them, they would do that.
2190
01:32:53,975 --> 01:32:55,542
And I always thought, "Wow,
2191
01:32:55,585 --> 01:32:57,500
that's a super poignant song,"
2192
01:32:57,544 --> 01:32:59,328
considering their ups and downs
2193
01:32:59,371 --> 01:33:01,722
in the recording industry.
2194
01:33:01,765 --> 01:33:02,766
RUSSELL:
We were given
2195
01:33:02,810 --> 01:33:04,594
the unenviable task
2196
01:33:04,638 --> 01:33:07,684
of being on a show on British TV
2197
01:33:07,728 --> 01:33:11,732
and our record label didn't
want to finance a video.
2198
01:33:11,775 --> 01:33:14,909
If there's any other
local bands out there
2199
01:33:14,952 --> 01:33:19,304
that would like this same
sort of video, uh, treatment,
2200
01:33:19,348 --> 01:33:22,525
they can contact me
through London Records.
2201
01:33:22,569 --> 01:33:24,701
♪ Change, change, change
2202
01:33:24,745 --> 01:33:28,879
♪ I don't care what
other people say... ♪
2203
01:33:28,923 --> 01:33:30,751
RUSSELL:
We hoped it would embarrass
2204
01:33:30,794 --> 01:33:32,840
our record label enough to,
2205
01:33:32,883 --> 01:33:36,713
the next time around, maybe,
uh, fling to do a video for us.
2206
01:33:36,757 --> 01:33:39,281
♪ I got places
that I've gotta be... ♪
2207
01:33:39,324 --> 01:33:41,065
RON:
We billed the record company
2208
01:33:41,109 --> 01:33:43,111
for the two pounds
to buy the, uh, board
2209
01:33:43,154 --> 01:33:45,417
that we made the TV out of, too.
2210
01:33:45,461 --> 01:33:47,202
Still are waiting
to get paid back for that.
2211
01:33:47,245 --> 01:33:48,246
ANNOUNCER:
Ladies and gentlemen,
2212
01:33:48,290 --> 01:33:51,641
please welcome Sparks.
2213
01:33:51,685 --> 01:33:54,209
[CHEERING AND APPLAUSE]
2214
01:33:54,252 --> 01:33:56,211
RUSSELL:
We really liked that song,
2215
01:33:56,254 --> 01:33:59,649
but unfortunately, it didn't
have the commercial success
2216
01:33:59,693 --> 01:34:02,260
that they had hoped for,
so there was one time
2217
01:34:02,304 --> 01:34:04,698
where the head of that label,
he just said, you know,
2218
01:34:04,741 --> 01:34:06,525
"You guys really should write
2219
01:34:06,569 --> 01:34:08,789
some music that
you can dance to."
2220
01:34:08,832 --> 01:34:11,095
♪ Music that you can dance to
2221
01:34:11,139 --> 01:34:12,619
♪ That and that alone
2222
01:34:12,662 --> 01:34:15,360
♪ Is enough for me
2223
01:34:16,535 --> 01:34:19,016
♪ Stark naked modern music
2224
01:34:19,060 --> 01:34:21,583
♪ Hotter than your mama
will ever be... ♪
2225
01:34:21,627 --> 01:34:23,803
RUSSELL: "Hotter than
your mama will ever be."
2226
01:34:23,846 --> 01:34:26,196
I mean, every song I write,
I try to make it hotter
2227
01:34:26,240 --> 01:34:27,894
than your mama will ever be.
2228
01:34:27,937 --> 01:34:29,939
♪ Music that
you can dance to ♪
2229
01:34:29,983 --> 01:34:31,724
♪ Cracks you
like a whip ♪
2230
01:34:31,767 --> 01:34:34,378
♪ But it feels so right...
2231
01:34:34,422 --> 01:34:38,078
RON: The lyrics sound like
it's trying to be kind of
2232
01:34:38,121 --> 01:34:40,863
nasty and oversimplistic,
but I swear to God,
2233
01:34:40,907 --> 01:34:42,952
they were... they were done
with total sincerity.
2234
01:34:42,996 --> 01:34:44,562
♪ So what's it gonna be?
2235
01:34:44,606 --> 01:34:46,477
♪ Gonna be, gonna be
2236
01:34:46,521 --> 01:34:49,176
-♪ A symphony tonight
-♪ Symphony tonight...
2237
01:34:49,219 --> 01:34:51,787
STEWART: It's a perfectly
crafted sellout song,
2238
01:34:51,831 --> 01:34:55,965
except it's not and it's
mocking that idea, and...
2239
01:34:56,009 --> 01:34:58,141
"Here's your fucking
dance pop record."
2240
01:34:58,185 --> 01:35:00,709
♪ Music that you can dance to
2241
01:35:00,753 --> 01:35:05,627
♪ Every single beat
where it ought to be... ♪
2242
01:35:05,671 --> 01:35:07,498
RUSSELL: The record executive
at that company
2243
01:35:07,542 --> 01:35:10,023
took it the wrong way,
and he wasn't
2244
01:35:10,066 --> 01:35:13,287
so happy, so we, uh,
severed our relationship
2245
01:35:13,330 --> 01:35:14,244
with that label.
2246
01:35:14,288 --> 01:35:17,247
♪
2247
01:35:17,291 --> 01:35:19,685
Fuck the guy
from London Records, right?
2248
01:35:21,034 --> 01:35:23,340
♪ Music that
you can dance to... ♪
2249
01:35:23,384 --> 01:35:26,082
SCHWARTZMAN: I told Ron and
Russell that I loved that song,
2250
01:35:26,126 --> 01:35:27,736
and they said something
in the email like,
2251
01:35:27,780 --> 01:35:30,217
"Yes, you're in
the age bracket for that song.
2252
01:35:30,260 --> 01:35:33,220
"That was in a really cheesy
'80s BMX movie
2253
01:35:33,263 --> 01:35:35,352
calledRad,
if you've ever seen it."
2254
01:35:35,396 --> 01:35:37,267
And I wrote back,
"Yes, I've seen it.
2255
01:35:37,311 --> 01:35:39,313
My mom was in it."
2256
01:35:41,054 --> 01:35:43,186
[SIGHS]
2257
01:35:43,230 --> 01:35:44,579
♪
2258
01:35:44,622 --> 01:35:46,276
KNEGO:
Their base of music, KROQ,
2259
01:35:46,320 --> 01:35:48,191
which was such a great
support to them
2260
01:35:48,235 --> 01:35:49,932
in the early '80s,
was moving on.
2261
01:35:49,976 --> 01:35:51,760
They wanted bands
like Red Hot Chili Peppers
2262
01:35:51,804 --> 01:35:54,502
and more of a angry,
edgier sound.
2263
01:35:54,545 --> 01:35:57,070
It seemed like the Top 40 era,
2264
01:35:57,113 --> 01:35:59,463
that, uh, wasn't happening
at that point.
2265
01:35:59,507 --> 01:36:02,858
STEWART: I bought
into Interior Design
2266
01:36:02,902 --> 01:36:05,687
and would've put out any
Sparks record for any reason.
2267
01:36:05,731 --> 01:36:07,558
Unfortunately, at that time,
2268
01:36:07,602 --> 01:36:10,257
they had less relevance
2269
01:36:10,300 --> 01:36:12,128
than they ever had
2270
01:36:12,172 --> 01:36:13,913
to what was going on
in the market.
2271
01:36:13,956 --> 01:36:15,566
So we got to put the record out,
2272
01:36:15,610 --> 01:36:17,568
but we weren't able
to do much for it.
2273
01:36:17,612 --> 01:36:21,310
KNEGO: You know, they weren't,
like, 20-somethings anymore.
2274
01:36:21,354 --> 01:36:24,400
It was a very, very hard time
commercially for them,
2275
01:36:24,444 --> 01:36:26,315
but creatively,
they never stopped.
2276
01:36:26,359 --> 01:36:27,882
They were always working
on something.
2277
01:36:27,926 --> 01:36:31,233
Is there anybody out there
at all right now?
2278
01:36:33,366 --> 01:36:35,585
DICK CLARK:
Let's take a look and see
2279
01:36:35,629 --> 01:36:37,762
what's going on out there
in California.
2280
01:36:37,805 --> 01:36:39,502
They're bringing it in in style.
2281
01:36:41,417 --> 01:36:43,898
HAYDON:
They recorded every day,
2282
01:36:43,942 --> 01:36:45,204
sometimes seven days a week.
2283
01:36:45,247 --> 01:36:47,162
They were in their home studio
2284
01:36:47,206 --> 01:36:49,686
just coming up
with brilliant material
2285
01:36:49,730 --> 01:36:52,428
that wasn't being signed,
and it wasn't necessarily
2286
01:36:52,472 --> 01:36:54,909
going to culminate
into an album.
2287
01:36:54,953 --> 01:36:59,000
CLARK:
1990. Happy New Year!
2288
01:36:59,044 --> 01:37:02,003
HAYDON: Because of
the lack of a record deal
2289
01:37:02,047 --> 01:37:06,399
and any kind of record company
financial support, you know,
2290
01:37:06,442 --> 01:37:09,445
there comes a point where
the well is getting a bit dry.
2291
01:37:09,489 --> 01:37:11,665
It seemed, like,
really imperative
2292
01:37:11,708 --> 01:37:15,408
that Russell learn how
to be the engineer.
2293
01:37:17,714 --> 01:37:21,327
CLARK: It's 1991
onNew Year's Rockin' Eve.
2294
01:37:23,024 --> 01:37:25,070
HAYDON:
Had they have been two guys
2295
01:37:25,113 --> 01:37:26,462
that did drugs and all of that
2296
01:37:26,506 --> 01:37:28,595
and blew their money
in the past,
2297
01:37:28,638 --> 01:37:30,118
they wouldn't have been able
2298
01:37:30,162 --> 01:37:31,859
to pay their bills
during that time.
2299
01:37:31,903 --> 01:37:35,210
It's a testament to them
in every aspect, you know,
2300
01:37:35,254 --> 01:37:37,169
to how they had... had,
2301
01:37:37,212 --> 01:37:39,867
um, you know,
saved for that rainy day.
2302
01:37:39,911 --> 01:37:41,608
So they were able to have,
you know,
2303
01:37:41,651 --> 01:37:44,002
almost six years of rainy days.
2304
01:37:44,045 --> 01:37:47,222
CLARK:
Now, 1992. Happy New Year.
2305
01:37:49,181 --> 01:37:50,791
HAYDON [CRYING]:
Like, I get emotional
2306
01:37:50,835 --> 01:37:52,706
when I think about that time.
2307
01:37:57,754 --> 01:38:01,671
Every day... like I said,
sometimes seven days a week...
2308
01:38:05,675 --> 01:38:09,549
...from morning till night,
they were working so hard.
2309
01:38:11,377 --> 01:38:14,902
And they never...
they never tried to,
2310
01:38:14,946 --> 01:38:17,078
you know, do their version
of being commercial.
2311
01:38:17,122 --> 01:38:21,690
They never tried to...
to dumb it down, water it down.
2312
01:38:21,734 --> 01:38:26,086
They stayed so true
to exactly...
2313
01:38:26,130 --> 01:38:28,393
what they've always been.
2314
01:38:28,436 --> 01:38:30,961
CLARK:
Five seconds to 1993.
2315
01:38:31,004 --> 01:38:34,529
Happy New Year's
Rockin' Eve '93.
2316
01:38:34,573 --> 01:38:37,881
RUSSELL: The one thing that
I'm proudest of with Sparks
2317
01:38:37,924 --> 01:38:40,927
is just our determination
and resilience.
2318
01:38:40,971 --> 01:38:43,799
For instance, we devoted
six years of our lives
2319
01:38:43,843 --> 01:38:45,584
to work on
a movie musical project
2320
01:38:45,627 --> 01:38:48,021
that was called
Mai, the Psychic Girl.
2321
01:38:48,065 --> 01:38:50,763
It was based on
a Japanese manga.
2322
01:38:50,806 --> 01:38:52,678
We were really up
for the challenge of that
2323
01:38:52,721 --> 01:38:53,940
because we-we thought
2324
01:38:53,984 --> 01:38:56,290
that this could be a way also
2325
01:38:56,334 --> 01:38:59,380
for Sparks to channel
what we were doing
2326
01:38:59,424 --> 01:39:02,122
but in another form yet again.
2327
01:39:02,166 --> 01:39:05,604
And Tim Burton was signed on
early on to direct it.
2328
01:39:07,649 --> 01:39:10,304
We did miss performing live
during that period,
2329
01:39:10,348 --> 01:39:12,263
but I think,
in the back of our heads,
2330
01:39:12,306 --> 01:39:14,308
we were also thinking
a lot of people
2331
01:39:14,352 --> 01:39:16,267
are gonna see
this Tim Burton movie
2332
01:39:16,310 --> 01:39:21,750
and it will obviously help
the cause for Sparks.
2333
01:39:21,794 --> 01:39:25,580
HAYDON:
When we got word that Tim was
2334
01:39:25,624 --> 01:39:27,756
bowing out of
Mai, the Psychic Girl,
2335
01:39:27,800 --> 01:39:28,844
there were tears,
2336
01:39:28,888 --> 01:39:30,977
and...
[CHUCKLES]
2337
01:39:31,021 --> 01:39:34,894
And I-I-I cry easily,
but Ron and Russell don't,
2338
01:39:34,938 --> 01:39:36,940
and there were tears.
2339
01:39:38,593 --> 01:39:41,292
RON: We kind of had put all
of our chips on that one thing,
2340
01:39:41,335 --> 01:39:44,686
and-and maybe that was
the wrong thing to do.
2341
01:39:46,253 --> 01:39:49,648
RUSSELL: Somehow, you know,
you muster up the enthusiasm
2342
01:39:49,691 --> 01:39:51,432
to-to continue on.
2343
01:39:51,476 --> 01:39:53,826
I think sometimes
it's the setbacks
2344
01:39:53,869 --> 01:39:57,308
that-that actually
make you stronger.
2345
01:39:57,351 --> 01:39:59,614
And sometimes,
as a result of those things,
2346
01:39:59,658 --> 01:40:04,097
you end up doing something
even better.
2347
01:40:04,141 --> 01:40:08,058
CLARK:
Happy 1994.
2348
01:40:08,101 --> 01:40:09,537
KAPRANOS:
I remember going to Fopp
2349
01:40:09,581 --> 01:40:11,104
on Byres Road in Glasgow
2350
01:40:11,148 --> 01:40:14,020
and, um, this new
Sparks album was out.
2351
01:40:14,064 --> 01:40:15,848
Gratuitous Sax
& Senseless Violins.
2352
01:40:15,891 --> 01:40:17,763
I was thinking, like, "Oh, wow.
2353
01:40:17,806 --> 01:40:19,417
So this band still exists?"
2354
01:40:19,460 --> 01:40:23,028
♪ No, no use
in lecturing them ♪
2355
01:40:23,072 --> 01:40:24,987
♪ Or in threatening them
2356
01:40:25,030 --> 01:40:27,424
♪ They will just say,
"Who are you?" ♪
2357
01:40:27,467 --> 01:40:29,774
GLORIA HUNNIFORD:
That unusual duo from the '70s
2358
01:40:29,817 --> 01:40:31,515
are back and still brilliant.
2359
01:40:31,558 --> 01:40:33,647
Bloody hell, they look amazing.
2360
01:40:33,691 --> 01:40:34,953
Have they not aged?
2361
01:40:34,997 --> 01:40:36,302
HUNNIFORD:
It's like a time warp.
2362
01:40:36,346 --> 01:40:37,477
The pair of you look
exactly the same.
2363
01:40:37,521 --> 01:40:39,740
Well, thank you.
What can I say?
2364
01:40:39,784 --> 01:40:41,177
So, after a six-year gap,
2365
01:40:41,220 --> 01:40:43,048
they came back with a vengeance.
2366
01:40:43,092 --> 01:40:46,356
♪ No, no use
in taking their time ♪
2367
01:40:46,399 --> 01:40:48,358
♪ Or in wasting two dimes
2368
01:40:48,401 --> 01:40:51,709
♪ On a call to God knows who
2369
01:40:51,752 --> 01:40:54,103
♪ When all you feel
is the rain ♪
2370
01:40:54,146 --> 01:40:56,148
♪ And it's hard to be vain
2371
01:40:56,192 --> 01:40:59,543
♪ When no person looks at you
2372
01:40:59,586 --> 01:41:04,417
♪ So just be gracious
and wait in the queue ♪
2373
01:41:06,463 --> 01:41:10,380
♪ So when do I get
to sing "My Way"? ♪
2374
01:41:10,423 --> 01:41:13,209
♪ When do I get to feel
like Sinatra... ♪
2375
01:41:13,252 --> 01:41:15,472
Oh, my God, "When Do I Get
to Sing 'My Way.'"
2376
01:41:15,515 --> 01:41:17,387
Oh, I love it.
2377
01:41:17,430 --> 01:41:19,302
It absolutely was
the perfect song
2378
01:41:19,345 --> 01:41:22,087
for this big comeback.
2379
01:41:22,131 --> 01:41:24,829
RUSSELL: Our German manager
at the time said,
2380
01:41:24,872 --> 01:41:27,658
"Ja, ja, this is ein Hit."
2381
01:41:27,701 --> 01:41:30,530
So he approached BMG Records
in Germany,
2382
01:41:30,574 --> 01:41:32,576
and they said,
"Ja, you are right.
2383
01:41:32,619 --> 01:41:34,404
Das ist ein Hit."
2384
01:41:34,447 --> 01:41:38,103
♪ Don't see,
is my smiley face still on? ♪
2385
01:41:38,147 --> 01:41:39,974
HAYDON:
The video did showcase them
2386
01:41:40,018 --> 01:41:42,107
as these glamorous guys
2387
01:41:42,151 --> 01:41:44,892
who at least one of them
has it all,
2388
01:41:44,936 --> 01:41:46,503
but it's coming
out of a time when
2389
01:41:46,546 --> 01:41:48,679
they didn't have it all.
2390
01:41:48,722 --> 01:41:50,420
- I feel wonderful.
- [LAUGHTER]
2391
01:41:50,463 --> 01:41:52,465
♪ When do I get to feel
like Sinatra felt? ♪
2392
01:41:52,509 --> 01:41:55,425
KNEGO: Sparks singing "When
Do I Get to Sing 'My Way'"
2393
01:41:55,468 --> 01:41:57,383
is, like,
the ultimate statement.
2394
01:41:57,427 --> 01:41:58,863
It's like, "Yeah, okay,
you liked it
2395
01:41:58,906 --> 01:42:00,604
"when Frank Sinatra did it.
2396
01:42:00,647 --> 01:42:02,475
"You liked it when Sid Vicious
did it, you know?
2397
01:42:02,519 --> 01:42:04,651
Why can't we do it?"
2398
01:42:04,695 --> 01:42:08,177
♪ When do I get to feel
like Sid Vicious felt? ♪
2399
01:42:08,220 --> 01:42:10,353
KAPRANOS: The irony is I don't
think Ron or Russell want
2400
01:42:10,396 --> 01:42:12,398
to be either Sinatra
2401
01:42:12,442 --> 01:42:14,052
or Sid Vicious.
2402
01:42:14,096 --> 01:42:17,751
They just want to feel
as famous.
2403
01:42:17,795 --> 01:42:20,319
♪ They'll introduce me
2404
01:42:20,363 --> 01:42:22,800
♪ Hello, hello
2405
01:42:22,842 --> 01:42:24,105
RUSSELL:
We were being perceived
2406
01:42:24,148 --> 01:42:25,541
as a brand-new band now.
2407
01:42:25,584 --> 01:42:27,412
♪ Women seduce me...
2408
01:42:27,456 --> 01:42:29,284
RON:
Some of the radio stations
2409
01:42:29,327 --> 01:42:32,896
kind of accused us
of ripping off bands that,
2410
01:42:32,939 --> 01:42:36,943
in all modesty, were influenced
by what we had done,
2411
01:42:36,987 --> 01:42:39,772
and it was kind of humiliating.
2412
01:42:39,816 --> 01:42:42,123
Backstage at
a Pet Shop Boys concert,
2413
01:42:42,166 --> 01:42:43,689
while I was promoting
their records,
2414
01:42:43,733 --> 01:42:45,822
I approached Neil Tennant,
and I said,
2415
01:42:45,865 --> 01:42:48,346
"Why don't you guys ever
acknowledge Sparks?"
2416
01:42:48,390 --> 01:42:50,957
And he just gave me a, you
know, sort of a scornful look
2417
01:42:51,001 --> 01:42:54,439
and said, "You're very
naughty," and walked away.
2418
01:42:54,483 --> 01:42:55,832
MORRIS:
It was weird coming back...
2419
01:42:55,875 --> 01:42:57,181
GILBERT:
Yeah.
2420
01:42:57,225 --> 01:42:59,618
...to find something
you invented.
2421
01:42:59,662 --> 01:43:02,230
[LAUGHING]: Yeah.
And you've left behind.
2422
01:43:02,273 --> 01:43:04,014
KNEGO:
We had a top ten with
2423
01:43:04,057 --> 01:43:05,407
"When Do I Get to Sing 'My Way'"
2424
01:43:05,450 --> 01:43:07,365
and another couple
charting singles
2425
01:43:07,409 --> 01:43:09,193
off of that album as well.
2426
01:43:09,237 --> 01:43:11,674
So Sparks really sort of made
a name for themselves
2427
01:43:11,717 --> 01:43:13,502
in the clubs,
which was really cool.
2428
01:43:13,545 --> 01:43:16,896
RON: It became the number one
airplay song in Germany.
2429
01:43:16,940 --> 01:43:19,899
RUSSELL:
Thank you, uh, especially to...
2430
01:43:19,943 --> 01:43:23,076
everyone in Germany
for making this past year
2431
01:43:23,120 --> 01:43:24,904
so super special for Sparks.
2432
01:43:24,948 --> 01:43:27,211
So thank you very much.
2433
01:43:27,255 --> 01:43:29,909
[CHEERING]
2434
01:43:29,953 --> 01:43:31,998
[WIND WHISTLING]
2435
01:43:33,870 --> 01:43:36,089
[THUNDER CRASHES]
2436
01:43:36,133 --> 01:43:39,571
♪
2437
01:43:39,615 --> 01:43:41,573
RON: If we had
stayed strong,
2438
01:43:41,617 --> 01:43:43,140
we probably wouldn't have done
2439
01:43:43,184 --> 01:43:45,838
thePlagiarism album.
2440
01:43:45,882 --> 01:43:48,014
Plagiarism was
something that was
2441
01:43:48,058 --> 01:43:50,626
recommended from outside forces.
2442
01:43:52,280 --> 01:43:53,759
It's a retrospective
of their own career,
2443
01:43:53,803 --> 01:43:55,457
but they've done it
2444
01:43:55,500 --> 01:43:59,852
as grandiose, orchestral,
bombastic versions.
2445
01:43:59,896 --> 01:44:02,246
RON:
It was felt that since we had
2446
01:44:02,290 --> 01:44:04,727
reached a whole new audience,
2447
01:44:04,770 --> 01:44:07,208
maybe there's a group
of young people
2448
01:44:07,251 --> 01:44:09,558
that haven't heard
earlier stuff,
2449
01:44:09,601 --> 01:44:12,778
and we reluctantly
went along with that.
2450
01:44:12,822 --> 01:44:15,128
PUCKRIK: They're not interested
in looking backwards.
2451
01:44:15,172 --> 01:44:17,392
They're always on a quest.
They're always on a mission
2452
01:44:17,435 --> 01:44:21,526
to further their
musical perversions.
2453
01:44:21,570 --> 01:44:23,093
RON:
One of the reasons why
2454
01:44:23,136 --> 01:44:24,963
we've been able to go on
for so long
2455
01:44:25,007 --> 01:44:27,270
is because we're always kind of
looking to the next album
2456
01:44:27,314 --> 01:44:29,794
and not even bothering
with the past.
2457
01:44:29,838 --> 01:44:32,014
And so when we get back
to Los Angeles,
2458
01:44:32,057 --> 01:44:34,408
that's the first thing
we're gonna be working on
2459
01:44:34,451 --> 01:44:36,888
is an album of new material.
2460
01:44:36,932 --> 01:44:38,977
♪
2461
01:44:41,066 --> 01:44:45,027
SILVERBLATT: Sparks is
the quintessence of a band
2462
01:44:45,070 --> 01:44:48,683
that starts and starts again
and starts again.
2463
01:44:48,726 --> 01:44:52,426
No success is
big enough for them.
2464
01:44:52,469 --> 01:44:55,385
No failure is
small enough for them.
2465
01:44:55,429 --> 01:44:58,040
They can always move on.
2466
01:44:58,083 --> 01:45:00,738
["BALLS" BY SPARKS PLAYING]
2467
01:45:00,782 --> 01:45:02,392
TAMMY GLOVER:
Every single album,
2468
01:45:02,436 --> 01:45:06,091
we think, is going to be
the breakthrough album
2469
01:45:06,135 --> 01:45:08,833
where, you know, the world
finally gets wise.
2470
01:45:08,877 --> 01:45:10,357
♪ To succeed are balls
2471
01:45:10,400 --> 01:45:13,229
♪ All you need are balls...
2472
01:45:13,273 --> 01:45:14,796
RUSSELL:
Maybe there's something
2473
01:45:14,839 --> 01:45:17,189
to that lyric that resonates
2474
01:45:17,233 --> 01:45:19,235
with-with Sparks.
2475
01:45:23,979 --> 01:45:25,894
- [LAUGHTER]
- And I turn it over to Ron,
2476
01:45:25,937 --> 01:45:27,852
- who would like to...
- Such a... I'm just moved.
2477
01:45:27,896 --> 01:45:30,594
♪ Balls, all you need
are balls ♪
2478
01:45:30,638 --> 01:45:32,770
♪ To succeed are balls
2479
01:45:32,814 --> 01:45:34,946
♪ All you need are...
2480
01:45:34,990 --> 01:45:38,341
GLOVER:
Balls didn't break through.
2481
01:45:38,385 --> 01:45:42,040
But every time that happens,
Ron reinvents everything.
2482
01:45:42,084 --> 01:45:44,129
It's just in Sparks's DNA
2483
01:45:44,173 --> 01:45:47,350
to rip up the rule book
and start over.
2484
01:45:47,394 --> 01:45:49,483
KNEGO: They've reinvented
themselves several times,
2485
01:45:49,526 --> 01:45:51,180
but Lil' Beethovenwas, I think,
2486
01:45:51,223 --> 01:45:53,661
phase three in the Sparks genre.
2487
01:45:53,704 --> 01:45:55,706
MAIDA: It's almost
as if they erased
2488
01:45:55,750 --> 01:45:58,883
the chalkboard, you know,
and started over again.
2489
01:45:58,927 --> 01:46:02,670
♪ I am the rhythm thief
2490
01:46:02,713 --> 01:46:05,673
♪ Say goodbye to the beat
2491
01:46:05,716 --> 01:46:09,111
♪ I am the rhythm thief
2492
01:46:09,154 --> 01:46:12,114
♪ Auf Wiedersehen to the beat
2493
01:46:12,157 --> 01:46:13,724
♪ Oh, no...
2494
01:46:13,768 --> 01:46:15,335
PALLADINO: It was
a really interesting variation
2495
01:46:15,378 --> 01:46:17,075
on everything
they had done before.
2496
01:46:17,119 --> 01:46:19,643
It was almost like a...
you're combining
2497
01:46:19,687 --> 01:46:22,298
Steve Reich and his repetition
2498
01:46:22,342 --> 01:46:25,082
with Sparks and their comedy.
2499
01:46:25,126 --> 01:46:28,477
♪ You'll never get it back,
you'll never get it back ♪
2500
01:46:28,521 --> 01:46:31,741
♪ The rhythm thief has got it
and you'll never get it back ♪
2501
01:46:31,785 --> 01:46:34,962
♪ You'll never get it back,
you'll never get it back ♪
2502
01:46:35,005 --> 01:46:36,572
♪ The rhythm thief has got it
2503
01:46:36,616 --> 01:46:38,531
♪ Lights out, Ibiza...
2504
01:46:38,574 --> 01:46:40,097
There's all these
group vocals and chants
2505
01:46:40,141 --> 01:46:41,664
that are almost like raps,
2506
01:46:41,708 --> 01:46:44,841
kind of neoclassical feel
to the music.
2507
01:46:44,885 --> 01:46:47,975
-♪ I am the rhythm thief
-♪ Rhythm, rhythm thief ♪
2508
01:46:48,018 --> 01:46:51,326
♪ Auf Wiedersehen
to the beat. ♪
2509
01:46:52,545 --> 01:46:54,938
STEWART: What they remind me of
with that album
2510
01:46:54,982 --> 01:46:55,939
is how important it is
2511
01:46:55,983 --> 01:46:57,854
to stay on your toes
2512
01:46:57,898 --> 01:47:00,248
and be alert
and be challenged as a listener
2513
01:47:00,291 --> 01:47:03,382
and to move away from
nostalgia and comfort food.
2514
01:47:03,425 --> 01:47:06,646
♪ I married myself
2515
01:47:06,689 --> 01:47:08,865
♪ I'm very happy together
2516
01:47:08,909 --> 01:47:11,825
♪ Long, long walks
on the beach ♪
2517
01:47:11,868 --> 01:47:15,306
♪ Lovely times
2518
01:47:15,350 --> 01:47:18,745
♪ I married myself
2519
01:47:18,788 --> 01:47:21,748
♪ I'm very happy together
2520
01:47:21,791 --> 01:47:23,967
♪ Candlelight dinners home
2521
01:47:24,011 --> 01:47:26,274
♪ Lovely times...
2522
01:47:26,317 --> 01:47:27,841
KNEGO:
They weren't trying to be
2523
01:47:27,884 --> 01:47:29,233
something to please
a record company.
2524
01:47:29,277 --> 01:47:30,234
They were just taking
2525
01:47:30,278 --> 01:47:32,106
all their creative juices
2526
01:47:32,149 --> 01:47:33,977
and putting it into
something that they loved.
2527
01:47:34,021 --> 01:47:36,023
It's that ability and desire
2528
01:47:36,066 --> 01:47:37,764
to take risks
2529
01:47:37,807 --> 01:47:40,549
and to mess things up
that makes them Sparks.
2530
01:47:41,681 --> 01:47:43,987
RUSSELL:
I think we spent over a year
2531
01:47:44,031 --> 01:47:47,295
recordingLil' Beethoven,
not even knowing for sure
2532
01:47:47,338 --> 01:47:49,689
what the end product
was going to be.
2533
01:47:49,732 --> 01:47:51,255
And I think, when you kind of
2534
01:47:51,299 --> 01:47:53,388
approach an album
in that sort of way,
2535
01:47:53,432 --> 01:47:55,477
we tend to spend
a lot of time on it.
2536
01:48:00,482 --> 01:48:02,919
It's you.
2537
01:48:04,791 --> 01:48:06,706
RON:
The albumLil' Beethoven,
2538
01:48:06,749 --> 01:48:10,449
in particular, was one where
the studio was essential.
2539
01:48:11,711 --> 01:48:15,410
Just creatively, you know,
we feel so energized
2540
01:48:15,454 --> 01:48:17,499
by working in this kind of way
2541
01:48:17,543 --> 01:48:19,414
where we don't
have to feel foolish
2542
01:48:19,458 --> 01:48:20,937
if we do something foolish.
2543
01:48:20,981 --> 01:48:24,201
And we do quite a bit
of foolish things,
2544
01:48:24,245 --> 01:48:26,638
but you'll never hear about 'em.
2545
01:48:29,118 --> 01:48:30,946
RUSSELL:
Not being dependent
2546
01:48:30,990 --> 01:48:33,949
on massive budgets
and record companies
2547
01:48:33,993 --> 01:48:35,864
became a really liberating thing
2548
01:48:35,908 --> 01:48:37,431
that now we could record
2549
01:48:37,475 --> 01:48:40,695
on our own,
and then we just hand that off
2550
01:48:40,739 --> 01:48:42,131
to a... to a label,
2551
01:48:42,175 --> 01:48:44,351
and then, uh,
take it or leave it.
2552
01:48:44,394 --> 01:48:46,919
[PLAYING
"MY BABY'S TAKING ME HOME"]
2553
01:48:50,096 --> 01:48:53,273
♪ Home, my baby's
taking me home ♪
2554
01:48:53,316 --> 01:48:55,275
♪ My baby's taking me home
2555
01:48:55,318 --> 01:48:58,452
♪ My baby's
taking me home ♪
2556
01:48:59,409 --> 01:49:01,063
♪ Home...
2557
01:49:01,107 --> 01:49:02,630
RON:
"My Baby's Taking Me Home" is
2558
01:49:02,674 --> 01:49:04,806
one of my favorites
off of that album.
2559
01:49:04,850 --> 01:49:06,504
It's an emotional song
2560
01:49:06,547 --> 01:49:08,288
that has
lots of bumps and curves
2561
01:49:08,331 --> 01:49:10,638
and poetic images would have,
2562
01:49:10,682 --> 01:49:12,248
but it's only
pretty much saying,
2563
01:49:12,292 --> 01:49:13,989
"Home, my baby's
taking me home."
2564
01:49:14,033 --> 01:49:15,817
♪ My baby's taking me home
2565
01:49:15,861 --> 01:49:18,298
♪ My baby's
taking me home ♪
2566
01:49:18,341 --> 01:49:20,996
♪ My baby's taking me home
2567
01:49:21,040 --> 01:49:23,390
♪ My baby's
taking me home ♪
2568
01:49:23,433 --> 01:49:25,871
♪ My baby's taking me home
2569
01:49:25,914 --> 01:49:28,351
♪ My baby's
taking me home ♪
2570
01:49:28,395 --> 01:49:30,745
♪ My baby's taking me home...
2571
01:49:30,789 --> 01:49:33,705
GLOVER: It was amazing to me
that you could repeat a lyric
2572
01:49:33,748 --> 01:49:36,577
and have it mean
something different
2573
01:49:36,621 --> 01:49:38,100
as the narrator
2574
01:49:38,144 --> 01:49:41,930
starts saying it
over and over and over again.
2575
01:49:41,974 --> 01:49:44,237
It was almost like
an acting technique.
2576
01:49:44,280 --> 01:49:45,978
♪ My baby's taking me home
2577
01:49:46,021 --> 01:49:48,371
♪ My baby's
taking me home ♪
2578
01:49:48,415 --> 01:49:50,852
♪ My baby's taking me home
2579
01:49:50,896 --> 01:49:53,420
♪ My baby's
taking me home ♪
2580
01:49:53,463 --> 01:49:55,814
♪ My baby's taking me home
2581
01:49:55,857 --> 01:49:58,338
♪ My baby's
taking me home ♪
2582
01:49:58,381 --> 01:50:00,166
Sing it!
2583
01:50:00,209 --> 01:50:03,691
♪ Home, my baby's
taking me home ♪
2584
01:50:03,735 --> 01:50:05,563
♪ My baby's taking me home
2585
01:50:05,606 --> 01:50:08,348
♪ My baby's
taking me home ♪
2586
01:50:08,391 --> 01:50:10,829
♪ My baby's taking me home...
2587
01:50:10,872 --> 01:50:12,178
BEN HOUSE:
I can remember playing
2588
01:50:12,221 --> 01:50:13,614
"My Baby's Taking Me Home"
2589
01:50:13,658 --> 01:50:14,789
for a friend of mine,
2590
01:50:14,833 --> 01:50:16,922
and as the song keeps going,
2591
01:50:16,965 --> 01:50:19,011
her eyes just got
wider and wider.
2592
01:50:19,054 --> 01:50:20,839
♪ My baby's taking me home...
2593
01:50:20,882 --> 01:50:22,623
Hearing it live, oh, man,
2594
01:50:22,667 --> 01:50:24,973
that is a hypnotic,
great, great song.
2595
01:50:25,017 --> 01:50:28,541
♪ Home, my baby's
taking me home ♪
2596
01:50:28,585 --> 01:50:30,717
♪ My baby's taking me home
2597
01:50:30,761 --> 01:50:33,546
♪ My baby's
taking me home ♪
2598
01:50:33,590 --> 01:50:36,375
♪ My baby's taking me home
2599
01:50:36,418 --> 01:50:38,420
♪ My baby's
taking me home ♪
2600
01:50:38,464 --> 01:50:41,380
♪ My baby's taking me home
2601
01:50:41,423 --> 01:50:43,382
♪ My baby's
taking me home... ♪
2602
01:50:43,425 --> 01:50:45,210
HARRIS: There were a lot
of critics out there
2603
01:50:45,253 --> 01:50:48,430
that wanted to be able to like
Sparks and wanted to be able
2604
01:50:48,474 --> 01:50:50,258
to rave about them
and, you know,
2605
01:50:50,302 --> 01:50:52,347
run around shouting about them,
2606
01:50:52,391 --> 01:50:53,827
and Lil' Beethoven
2607
01:50:53,871 --> 01:50:55,524
enabled them to do that.
2608
01:50:55,568 --> 01:50:57,788
[CHEERING AND APPLAUSE]
2609
01:50:57,831 --> 01:51:00,878
With the Lil' Beethoven
album, the last album,
2610
01:51:00,921 --> 01:51:04,272
we-we were able to do something
2611
01:51:04,316 --> 01:51:06,492
that woke up people
in a certain way,
2612
01:51:06,535 --> 01:51:08,625
and we wanted to go
to the next step
2613
01:51:08,668 --> 01:51:11,366
with the
Hello Young Lovers album,
2614
01:51:11,410 --> 01:51:13,891
and-and we think
we've accomplished that.
2615
01:51:13,934 --> 01:51:15,980
[PLAYING LOUD,
DISTORTED CHORDS]
2616
01:51:18,156 --> 01:51:19,548
HARRIS:
It was just a celebration.
2617
01:51:19,592 --> 01:51:20,941
This is fantastic.
2618
01:51:20,985 --> 01:51:23,944
We can just go mad now,
and we did.
2619
01:51:23,988 --> 01:51:27,687
♪ All I do now is dick around
2620
01:51:27,731 --> 01:51:30,429
♪ All I do now
is dick around ♪
2621
01:51:30,472 --> 01:51:32,126
♪ Dick around
2622
01:51:33,301 --> 01:51:34,651
♪ Think about the recent past
2623
01:51:34,694 --> 01:51:36,130
♪ The cynics said
too good to last ♪
2624
01:51:36,174 --> 01:51:37,654
♪ But she could change
her mind again ♪
2625
01:51:37,697 --> 01:51:38,785
♪ Oh, no, this movie
said "the end" ♪
2626
01:51:38,829 --> 01:51:40,221
♪ So I will go about my day
2627
01:51:40,265 --> 01:51:41,658
♪ Just dicking round,
my métier ♪
2628
01:51:41,701 --> 01:51:42,920
♪ And realize
that life is change ♪
2629
01:51:42,963 --> 01:51:45,096
♪ And furniture to rearrange
2630
01:51:45,139 --> 01:51:47,054
-♪ Why the hell, why the hell
-♪ Why the hell, why the hell
2631
01:51:47,098 --> 01:51:48,665
♪ Why the hell
did she desert you ♪
2632
01:51:48,708 --> 01:51:50,797
♪ When you were
so influential? ♪
2633
01:51:50,841 --> 01:51:52,712
-♪ Why the hell, why the hell
-♪ Why the hell, why the hell
2634
01:51:52,756 --> 01:51:54,322
♪ Why did she desert you
2635
01:51:54,366 --> 01:51:55,802
♪ When you told her
she was so essential? ♪
2636
01:51:55,846 --> 01:51:57,325
♪ Pull yourself up
off the ground ♪
2637
01:51:57,369 --> 01:51:59,023
♪ You've started liking
being down... ♪
2638
01:51:59,066 --> 01:52:00,241
ANTONOFF: If you took
a "Dancing in the Dark"
2639
01:52:00,285 --> 01:52:02,722
or a "Heroes" by Bowie
2640
01:52:02,766 --> 01:52:05,029
or a... you know,
any of the great ABBA songs,
2641
01:52:05,072 --> 01:52:07,118
"Dick Around" rips
right through that
2642
01:52:07,161 --> 01:52:08,380
and just gives you
2643
01:52:08,423 --> 01:52:09,773
the underbelly of a pop song.
2644
01:52:09,816 --> 01:52:12,732
A 600-vocal-tracked
2645
01:52:12,776 --> 01:52:14,734
orchestral arrangement
of vocal shouting,
2646
01:52:14,778 --> 01:52:17,650
"All I do now is dick around,"
right in your face,
2647
01:52:17,694 --> 01:52:19,696
it never lets you in slowly,
2648
01:52:19,739 --> 01:52:20,958
and it's just the saddest thing
2649
01:52:21,001 --> 01:52:22,089
in the world.
2650
01:52:22,133 --> 01:52:23,351
And it's so fucking catchy.
2651
01:52:24,570 --> 01:52:29,008
♪ All I do now is dick around,
dick around ♪
2652
01:52:29,052 --> 01:52:31,054
♪ Then I got
the late-night call ♪
2653
01:52:31,097 --> 01:52:33,883
♪ I really miss you after all,
I had a fling and that is all ♪
2654
01:52:33,926 --> 01:52:35,406
♪ A stupid fling,
then hit the wall... ♪
2655
01:52:35,449 --> 01:52:38,104
"Dick Around" is, uh,
incredibly demanding
2656
01:52:38,148 --> 01:52:40,193
on me as a... as a vocalist.
2657
01:52:40,237 --> 01:52:42,761
PALLADINO:
Ron has used Russell's voice
2658
01:52:42,805 --> 01:52:44,763
as an instrument
2659
01:52:44,807 --> 01:52:46,547
as much as he's used
that keyboard.
2660
01:52:46,591 --> 01:52:49,376
♪ All I do now
2661
01:52:49,420 --> 01:52:51,204
♪ Is dick around...
2662
01:52:51,248 --> 01:52:52,336
ANTONOFF:
If I was producing that song,
2663
01:52:52,379 --> 01:52:54,207
like a fucking idiot,
2664
01:52:54,251 --> 01:52:55,948
I'd, like, put a beat on it
or something
2665
01:52:55,992 --> 01:52:57,645
and be like,
"Oh, my God, this is amazing.
2666
01:52:57,689 --> 01:52:59,082
"Everyone's gonna feel
so sad about this,
2667
01:52:59,125 --> 01:53:01,519
and we're gonna sneak it
into them."
2668
01:53:01,562 --> 01:53:04,043
And then Sparks would have
been like, "No, you idiot."
2669
01:53:04,087 --> 01:53:05,958
[LAUGHS]:
Like...
2670
01:53:06,002 --> 01:53:08,004
"Let Queen do that."
2671
01:53:08,047 --> 01:53:09,396
♪ All I do is dick around...
2672
01:53:09,440 --> 01:53:11,355
If you don't like this,
we don't care.
2673
01:53:11,398 --> 01:53:13,531
I think that that...
you know, that's kind of
2674
01:53:13,574 --> 01:53:17,578
the essence of what
popular music should be.
2675
01:53:17,622 --> 01:53:21,278
♪ But all I do now
is dick around ♪
2676
01:53:21,321 --> 01:53:23,802
♪ All I do now is dick around
2677
01:53:23,846 --> 01:53:26,413
♪ Dick around.
2678
01:53:26,457 --> 01:53:28,459
- [SONG ENDS]
- [CHEERING AND APPLAUSE]
2679
01:53:28,502 --> 01:53:31,157
HARRIS: Ron and Russell
toured comprehensively,
2680
01:53:31,201 --> 01:53:34,160
and they played the album
in its entirety, and then
2681
01:53:34,204 --> 01:53:36,554
the second set was
greatest hits;
2682
01:53:36,597 --> 01:53:38,599
so, then withExotic
Creatures of the Deep,
2683
01:53:38,643 --> 01:53:40,253
we were thinking about,
2684
01:53:40,297 --> 01:53:41,646
well, how do you
perform this live?
2685
01:53:41,689 --> 01:53:43,909
You know, what would
be the concept?
2686
01:53:43,953 --> 01:53:47,043
And it was just a really
sort of seemingly stupid idea...
2687
01:53:47,086 --> 01:53:50,698
what if you perform every album
followed by the new album?
2688
01:53:53,571 --> 01:53:55,878
RON: Sue Harris came up
with the idea
2689
01:53:55,921 --> 01:53:58,532
to do 21 of our albums...
2690
01:53:58,576 --> 01:54:02,798
the entire catalog...
one each night live.
2691
01:54:02,841 --> 01:54:05,888
By our nature, we said,
"Sounds great."
2692
01:54:05,931 --> 01:54:09,282
And then we realized
the enormity of the task.
2693
01:54:09,326 --> 01:54:11,676
♪
2694
01:54:13,634 --> 01:54:15,462
STEVIE NISTOR:
Russell said,
2695
01:54:15,506 --> 01:54:17,508
"We're thinking about playing
every song we've ever written
2696
01:54:17,551 --> 01:54:19,162
night after night in London.
What do you think?"
2697
01:54:19,205 --> 01:54:22,339
And I just laughed.
It's just impossible.
2698
01:54:22,382 --> 01:54:23,949
And Ron said,
"We're even gonna do
2699
01:54:23,993 --> 01:54:25,559
the B-sides for the encores."
2700
01:54:25,603 --> 01:54:27,039
And I said,
"How many songs is that?"
2701
01:54:27,083 --> 01:54:28,083
RUSSELL:
There were approximately,
2702
01:54:28,126 --> 01:54:31,347
I don't know, I think 270 songs.
2703
01:54:31,390 --> 01:54:34,741
I think the final total was...
it-it was closer to 300.
2704
01:54:34,785 --> 01:54:37,527
♪
2705
01:54:37,570 --> 01:54:39,007
HARRIS:
They rehearsed for...
2706
01:54:39,050 --> 01:54:42,401
I think it was
four months or so in-in L.A.
2707
01:54:42,445 --> 01:54:45,448
♪ Let the monkey drive,
we can have our fun... ♪
2708
01:54:45,491 --> 01:54:47,363
NISTOR:
It was like boot camp.
2709
01:54:47,406 --> 01:54:48,538
We start with
the first record, right?
2710
01:54:48,581 --> 01:54:51,149
And, well, okay,
once you rehearse
2711
01:54:51,193 --> 01:54:52,977
the first record for the day,
2712
01:54:53,021 --> 01:54:54,587
it sounds pretty good,
and by the end of the week,
2713
01:54:54,631 --> 01:54:56,589
you feel great about
the first record.
2714
01:54:56,633 --> 01:54:57,677
Well, now it's time to start
rehearsing the second record.
2715
01:54:57,721 --> 01:54:59,331
Okay, well, here's a new thing.
2716
01:54:59,375 --> 01:55:00,898
It's starting to sound good
by the end of the week.
2717
01:55:00,942 --> 01:55:02,682
Well, by the end of week two,
2718
01:55:02,726 --> 01:55:04,380
you've got the second record
sounding pretty good
2719
01:55:04,423 --> 01:55:06,338
and you've completely
forgotten the first record.
2720
01:55:06,382 --> 01:55:08,384
♪ Let him take the wheel
2721
01:55:08,427 --> 01:55:10,255
♪ Neath the setting sun...
2722
01:55:10,299 --> 01:55:12,649
Each day, the-the problem
gets compounded
2723
01:55:12,692 --> 01:55:15,826
about retaining everything
that you had been rehearsing,
2724
01:55:15,870 --> 01:55:18,524
and it just starts
compounding and compounding.
2725
01:55:18,568 --> 01:55:21,223
As you get to album
number 18, you go,
2726
01:55:21,266 --> 01:55:24,052
"Does anybody have a clue
about Big Beat?"
2727
01:55:24,095 --> 01:55:25,923
♪ While we have our fun...
2728
01:55:25,967 --> 01:55:28,143
It was a test of short-
and long-term memory.
2729
01:55:28,186 --> 01:55:29,666
I wouldn't advise it.
2730
01:55:29,709 --> 01:55:31,929
♪ Uh-huh.
2731
01:55:31,973 --> 01:55:34,279
♪
2732
01:55:34,323 --> 01:55:35,628
ROSS:
It was...
2733
01:55:35,672 --> 01:55:37,021
almost foolish.
2734
01:55:38,718 --> 01:55:41,243
And the day after we finished
recording the album,
2735
01:55:41,286 --> 01:55:44,115
we started in rehearsing,
so it's been four full months
2736
01:55:44,159 --> 01:55:47,031
of, uh... of work
to get to this point.
2737
01:55:47,075 --> 01:55:48,903
♪ Receiving favors
for what I am ♪
2738
01:55:48,946 --> 01:55:52,384
♪ Seems rather strange,
but I understand ♪
2739
01:55:52,428 --> 01:55:53,995
♪ 'Cause I am likable...
2740
01:55:54,038 --> 01:55:55,953
BERMAN:
The middle of the night,
2741
01:55:55,997 --> 01:55:58,173
and I woke up, I'm thinking,
"I have to go see every show."
2742
01:55:58,216 --> 01:55:59,174
It was almost like
2743
01:55:59,217 --> 01:56:00,827
God came to me and said,
2744
01:56:00,871 --> 01:56:02,873
"Tosh, you must see
every show."
2745
01:56:02,917 --> 01:56:05,006
♪ I'm just likable
2746
01:56:05,049 --> 01:56:07,095
♪ Night and day...
2747
01:56:07,138 --> 01:56:08,357
RHODES:
Let's face it,
2748
01:56:08,400 --> 01:56:09,836
you got to be completely crazy
2749
01:56:09,880 --> 01:56:11,621
to do 21 shows in a row
2750
01:56:11,664 --> 01:56:14,580
with a different album
every single night.
2751
01:56:14,624 --> 01:56:16,974
It's insane, but it's fantastic.
2752
01:56:17,018 --> 01:56:19,194
Number one!
2753
01:56:19,237 --> 01:56:20,978
Number two.
2754
01:56:21,022 --> 01:56:22,719
Number three.
2755
01:56:22,762 --> 01:56:24,242
ROSS: They treated every
single one of their albums
2756
01:56:24,286 --> 01:56:25,765
with the same level of respect
2757
01:56:25,809 --> 01:56:27,419
and the same
attention to detail,
2758
01:56:27,463 --> 01:56:29,333
regardless of how well it did
2759
01:56:29,377 --> 01:56:30,987
commercially
or critically at the time.
2760
01:56:31,031 --> 01:56:33,990
♪ I'm just likable
night and day... ♪
2761
01:56:34,034 --> 01:56:36,950
HARRIS:
So it went on for a month.
2762
01:56:36,993 --> 01:56:38,690
But it was fun.
It was just exhausting.
2763
01:56:38,734 --> 01:56:40,475
I think everyone lost
a stone in weight
2764
01:56:40,518 --> 01:56:42,868
in the first week
and couldn't eat.
2765
01:56:42,912 --> 01:56:44,740
It was nerve-racking.
2766
01:56:47,177 --> 01:56:48,439
♪ Ah...
2767
01:56:48,483 --> 01:56:50,050
NISTOR:
It was hard.
2768
01:56:50,093 --> 01:56:51,747
Any time I was feeling
sorry for myself,
2769
01:56:51,790 --> 01:56:53,009
I would look at Ron doing
2770
01:56:53,053 --> 01:56:54,750
a sliding knee dive
across the stage
2771
01:56:54,793 --> 01:56:56,621
and Russell clapping
his hands above his head,
2772
01:56:56,665 --> 01:56:58,275
running like a crazy man,
2773
01:56:58,319 --> 01:56:59,581
and I'd just think,
"Yeah, I can do this."
2774
01:57:01,191 --> 01:57:04,325
ROSS: I admire their stamina,
but I admire
2775
01:57:04,368 --> 01:57:05,848
anyone who went to see 'em
21 nights.
2776
01:57:05,891 --> 01:57:08,242
I admire your stamina more.
[LAUGHS]
2777
01:57:08,285 --> 01:57:10,940
♪ Just so you like me...
2778
01:57:10,984 --> 01:57:12,855
HARRIS: It's just
the most ridiculous thing.
2779
01:57:12,898 --> 01:57:15,423
It was preposterous,
and it was extraordinary,
2780
01:57:15,466 --> 01:57:16,859
but it was a triumph.
2781
01:57:18,556 --> 01:57:21,995
KAPRANOS: There's often
this, uh, terrible fate
2782
01:57:22,038 --> 01:57:26,564
which awaits bands either when
they keep going for too long
2783
01:57:26,608 --> 01:57:28,914
or when they re-form.
2784
01:57:28,958 --> 01:57:30,829
And that terrible fate
is becoming
2785
01:57:30,873 --> 01:57:33,397
a tribute to the band
that you once were.
2786
01:57:34,529 --> 01:57:36,096
DJ LANCE ROCK: They could
rest on their laurels
2787
01:57:36,139 --> 01:57:37,662
and just come out and just
do some sort of, like,
2788
01:57:37,706 --> 01:57:39,490
"Now we're gonna do
a greatest hits show,"
2789
01:57:39,534 --> 01:57:41,927
but no, they're challenging
themselves and their audience
2790
01:57:41,971 --> 01:57:44,278
and they're doing, like,
you know, radio opera.
2791
01:57:44,321 --> 01:57:47,846
♪ Bergman, Bergman
2792
01:57:47,890 --> 01:57:49,979
♪ Bergman, Bergman...
2793
01:57:50,023 --> 01:57:52,503
HARRIS: Ron and Russell
came up with the idea
2794
01:57:52,547 --> 01:57:54,766
of Ingmar Bergman,
the film director...
2795
01:57:54,810 --> 01:57:56,725
what if he had been
lured to Hollywood
2796
01:57:56,768 --> 01:57:58,161
with the promise
2797
01:57:58,205 --> 01:57:59,902
of big budgets and big bosoms?
2798
01:57:59,945 --> 01:58:03,688
And it was played
on Swedish national radio.
2799
01:58:03,732 --> 01:58:07,301
After that, they performed it
at the L.A. Film Festival
2800
01:58:07,344 --> 01:58:10,391
and, you know,
got a really good reaction.
2801
01:58:10,434 --> 01:58:13,785
KAPRANOS: They've always had
the desire to push on
2802
01:58:13,829 --> 01:58:15,874
and create something new,
and I think that's
2803
01:58:15,918 --> 01:58:18,964
probably what appealed to...
to them about the FFS project.
2804
01:58:21,837 --> 01:58:23,230
[RUSSELL SNICKERING]
2805
01:58:23,273 --> 01:58:25,101
- For fuck's sake.
- [LAUGHTER]
2806
01:58:25,145 --> 01:58:27,277
RUSSELL: We had met
the guys in Franz Ferdinand
2807
01:58:27,321 --> 01:58:30,671
12 or 13 years ago
in Los Angeles.
2808
01:58:30,714 --> 01:58:33,761
We had, you know, like bands
tend to do, they say,
2809
01:58:33,804 --> 01:58:36,938
"Hey, we should try to do
something together sometime."
2810
01:58:36,981 --> 01:58:40,420
♪ I'm just a little guy
from the suburbs... ♪
2811
01:58:40,463 --> 01:58:42,204
Ten years later,
2812
01:58:42,248 --> 01:58:44,076
we're walking in the morning,
just taking a little stroll
2813
01:58:44,119 --> 01:58:45,773
in downtown San Francisco,
2814
01:58:45,816 --> 01:58:47,905
and we see this guy
walking by, and we go,
2815
01:58:47,949 --> 01:58:51,083
"That looks like Alex Kapranos.
Hey, it is Alex Kapranos."
2816
01:58:51,126 --> 01:58:52,780
So we say, "Hey, Alex."
2817
01:58:52,823 --> 01:58:54,303
He goes, "Hey, Sparks guys."
2818
01:58:54,347 --> 01:58:55,913
He was on his way
to the dentist.
2819
01:58:55,957 --> 01:58:58,351
He had chipped one of his teeth.
2820
01:58:58,394 --> 01:59:00,744
So we said, "Remember we were
gonna do a project together?"
2821
01:59:00,788 --> 01:59:03,007
He said, "Yeah,
we got to do that."
2822
01:59:03,051 --> 01:59:04,922
So we talked about,
"Well, let's just try
2823
01:59:04,966 --> 01:59:06,924
one song together,
see what happens."
2824
01:59:06,968 --> 01:59:11,059
KAPRANOS: In Ron's typically
perverse way... [LAUGHS]
2825
01:59:11,103 --> 01:59:12,452
he sent over
2826
01:59:12,495 --> 01:59:14,715
"Collaborations Don't Work."
2827
01:59:14,758 --> 01:59:17,196
♪ Collaborations don't work
2828
01:59:17,239 --> 01:59:18,893
♪ They don't work
2829
01:59:18,936 --> 01:59:20,851
♪ They don't work...
2830
01:59:20,895 --> 01:59:22,897
And it was so obviously a test.
It was like,
2831
01:59:22,940 --> 01:59:24,768
"All right, you think
you can collaborate, do you?"
2832
01:59:24,812 --> 01:59:27,684
♪ Collaborations don't work
2833
01:59:27,728 --> 01:59:30,165
♪ They don't work,
they don't work... ♪
2834
01:59:30,209 --> 01:59:32,341
RON:
We opened up the door for, uh,
2835
01:59:32,385 --> 01:59:33,821
any return ammunition
2836
01:59:33,864 --> 01:59:35,083
coming our way.
2837
01:59:35,127 --> 01:59:38,521
♪ I ain't no collaborator...
2838
01:59:38,565 --> 01:59:40,132
CONGLETON:
As a response to that,
2839
01:59:40,175 --> 01:59:42,612
Alex sent kind of
a country groove.
2840
01:59:42,656 --> 01:59:43,831
So this song was
2841
01:59:43,874 --> 01:59:46,529
literally
a strange little argument
2842
01:59:46,573 --> 01:59:48,575
that they were doing online.
2843
01:59:48,618 --> 01:59:50,620
♪ I ain't no collaborator...
2844
01:59:50,664 --> 01:59:52,405
We sent it over to Ron,
and then suddenly,
2845
01:59:52,448 --> 01:59:55,408
it came back with Russell
singing on top of it
2846
01:59:55,451 --> 01:59:57,410
and these new melodies.
We got this great buzz.
2847
01:59:57,453 --> 01:59:59,803
It was like,
"Oh, God, this is fantastic."
2848
01:59:59,847 --> 02:00:01,501
Everybody was tentatively
kind of going like,
2849
02:00:01,544 --> 02:00:03,633
"You know, this sounds like
it could almost be...
2850
02:00:03,677 --> 02:00:05,287
[WHISPERS]:
like, an album, maybe."
2851
02:00:05,331 --> 02:00:06,941
[LAUGHS]
2852
02:00:06,984 --> 02:00:08,377
♪ I ain't no collaborator...
2853
02:00:08,421 --> 02:00:10,118
AUKERMAN:
One day, I pull up Pitchfork,
2854
02:00:10,162 --> 02:00:12,076
and I read that Franz Ferdinand
2855
02:00:12,120 --> 02:00:16,037
has made an entire record
with Sparks.
2856
02:00:16,080 --> 02:00:18,344
And it was just like, "What?"
2857
02:00:18,387 --> 02:00:21,303
It made me say,
"Yeah, Sparks is back.
2858
02:00:21,347 --> 02:00:23,262
"Okay, yeah,
let me pay attention
2859
02:00:23,305 --> 02:00:25,699
to what they've been doing
over the past ten years."
2860
02:00:30,746 --> 02:00:33,140
RUSSELL: "Johnny Delusional"
became the first single.
2861
02:00:33,184 --> 02:00:35,273
One of my favorite lines...
it's kind of one of
2862
02:00:35,316 --> 02:00:39,277
the saddest lines, I think,
in a, uh, Sparks song is:
2863
02:00:39,320 --> 02:00:40,713
"I'm borderline attractive
2864
02:00:40,756 --> 02:00:42,845
from afar."
2865
02:00:42,889 --> 02:00:45,413
And that-that line, to me,
is really, uh, touching.
2866
02:00:45,457 --> 02:00:49,635
♪ Some might find me borderline
attractive from afar... ♪
2867
02:00:49,678 --> 02:00:51,506
CONGLETON:
"Some might find me
2868
02:00:51,550 --> 02:00:54,248
"borderline attractive
from afar,
2869
02:00:54,292 --> 02:00:56,555
but afar is not where
I can stay, and there you are."
2870
02:00:56,598 --> 02:00:58,209
It's beautiful.
I mean, that's hilarious,
2871
02:00:58,252 --> 02:01:00,167
but it's also really beautiful.
2872
02:01:00,211 --> 02:01:02,213
♪ Though I want you
2873
02:01:03,475 --> 02:01:06,565
♪ I know I haven't
a chance... ♪
2874
02:01:06,608 --> 02:01:09,002
There's a real melancholic
vulnerability about it.
2875
02:01:09,045 --> 02:01:12,484
CONGLETON: It's very sad,
but it sounds celebratory.
2876
02:01:12,527 --> 02:01:13,485
It's, like, this meditation
2877
02:01:13,528 --> 02:01:14,921
on loneliness.
2878
02:01:14,964 --> 02:01:17,924
♪ Paging Mr. Delusional...
2879
02:01:17,967 --> 02:01:20,013
KAPRANOS: I often feel,
with Ron's lyricism,
2880
02:01:20,056 --> 02:01:21,797
that he's metaphorically,
2881
02:01:21,841 --> 02:01:23,451
like, slicing his chest open
2882
02:01:23,495 --> 02:01:25,540
and kind of going like,
"Here's my heart."
2883
02:01:25,584 --> 02:01:27,890
♪ You're wanted
at the front desk ♪
2884
02:01:27,934 --> 02:01:29,327
"Here's my heart.
2885
02:01:29,370 --> 02:01:30,850
Has nobody noticed?"
2886
02:01:30,893 --> 02:01:33,200
♪ Wouldn't it be terrible
2887
02:01:33,244 --> 02:01:36,159
♪ If there's no music there?
2888
02:01:36,203 --> 02:01:39,685
HARRIS: TheFFS album, it-it
introduced them to a crowd
2889
02:01:39,728 --> 02:01:41,643
that maybe hadn't been
aware of them before.
2890
02:01:41,687 --> 02:01:44,080
We particularly noticed it
in Latin America
2891
02:01:44,124 --> 02:01:46,779
where Franz Ferdinand, uh,
were very popular there.
2892
02:01:46,822 --> 02:01:49,608
♪ Wouldn't it be terrible
if there's no music there? ♪
2893
02:01:49,651 --> 02:01:51,740
RUSSELL:
A lot of those people,
2894
02:01:51,784 --> 02:01:53,699
they've become Sparks fans
and really
2895
02:01:53,742 --> 02:01:55,570
kind of hard-core Sparks fans,
2896
02:01:55,614 --> 02:01:58,834
and they had been introduced
via theFFS album.
2897
02:01:58,878 --> 02:02:01,359
♪ Though I want you...
2898
02:02:01,402 --> 02:02:03,099
INTERVIEWER:
Been watching you play live.
2899
02:02:03,143 --> 02:02:04,797
It seems to be more
2900
02:02:04,840 --> 02:02:06,581
of a kind of enjoyment thing.
It just seems to be fun.
2901
02:02:06,625 --> 02:02:07,626
Oh, we're faking it.
2902
02:02:07,669 --> 02:02:09,280
[LAUGHTER]
2903
02:02:09,323 --> 02:02:11,586
♪ Johnny Delusional here...
2904
02:02:11,630 --> 02:02:13,240
Does Franz Ferdinand know
how lucky they are
2905
02:02:13,284 --> 02:02:14,894
that that happened?
2906
02:02:14,937 --> 02:02:17,592
I hope that they were
grateful and psyched.
2907
02:02:17,636 --> 02:02:19,507
CONGLETON: That's their most
exciting record they've done
2908
02:02:19,551 --> 02:02:22,205
in quite some time, and I
really think they learned a lot
2909
02:02:22,249 --> 02:02:23,772
from working with these
2910
02:02:23,816 --> 02:02:26,645
elder statesmans of-of pop,
you know?
2911
02:02:28,603 --> 02:02:31,910
[PLAYING "WHAT THE HELL
IS IT THIS TIME?"]
2912
02:02:31,953 --> 02:02:33,781
Hello.
2913
02:02:36,218 --> 02:02:39,700
♪ Historically, historically,
we make an appeal ♪
2914
02:02:39,744 --> 02:02:42,355
♪ To something greater
than we are ♪
2915
02:02:42,399 --> 02:02:44,314
♪ When we need to heal...
2916
02:02:44,357 --> 02:02:46,054
HARRIS:
Doing the FFS project,
2917
02:02:46,098 --> 02:02:48,709
they fell in love again
with the pop song,
2918
02:02:48,753 --> 02:02:49,884
and because of that love
for the pop song,
2919
02:02:49,928 --> 02:02:51,799
Hippopotamus was born.
2920
02:02:51,843 --> 02:02:56,064
♪ What the hell is it
this time? ♪
2921
02:02:56,108 --> 02:02:57,675
WINWOOD: Listening
toHippopotamus took me
2922
02:02:57,718 --> 02:03:00,460
straightaway back
toKimono My House.
2923
02:03:00,504 --> 02:03:02,244
The energy of that album
2924
02:03:02,288 --> 02:03:03,681
is just great.
2925
02:03:03,724 --> 02:03:05,378
MANKEY:
When I put the headphones on
2926
02:03:05,422 --> 02:03:07,641
and listened to it
for the first time, I thought,
2927
02:03:07,685 --> 02:03:10,383
"Holy cow.
This is like when we were back
2928
02:03:10,427 --> 02:03:12,777
at Ron and Russ's
mom's house, you know?"
2929
02:03:12,820 --> 02:03:13,995
I loved that.
2930
02:03:15,693 --> 02:03:18,086
HARRIS:
The reviews were incredible.
2931
02:03:18,130 --> 02:03:20,262
It was near four- and five-star
reviews across the board.
2932
02:03:20,306 --> 02:03:21,699
It was, um, included in
2933
02:03:21,742 --> 02:03:23,135
the "album of the year" lists,
2934
02:03:23,178 --> 02:03:24,963
you know, worldwide.
2935
02:03:25,006 --> 02:03:29,010
And the fact that Sparks
have had a top-ten record
2936
02:03:29,054 --> 02:03:33,188
is because they're not
trying to be
2937
02:03:33,232 --> 02:03:35,452
what other people
want them to be.
2938
02:03:35,495 --> 02:03:38,237
RUSSELL [A CAPPELLA]:
♪ I wish you were fun
2939
02:03:38,280 --> 02:03:41,327
♪ I wish you were fun
in every way ♪
2940
02:03:41,371 --> 02:03:43,895
♪ I wish you were fun
2941
02:03:43,938 --> 02:03:47,159
♪ To brighten the dark,
cold winter day ♪
2942
02:03:47,202 --> 02:03:51,946
♪ In every other way
I find you amazing but one ♪
2943
02:03:51,990 --> 02:03:57,038
♪ I wish you were fun,
I wish you were fun ♪
2944
02:03:57,082 --> 02:03:59,301
♪ La-la-la... Everybody.
2945
02:03:59,345 --> 02:04:00,825
- ♪ La-la-la-la-la...
- [MUSIC JOINS IN]
2946
02:04:00,868 --> 02:04:02,304
STEWART:
Here they are,
2947
02:04:02,348 --> 02:04:04,219
playing to some
of the largest crowds
2948
02:04:04,263 --> 02:04:05,699
in the last ten years
2949
02:04:05,743 --> 02:04:07,484
and playing to crowds
that weren't around
2950
02:04:07,527 --> 02:04:10,400
for the first, second
and often the third phase.
2951
02:04:11,966 --> 02:04:14,752
RUSSELL: The only part that...
that the public sees
2952
02:04:14,795 --> 02:04:17,711
is that 90 minutes onstage,
2953
02:04:17,755 --> 02:04:19,887
and they don't see
all the other stuff.
2954
02:04:19,931 --> 02:04:23,238
They don't see, uh, security
opening up our suitcases
2955
02:04:23,282 --> 02:04:25,153
and having the guy, uh,
you know,
2956
02:04:25,197 --> 02:04:26,938
taking out all your stuff
2957
02:04:26,981 --> 02:04:29,244
day after day after day
after day at the airport.
2958
02:04:29,288 --> 02:04:32,072
And, uh, they don't see
the jet lag
2959
02:04:32,116 --> 02:04:34,248
that I currently have right now.
2960
02:04:34,292 --> 02:04:37,600
Uh, but obviously,
we're doing all this
2961
02:04:37,643 --> 02:04:40,690
'cause we really are
passionate about our music.
2962
02:04:40,733 --> 02:04:44,258
It definitely outweighs
all of the downside.
2963
02:04:44,302 --> 02:04:45,869
"Viva México, cabrones."
2964
02:04:45,912 --> 02:04:47,871
- Okay.
- Viva México...
2965
02:04:47,914 --> 02:04:49,220
- "Cabrones."
- "Cabrones."
2966
02:04:49,263 --> 02:04:51,352
- Cabrones.
- Yeah!
2967
02:04:57,707 --> 02:04:59,970
Viva México, cabrones.
2968
02:05:00,013 --> 02:05:01,928
[CHEERING]
2969
02:05:01,972 --> 02:05:03,277
♪ La-la-la-la-la ♪
2970
02:05:03,321 --> 02:05:05,497
♪ I wish you were fun
2971
02:05:05,541 --> 02:05:07,760
♪ Fun in every way
2972
02:05:07,804 --> 02:05:09,719
♪ La-la-la-la-la ♪
2973
02:05:09,762 --> 02:05:11,721
♪ I wish you were fun
2974
02:05:11,764 --> 02:05:14,332
♪ Have some chardonnay
2975
02:05:14,375 --> 02:05:18,989
♪ In every other way
I find you amazing but one ♪
2976
02:05:19,032 --> 02:05:20,817
♪ I wish you were fun
2977
02:05:21,774 --> 02:05:24,037
♪ I wish you were fun.
2978
02:05:25,125 --> 02:05:27,084
Okay, I'm tired.
2979
02:05:27,127 --> 02:05:28,520
I'm going to go to sleep.
2980
02:05:28,564 --> 02:05:30,130
Good night.
2981
02:05:30,174 --> 02:05:32,132
♪ La-la-la, la-la-la,
la-la-la ♪
2982
02:05:32,176 --> 02:05:34,526
♪ I'm pushin'
on my lawn mower... ♪
2983
02:05:34,570 --> 02:05:36,615
SCHWARTZMAN:
The way they live their life
2984
02:05:36,659 --> 02:05:40,227
is just in service of the music.
2985
02:05:40,271 --> 02:05:42,055
♪ The mornin',
it's my lawn mower... ♪
2986
02:05:42,099 --> 02:05:44,057
RON: I kind of have to force
myself to take this walk
2987
02:05:44,101 --> 02:05:46,233
'cause I've been doing it
2988
02:05:46,277 --> 02:05:48,540
for about 20 years
at this same park, and if...
2989
02:05:48,584 --> 02:05:51,761
I know, if I kind of
put it off for one day,
2990
02:05:51,804 --> 02:05:54,372
that it's all over
and I'll just be
2991
02:05:54,415 --> 02:05:56,548
laying in bed
extra long in the mornings.
2992
02:05:56,592 --> 02:06:00,596
♪ The neighbors look in awe
at my lawn mower... ♪
2993
02:06:00,639 --> 02:06:03,424
PUCKRIK:
They love ritual.
2994
02:06:03,468 --> 02:06:05,035
They love repetition.
2995
02:06:05,078 --> 02:06:07,820
I mean, you can hear
their love of repetition
2996
02:06:07,864 --> 02:06:09,387
in their music.
2997
02:06:09,430 --> 02:06:11,868
You know, they have a hook,
they have a phrase
2998
02:06:11,911 --> 02:06:14,827
that's repeated
over and over and over again.
2999
02:06:14,871 --> 02:06:18,614
And in their life, even the way
their day is structured...
3000
02:06:18,657 --> 02:06:22,661
you know, wake up, work out,
go to the studio,
3001
02:06:22,705 --> 02:06:25,098
have your 4:00 p.m.
coffee break,
3002
02:06:25,142 --> 02:06:28,362
go back to the studio,
you know, power down.
3003
02:06:30,190 --> 02:06:31,670
SCHWARTZMAN:
They are rock stars
3004
02:06:31,714 --> 02:06:33,192
that go to breakfast
at the same place
3005
02:06:33,236 --> 02:06:34,367
and get the same thing
in the morning,
3006
02:06:34,411 --> 02:06:35,847
and then go work at...
3007
02:06:35,891 --> 02:06:37,457
You know, they just...
they figured out
3008
02:06:37,501 --> 02:06:39,938
what works for them
and how to do it.
3009
02:06:39,982 --> 02:06:42,506
I come here religiously
every morning
3010
02:06:42,550 --> 02:06:45,030
to get a little peace and quiet,
3011
02:06:45,074 --> 02:06:48,381
just to be by myself
before we start working.
3012
02:06:48,425 --> 02:06:51,384
And even once a week,
Ron comes here.
3013
02:06:54,300 --> 02:06:57,216
[QUIET CHATTER]
3014
02:06:58,914 --> 02:07:01,133
HAYDON: They just keep
going up musically
3015
02:07:01,177 --> 02:07:02,787
with what they're writing.
3016
02:07:02,831 --> 02:07:05,790
They keep finding
new ways to tell their stories.
3017
02:07:07,357 --> 02:07:10,099
HARRIS:
Ron and Russell were in Cannes
3018
02:07:10,142 --> 02:07:12,797
and met the French
film director Leos Carax.
3019
02:07:12,841 --> 02:07:14,190
They got chatting,
3020
02:07:14,233 --> 02:07:16,105
and they were talking
to him about
3021
02:07:16,148 --> 02:07:19,064
their screenplay calledAnnette.
3022
02:07:19,108 --> 02:07:21,545
We got along really well,
and when we came back to L.A.
3023
02:07:21,589 --> 02:07:23,329
after Cannes, we said,
3024
02:07:23,373 --> 02:07:25,636
"Let's send Leos this project,
Annette."
3025
02:07:25,680 --> 02:07:28,117
And then he said, uh,
"God, I really like this.
3026
02:07:28,160 --> 02:07:30,206
Let me think about it
a little bit more."
3027
02:07:30,249 --> 02:07:31,947
And he did, and he got
back to us, and he said,
3028
02:07:31,990 --> 02:07:34,253
"You know, I'd really like
to direct this."
3029
02:07:34,297 --> 02:07:36,342
We thought, "Oh, this is
amazing," but then we were also
3030
02:07:36,386 --> 02:07:39,041
thinking about
our Tim Burton experience
3031
02:07:39,084 --> 02:07:41,260
and our Jacques Tati experience
and going,
3032
02:07:41,304 --> 02:07:43,045
"Please, dear God, we don't want
3033
02:07:43,088 --> 02:07:44,481
to have one more of those."
3034
02:07:44,524 --> 02:07:45,787
- Did you get it?
- That's a film project.
3035
02:07:45,830 --> 02:07:47,266
HARRIS:
Historically,
3036
02:07:47,310 --> 02:07:49,573
they've, you know,
nearly had films made on,
3037
02:07:49,617 --> 02:07:50,922
you know,
more than one occasion,
3038
02:07:50,966 --> 02:07:53,316
and you feel that
now is the time,
3039
02:07:53,359 --> 02:07:55,274
and it will be amazing
for them to be able
3040
02:07:55,318 --> 02:07:57,494
to see their work
on a big screen.
3041
02:07:57,537 --> 02:07:59,104
Oh, hello.
3042
02:07:59,148 --> 02:08:01,367
Welcome to the set.
3043
02:08:01,411 --> 02:08:04,936
RUSSELL: After several attempts
to get a movie off the ground,
3044
02:08:04,980 --> 02:08:07,460
Annette has finally been the one
3045
02:08:07,504 --> 02:08:09,854
film project that's sticking,
3046
02:08:09,898 --> 02:08:13,684
and it's being shot here
in swinging Brussels, Belgium.
3047
02:08:13,728 --> 02:08:17,645
RON: To get a movie made
is a miracle.
3048
02:08:17,688 --> 02:08:20,038
We obviously feel good
about the film,
3049
02:08:20,082 --> 02:08:24,521
but we also feel good in
a really personal kind of way...
3050
02:08:24,564 --> 02:08:27,132
this proves that
we were right all along.
3051
02:08:27,176 --> 02:08:29,874
So, uh... so there.
3052
02:08:29,918 --> 02:08:32,094
Or voilà.
3053
02:08:33,572 --> 02:08:35,357
SCHWARTZMAN: When you get
a Sparks album, I feel like
3054
02:08:35,400 --> 02:08:37,489
that's where they are,
this is what they're into,
3055
02:08:37,533 --> 02:08:39,317
and they're not gonna
be here for long.
3056
02:08:39,361 --> 02:08:41,102
Do you know what I mean?
Like, I feel like by the time
3057
02:08:41,145 --> 02:08:42,277
you get the album,
they're already
3058
02:08:42,320 --> 02:08:43,713
on to something else.
3059
02:08:45,759 --> 02:08:48,849
RON: Sparks have a certain
sensibility that we've had
3060
02:08:48,892 --> 02:08:50,502
through all of our albums,
3061
02:08:50,546 --> 02:08:53,375
whatever the shift in styles
through time
3062
02:08:53,418 --> 02:08:56,160
or different producers
or different countries.
3063
02:08:56,204 --> 02:09:00,121
It's kind of something
that we really can't change.
3064
02:09:00,164 --> 02:09:02,950
♪ And all the holy places...
3065
02:09:02,993 --> 02:09:05,213
RUSSELL: From the beginning
of rock music
3066
02:09:05,256 --> 02:09:06,736
when, uh, Blackboard Jungle...
3067
02:09:06,780 --> 02:09:09,217
for them to go
and start ripping up,
3068
02:09:09,260 --> 02:09:11,610
uh, movie theater seats...
3069
02:09:11,654 --> 02:09:13,395
that, to us, is like the essence
3070
02:09:13,438 --> 02:09:15,702
and the spirit
of what music can be.
3071
02:09:15,745 --> 02:09:17,747
And I think that
those sorts of things
3072
02:09:17,791 --> 02:09:19,706
have always been maybe
in the back of our minds.
3073
02:09:19,749 --> 02:09:21,882
We don't sit down and say,
"What can we do
3074
02:09:21,925 --> 02:09:24,362
to be provocative
or rebellious?"
3075
02:09:24,406 --> 02:09:26,843
But I think, just by our nature,
3076
02:09:26,887 --> 02:09:29,019
that's just inherent
in what we do.
3077
02:09:29,063 --> 02:09:31,630
♪ All that we've done
3078
02:09:31,674 --> 02:09:35,025
♪ We've lost, we've won
3079
02:09:35,069 --> 02:09:38,420
♪ All that,
all that and more... ♪
3080
02:09:40,335 --> 02:09:41,728
PALLADINO: I think their
creative process has sustained
3081
02:09:41,771 --> 02:09:43,251
their friendship
and brotherliness,
3082
02:09:43,294 --> 02:09:45,819
and I think being brothers
has also sustained
3083
02:09:45,862 --> 02:09:47,429
their creativity over the years.
3084
02:09:47,472 --> 02:09:48,473
It's-it's unusual,
3085
02:09:48,517 --> 02:09:49,997
but they like each other
3086
02:09:50,040 --> 02:09:51,476
and they respect each other.
3087
02:09:51,520 --> 02:09:53,130
[CHEERING]
3088
02:09:53,174 --> 02:09:54,871
HARRIS:
They are... first and foremost,
3089
02:09:54,915 --> 02:09:57,787
they're-they're gentlemen,
and they are,
3090
02:09:57,831 --> 02:09:59,702
you know... they're polite
and they're considerate,
3091
02:09:59,746 --> 02:10:04,228
extraordinarily creative,
you know, and they're funny.
3092
02:10:04,272 --> 02:10:05,926
- Oh, did I not push the button?
- Yeah.
3093
02:10:05,969 --> 02:10:07,971
[LAUGHS]
You got to push the button.
3094
02:10:08,015 --> 02:10:11,627
RON: We're able to work kind of
without a lot of conversation.
3095
02:10:11,670 --> 02:10:13,716
The quieter it is,
the better it is,
3096
02:10:13,760 --> 02:10:16,066
because we know
we're kind of onto something
3097
02:10:16,110 --> 02:10:18,677
and we can communicate
with each other
3098
02:10:18,721 --> 02:10:21,463
in-in kind of nonverbal ways
3099
02:10:21,506 --> 02:10:24,161
just by having worked together
for so long.
3100
02:10:24,205 --> 02:10:25,815
DES BARRES:
It's some kind of magical
3101
02:10:25,859 --> 02:10:30,515
combination of brother blood
and, I don't know,
3102
02:10:30,559 --> 02:10:33,040
cosmic interference,
3103
02:10:33,083 --> 02:10:35,519
but I have loved them
for all these years,
3104
02:10:35,563 --> 02:10:37,304
and I'm really proud of it.
3105
02:10:37,347 --> 02:10:40,655
♪ All that we've done
3106
02:10:40,698 --> 02:10:42,831
♪ We've lost, we've won...
3107
02:10:42,875 --> 02:10:45,834
RUSSELL: I can't imagine having
done a career as a solo artist
3108
02:10:45,878 --> 02:10:49,359
'cause I just think the two
of us are sort of inseparable
3109
02:10:49,403 --> 02:10:52,275
when it comes to
our passion for music.
3110
02:10:52,319 --> 02:10:55,539
I think his songs and my singing
3111
02:10:55,583 --> 02:10:57,846
are one and the same.
3112
02:10:57,890 --> 02:11:00,675
RON: I have that security
when I'm working with Russell.
3113
02:11:00,718 --> 02:11:03,591
If I were to work with myself,
3114
02:11:03,634 --> 02:11:07,638
I-I feel, you know,
really, really nervous.
3115
02:11:07,682 --> 02:11:10,076
It would put me in a position
3116
02:11:10,119 --> 02:11:13,775
where I-I just wouldn't
be able to-to take... take it.
3117
02:11:13,819 --> 02:11:16,865
EVAN WEISS: To me, they've been
such an example of how to age
3118
02:11:16,909 --> 02:11:19,781
in this business
with grace and dignity
3119
02:11:19,825 --> 02:11:21,914
and treat your band
and your crew, uh, kindly.
3120
02:11:21,957 --> 02:11:24,830
And not to reduce it
to such crude terms,
3121
02:11:24,873 --> 02:11:25,961
but they're just cool as fuck.
3122
02:11:26,005 --> 02:11:27,310
[LAUGHING]:
Yeah.
3123
02:11:27,354 --> 02:11:28,746
RUSSELL:
Now that Ron isn't around,
3124
02:11:28,790 --> 02:11:30,923
I can finally tell
the real story.
3125
02:11:30,966 --> 02:11:32,315
Uh, all of the songs are mine.
3126
02:11:32,359 --> 02:11:35,797
All 840 songs written by me,
3127
02:11:35,841 --> 02:11:37,799
sung by me, performed by me.
3128
02:11:37,843 --> 02:11:42,282
So, uh, anyway, I just thought
it should come out now.
3129
02:11:44,197 --> 02:11:46,634
[WHISPERS]:
Just between you and me...
3130
02:11:48,027 --> 02:11:49,942
Sparks.
3131
02:11:49,985 --> 02:11:51,813
He's just a singer.
3132
02:11:52,945 --> 02:11:55,730
[PLAYING "WHEN DO I GET
TO SING 'MY WAY'"]
3133
02:12:00,604 --> 02:12:03,912
♪ No, no use
in lecturing them... ♪
3134
02:12:03,956 --> 02:12:06,828
RUNDGREN: There's some comfort
in the fact that
3135
02:12:06,872 --> 02:12:09,396
something this weird can survive
3136
02:12:09,439 --> 02:12:12,790
that long without being
corrupted ultimately
3137
02:12:12,834 --> 02:12:14,227
into something less weird.
3138
02:12:14,270 --> 02:12:16,098
♪ The plot is predictable...
3139
02:12:16,142 --> 02:12:17,708
I wouldn't really have seen how
they could've gotten any better,
3140
02:12:17,752 --> 02:12:19,101
'cause they were kind of unique,
3141
02:12:19,145 --> 02:12:21,103
but they're doing
something right.
3142
02:12:21,147 --> 02:12:23,845
Nobody stays around that long
if they're making mistakes.
3143
02:12:23,889 --> 02:12:25,542
♪ No, no use in...
3144
02:12:25,586 --> 02:12:27,588
FLEA: If they had been
a band that just,
3145
02:12:27,631 --> 02:12:29,807
like, went and tried to make
hits that were sort of, like,
3146
02:12:29,851 --> 02:12:33,637
inorganic, outside of their
real natural inclinations,
3147
02:12:33,681 --> 02:12:36,074
they would've broken up by 1977.
3148
02:12:36,117 --> 02:12:37,945
♪ It's hard to be vain...
3149
02:12:37,989 --> 02:12:39,816
ANTONOFF: Some of the greatest
artists in the world
3150
02:12:39,860 --> 02:12:41,470
just sort of had a period.
3151
02:12:41,514 --> 02:12:42,950
Sparks is way more prolific than
3152
02:12:42,994 --> 02:12:44,909
all of the artists
we consider to be
3153
02:12:44,952 --> 02:12:47,259
the greatest in the world,
so it's overwhelming.
3154
02:12:47,302 --> 02:12:50,958
♪ So when do I get
to sing "My Way"? ♪
3155
02:12:51,002 --> 02:12:55,571
♪ When do I get to feel
like Sinatra felt? ♪
3156
02:12:55,615 --> 02:12:58,966
♪ When do I get
to sing "My Way"? ♪
3157
02:12:59,010 --> 02:13:01,186
♪ In heaven or hell...
3158
02:13:01,229 --> 02:13:03,101
RUSSELL:
You can knock us for not
3159
02:13:03,144 --> 02:13:05,668
having sold
two trillion records,
3160
02:13:05,712 --> 02:13:09,890
but staying true to our vision
and being consistent
3161
02:13:09,934 --> 02:13:12,240
for this long a period of time,
I think that that's
3162
02:13:12,284 --> 02:13:14,590
the measure of success.
3163
02:13:14,634 --> 02:13:16,941
♪ In heaven or hell...
3164
02:13:18,855 --> 02:13:20,988
JONES: I don't think
they could be really massive.
3165
02:13:21,032 --> 02:13:22,555
They're too weird.
3166
02:13:22,598 --> 02:13:25,166
Which is great.
Who wants to be really popular?
3167
02:13:25,210 --> 02:13:27,516
You know, you just want
to do your art
3168
02:13:27,560 --> 02:13:29,997
and love what you're doing
and be happy with that.
3169
02:13:30,041 --> 02:13:32,347
[CHEERING AND APPLAUSE]
3170
02:13:34,828 --> 02:13:36,917
It's been an amazing
evening for us.
3171
02:13:36,961 --> 02:13:38,223
Thank you very much.
3172
02:13:38,266 --> 02:13:39,876
RON:
We're deeply appreciative.
3173
02:13:39,920 --> 02:13:42,357
We don't... we don't take
any of this for granted,
3174
02:13:42,401 --> 02:13:45,317
and, uh, we'll be back soon.
3175
02:13:45,360 --> 02:13:47,319
[CHEERING]
3176
02:13:47,362 --> 02:13:48,929
Thank you.
3177
02:13:48,973 --> 02:13:50,626
RON: A lot of times,
people are trying
3178
02:13:50,670 --> 02:13:52,759
to find the key
to Sparks somehow,
3179
02:13:52,802 --> 02:13:54,848
and I think that really
it's out in the open
3180
02:13:54,891 --> 02:13:57,982
with what we're doing
lyrically and musically.
3181
02:13:59,070 --> 02:14:01,333
RUSSELL:
Being Russell and being Ron
3182
02:14:01,376 --> 02:14:03,726
and being Sparks,
it's kind of one and the same.
3183
02:14:04,727 --> 02:14:06,686
RON:
That is what we are.
3184
02:14:06,729 --> 02:14:10,472
There isn't some thing
behind the curtain.
3185
02:14:10,516 --> 02:14:12,344
SHERMAN-PALLADINO: The mystique
and that whole thing
3186
02:14:12,387 --> 02:14:16,043
is part of what makes them
cool no matter what.
3187
02:14:16,087 --> 02:14:17,697
They don't owe us anything.
3188
02:14:17,740 --> 02:14:19,307
They-they give us the music.
3189
02:14:19,351 --> 02:14:21,179
That's... We...
That's all we need.
3190
02:14:21,222 --> 02:14:23,007
BOHEM:
It is symbiotic.
3191
02:14:23,050 --> 02:14:24,617
It's like the two of them
make up
3192
02:14:24,660 --> 02:14:26,227
this whole that is Sparks.
3193
02:14:26,271 --> 02:14:27,837
You know, those of us
who've been lucky enough
3194
02:14:27,881 --> 02:14:29,578
to come and go in that,
like, it-it...
3195
02:14:29,622 --> 02:14:31,754
it's an amazing and
very cool thing to be around.
3196
02:14:31,798 --> 02:14:34,061
♪
3197
02:14:34,105 --> 02:14:36,106
STEWART: I don't feel
a kind of ownership with them.
3198
02:14:36,149 --> 02:14:39,544
I think it's really important
when people come along
3199
02:14:39,587 --> 02:14:42,155
20 or 40 years later,
you don't say,
3200
02:14:42,199 --> 02:14:44,592
"Oh, I was there all along,
and where were you?"
3201
02:14:44,636 --> 02:14:47,943
You say, "Welcome aboard,
and here's more."
3202
02:14:49,119 --> 02:14:50,859
WRIGHT: There's something
to be said for the fact
3203
02:14:50,903 --> 02:14:52,339
that sleeper success
3204
02:14:52,383 --> 02:14:54,254
will keep people talking
about them
3205
02:14:54,298 --> 02:14:56,865
a lot longer than artists
that are a lot more popular.
3206
02:14:58,128 --> 02:14:59,738
I think the fact that
they've always kept hungry
3207
02:14:59,781 --> 02:15:01,870
and consistently
pushed the envelope
3208
02:15:01,914 --> 02:15:04,308
is exactly why I wanted
to make this film.
3209
02:15:05,700 --> 02:15:07,354
OSWALT:
Their songs are worlds
3210
02:15:07,398 --> 02:15:09,791
that you really need
to delve into,
3211
02:15:09,835 --> 02:15:12,533
but once you delve into 'em,
the rewards are incredible.
3212
02:15:14,274 --> 02:15:17,234
JONES: I wish I had that drive
or that commitment.
3213
02:15:17,277 --> 02:15:19,540
I'm just like, "Ah, fuck it.
I can't be bothered."
3214
02:15:20,585 --> 02:15:22,326
FLEA: Some bands will give you
an outfit to wear,
3215
02:15:22,369 --> 02:15:24,719
and some bands will give you
a sewing machine
3216
02:15:24,763 --> 02:15:26,808
and some needle and some thread
3217
02:15:26,852 --> 02:15:28,767
and let you make what you want
but inspire you
3218
02:15:28,810 --> 02:15:30,421
and give you the energy
to make stuff.
3219
02:15:30,464 --> 02:15:32,640
And that's the kind of band
that Sparks is to me.
3220
02:15:34,164 --> 02:15:37,080
BECK: There's several
kind of archetypes of bands.
3221
02:15:37,123 --> 02:15:39,386
There's the bands
who are wildly popular
3222
02:15:39,430 --> 02:15:42,259
in their day and adulation,
3223
02:15:42,302 --> 02:15:45,218
and then there's bands
that sow all these seeds
3224
02:15:45,262 --> 02:15:49,788
and foment all these ideas
that grow up in other places.
3225
02:15:49,831 --> 02:15:52,660
And, uh, there's some
corollary in nature.
3226
02:15:52,704 --> 02:15:55,228
Like, we wouldn't survive
without the bees.
3227
02:15:55,272 --> 02:15:58,884
Sparks are part of
the ecosystem of music.
3228
02:15:58,927 --> 02:16:02,105
And they may have given birth
to other bands
3229
02:16:02,148 --> 02:16:06,805
who don't even know that
the lineage goes back to them.
3230
02:16:06,848 --> 02:16:09,677
They might not even
be aware of it.
3231
02:16:09,721 --> 02:16:15,161
♪ This is the number one song
in heaven ♪
3232
02:16:15,205 --> 02:16:17,207
[CROWD CHEERING]
3233
02:16:18,164 --> 02:16:20,253
♪ Written, of course
3234
02:16:20,297 --> 02:16:24,475
♪ By the mightiest hand
3235
02:16:27,304 --> 02:16:29,610
♪ All of the angels are sheep
3236
02:16:29,654 --> 02:16:34,137
♪ In the fold of their master
3237
02:16:36,355 --> 02:16:42,187
♪ They always follow
the master and his plan ♪
3238
02:16:45,495 --> 02:16:51,109
♪ This is the number one song
in heaven ♪
3239
02:16:54,547 --> 02:17:00,423
♪ Why are you hearing it now,
you ask ♪
3240
02:17:03,643 --> 02:17:06,646
♪ Maybe you're closer to here
3241
02:17:06,690 --> 02:17:09,780
♪ Than you imagine
3242
02:17:12,696 --> 02:17:14,872
♪ Maybe you're closer to here
3243
02:17:14,915 --> 02:17:19,485
♪ Than you care to be...
3244
02:17:26,840 --> 02:17:29,495
We fear that, over the course
of the documentary,
3245
02:17:29,539 --> 02:17:31,671
we have revealed
way more about ourselves
3246
02:17:31,715 --> 02:17:33,891
than we are comfortable with.
3247
02:17:33,934 --> 02:17:36,241
So, in an attempt to create
some further mystique,
3248
02:17:36,285 --> 02:17:38,678
we'd like to leave you
with a bunch of Sparks facts
3249
02:17:38,722 --> 02:17:41,420
that are all 100% true.
3250
02:17:41,464 --> 02:17:43,857
Russell has been
an uncredited voice actor
3251
02:17:43,901 --> 02:17:47,861
in 27 Hollywood animated
feature films.
3252
02:17:47,905 --> 02:17:51,169
Ron briefly dated EÉdith Piaf.
3253
02:17:51,213 --> 02:17:55,608
Russell is not singing in
English on Kimono My House.
3254
02:17:55,652 --> 02:17:58,089
Ron has worn
the same white shirt,
3255
02:17:58,132 --> 02:18:00,265
a shirt he purchased
at Marks and Spencer
3256
02:18:00,309 --> 02:18:04,443
in December 1973,
for the last 46 years.
3257
02:18:04,487 --> 02:18:07,794
Between 1989 and 1993,
3258
02:18:07,838 --> 02:18:10,797
Russell was a NASCAR driver.
3259
02:18:10,841 --> 02:18:13,409
Ron has written many novels
under the pen name
3260
02:18:13,452 --> 02:18:15,715
John le Carré.
3261
02:18:15,759 --> 02:18:17,500
After realizing he was too small
3262
02:18:17,543 --> 02:18:19,241
to compete in college football,
3263
02:18:19,284 --> 02:18:23,157
Russell trained
for nine months as a jockey.
3264
02:18:23,201 --> 02:18:27,988
26 days before every tour,
Ron goes on the alphabet diet,
3265
02:18:28,032 --> 02:18:30,687
eating foods
in alphabetical order.
3266
02:18:30,730 --> 02:18:33,429
DAY ONE: avocados or asparagus.
3267
02:18:33,472 --> 02:18:35,996
DAY 26: zucchini.
3268
02:18:36,040 --> 02:18:38,650
In 1982, we started
the first ever
3269
02:18:38,694 --> 02:18:42,524
seahorse rehabilitation ranch,
Back in the Saddle.
3270
02:18:42,567 --> 02:18:45,309
The tragic decline
in the seahorse population
3271
02:18:45,353 --> 02:18:49,313
has been a cause
we've long felt strongly about.
3272
02:18:49,357 --> 02:18:51,533
Sparks really only
have two songs,
3273
02:18:51,576 --> 02:18:53,448
a fast one and a slow one.
3274
02:18:53,491 --> 02:18:55,972
We constantly rewrite
the lyrics for these songs
3275
02:18:56,015 --> 02:18:57,800
to give the appearance
of having written
3276
02:18:57,843 --> 02:19:00,106
nearly 300 songs.
3277
02:19:00,150 --> 02:19:02,021
And finally,
we would like to reveal
3278
02:19:02,065 --> 02:19:04,720
that Ron is really Russell.
3279
02:19:04,763 --> 02:19:07,679
And Russell is really Ron.
3280
02:19:11,466 --> 02:19:16,645
♪ This is the number one song
in heaven ♪
3281
02:19:19,517 --> 02:19:25,784
♪ Why are you hearing it now,
you ask ♪
3282
02:19:28,483 --> 02:19:31,616
♪ Maybe you're closer to here
3283
02:19:31,660 --> 02:19:34,837
♪ Than you imagine
3284
02:19:37,535 --> 02:19:39,755
♪ Maybe you're closer to here
3285
02:19:39,798 --> 02:19:44,281
♪ Than you care to be.
3286
02:19:44,325 --> 02:19:46,544
♪
3287
02:19:46,588 --> 02:19:48,764
[AUDIENCE CHEERING]
3288
02:19:48,807 --> 02:19:51,114
[AUDIENCE CLAPPING
RHYTHMICALLY]
3289
02:20:13,571 --> 02:20:15,878
♪
3290
02:20:40,597 --> 02:20:42,904
♪
3291
02:20:48,039 --> 02:20:50,041
[SONG ENDS]
3292
02:20:50,085 --> 02:20:52,130
[CHEERING AND APPLAUSE]
254293
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