Customer Reviews

Indiscreet

5 star:		(5)
4 star:		(2)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

All the Sparks albums from 1972 to 1976 are fantastic blends of pop, new wave, dance, rock-opera, and punk energy (without the meanness)--all before those genres really got popular. On the Indiscreet album, in addition to just plain great songs is the stretch of five songs (on side two of the vinyl album) that magically revives the 1920s sprightly style with a pop new wave kind of twist, but without the "synthesizeriness" of other new wave. "It Ain't 1918" and "Miss the Start Miss the End" are hilarious situations, if you listen to the lyrics. The Gilbert and Sullivan operatic antics on "Profile" are a lively bit of fun as well. Buy lots of real Sparks records from the 1972 to 1976 era (not the "greatest hits"), but be ready to hear a different kind of fun sparky pop music than you've heard elsewhere. Timeless.

"Indiscreet" is the last in a series of three albums, beginning with "Kimono My House," that saw Sparks on some kind of creative roll. It's also their last album to feature a full-on rock and roll band for several years, as they slid into a quagmire of pre-programmed electronic disco before returning to form on "Angst In My Pants." This album contains everything Sparks fans have come to love and expect from the Mael brothers: clever lyrics, eccentric arrangements, and, yes, Russell's falsetto. "Hospitality On Parade" begins almost as a string-driven dirge before big power-chording guitar licks burst in and Russell's breathy intro to "Pineapple" is, dare I say, a thing of beauty. A farewell letter of sorts, "Indiscreet" served to tide us Sparks fans over until the Mael brothers exorcised their dance-pop demons.

One question that has probably arised in most Sparks fans' minds is why so many record labels? Though Sparks' "Indiscreet" was the bon voyage to Island records -- was the band removed from the label for not proceeding the sales intended or were the Mael brothers smart enough not to sign a ten year contract to eventually have to conform to a label's agreement?

"Indiscreet" is indeed the last of the band's Island years and what a great farewell it is! Following "Propaganda," an album that's hard to beat, "Indiscreet" combines the whimsy humour of Sparks' first four albums and creates the foundation for years to come. Anyone could reverse the tape from 82's "Angst in My Pants" to 75's "Indiscreet" without realizing the time change!

As Sparks debut album proved back in 71,' you don't need a great producer to prove the band's talent...though Todd Rundgren became the stepping stone of the band's future, Tony Visconti (T.Rex, David Bowie) only provides good assistance. Sparks are still Sparks, with or without a well-known producer. This is not to dismiss Visconti's valuable services...for he was responsible for the orchestration in "Under the Table With Her" and "It Ain't 1918." Overall, it is notable that the band is induced, not reduced, by its pressures.

"Indiscreet" and its dismissal of the band's 2nd line-up is further proof that band was Russell Mael and Ron Mael and those who joined the band were only session members, for, the band played on!

The reason I originally bought the album "Indiscreet" was because of the picture on the back cover. What kind of group would exhibit a bizzarre situation on the front cover and portray the country club image on the flip side. Well, the music is as diverse as the cover. At first I was a little skeptical of the content and tried to like the sound as I listened to it over and over. Something was very intriguing about the album and I began to really enjoy the arrangements.
Ron Mael (keyboards) wrote most the songs which were a dead ringer for brother Rons wavering vocals. Trevor White (guitar), Ian Hampton (bass) and Dinky Diamond (drums) round out the groups talented musicians. These guys are out there with a distinct blend of jazz, rock and classical music woven in their songs. Great tunes include "Happy Hunting Grounds", "Get in the Swing" and "Looks Looks Looks". Each song has great lyrics, all so far fetched that I still think "I've Missed the Start, Missed the End". If you enjoy this sample of Sparks, you will probably take a fancy to Kimono My House, which is just as unique.

One of the major book/music stores here in town identified Sparks as "one of those great British bands you've never heard of." To someone unfamiliar with the band, this is a likely observation of the California duo, pumping out records since 1971. If they picked up this album, saw that it was produced by none other than Bowie producer Tony Visonti, and gave it a whirl, they might think Sparks are British too.

Indiscreet is an apt title for Sparks' 6th outing as it is so shamelessly fun and fluid. Though Sparks have proven they can do fine on their own, Visconti helps capture the granduer of the Mael's imaginations. Indiscreet is a fusion of Mael wit, rock opera, swing, and jazz. It also captures the band performing the smart pop they would be producing for another 30 plus years (and continue to do).


The album has the great opener, Hospitality On Parade, which sounds like a hybrid of a broadway opener and a revolution song - 18th century style. Get in the Swing and Looks, Looks, Looks recall an era gone by with jazz/swing inspirations. The latter's lyrics state "looks looks looks, are why you rely on books," perhaps speaking to the geek population who get Sparks' brilliant humor.

Wit like that is abound on this album, notably on the song length pick up line, "How you getting Home?," or the light "T*ts," describing a husbands longing for the days he could gaze at the physical attributes of his wife and realizing how the times have changed. It's one of the wittiest tracks in Sparks reportoire.

This edition also has some interesting bonus tracks, including a cover of the Beatle's I Wanna Hold Your Hand, transformed into a song that could be mistaken as a Bacharach/David number of the day. Here, Sparks show that they are not only master songwriters, but witty interpreters as well. This album is fantastic and worth checking out.

My first Sparks album, and what a treasure. Producer Tony Visconti helped them stretch their sound to new realms like swing jazz ("Looks, Looks, Looks"), marching band ("Get in the Swing") and pre-punk futuristic bombasity ("In The Future"). Songs like "How Are You Getting Home" retain the glam-rock wit and charm, while the uber-metal march of "Hospitality On Parade" adds a powerful irony to a song about the settlement of the Americas.

Songwriter Ron Mael is in rare form here with a period piece about people stuck in a period-piece lifestyle ("It Ain't 1918") and the witty lament of a celibate marriage ("Tits") which doubles as a hell of a drinking song! Russell Mael offers a rare composition with the operatic sendup to a favorite fruit ("Pineapple") and lets not forget the irony of "Under the Table With Her", which is played with appropriate pomp by a string quartet.

The brothers' greatest masterpiece in my book, at their glam-rocking, experimental best.

I spent years trying to find this title...again. I first had the vinyl album and later the cassette, after they first came out, and wore both of them out before the end of the Seventies. From the first notes of "Hospitality on Parade" to the final strains of "England" this disc is filled with upbeat fun. My favorites are "How Are You Getting Home?" and the high-energy "In the Future" It does struggle a little with "Profile", but picks back up with their cover of "I Wanna Hold Your Hand." This disc may be an acquired taste, but hey...at least it ain't disco!

This album pretty much was the last gasp for the Maels aka Sparks. The rubbish they turned out aftre this album was pretty dreadful. Their doom was sealed when they had fired Martin Gordon and Adrian Fisher after the Kimono album. Gordon arranged most of the Kimono songs plus played bass and Fisher was an outstanding guitarist who played on Kimono and on a few songs on Propaganda.

The good songs on this record are Happy Hunting Ground and In the Future. Looks Looks Looks and Get In The Swing are fair to middling. The rest of the record is a load of rubbish. This CD includes bonus tracks that include the dreadful "England" and horrendous remake of "I Wanna Hold Your Hand."

Sparks could have been huge if they had stuck with the Kimono line up. Oh well the Maels live and suffer from sabotaging their moment at the top.