Customer Reviews

Propaganda

5 star:		(17)
4 star:		(4)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

This album instilled in me the burning desire to drop leaflets from helicopters declaring Sparks the greatest band in the world!! Having no access to a helicopter at the age of fourteen, word traveled slowly but surely, by various subversive missives.

Despite the Maels' intentions to take a completely new direction, ignoring the successful formula of Kimono My House, it segued right into Propaganda. Sparks' third and fourth albums (both on Island Records) complemented each other like a pair of bookends. Britain's `Holy Trinity' Melody Maker, Sounds and NME raved! They gave Ron and Russell tremendous coverage, featuring lengthy interviews in which they mostly discussed their favourite topic...food!

In 1974, recorded immediately after the smashing British reception of Kimono My House, Propaganda retained the same producer, Muff Winwood (brother of Traffic's Steve Winwood). The album was made in the anglo-maniac Maels' new home, England with Sparks' live touring unit; bassist Ian Hampton (replacing Martin Gordon from the Kimono sessions) and guitarist Trevor White - both former Jook members, (the late) Adrian Fisher also on guitar and drummer, Dinky Diamond.

The album cover of Propaganda launched a succession of hilarious cover shots, presenting the frail Mael brothers in extraordinary predicaments, usually helplessly victimized in some way. Here they are on the south coast of England - abducted, bound and gagged at the back of a speeding boat, and on the back cover, held hostage at a petrol station in the rear of a car. Their captors (Ian, Dinky and Trevor) are fiendishly deciding their fate. The inner sleeve finds the brothers breaking their ties and attempting to telephone for help.

Russell shines on the a'capella title track, with his voice overdubbed 30 times! The rest of the songs are sung in various narratives; the voices of animals left behind on Noah's ark ("Bon Voyage"), a kid who likes taking candy from strangers (potential abductors) but can't understand why he shouldn't ("Thanks But No Thanks"), a girlfriend being bribed by abundant eccentric gifts to keep her from divulging incriminating information ("Something For The Girl With Everything"), a cowardly army recruit ("Reinforcements") and many more. This was some of the most multifaceted pop music ever recorded. It was almost operatic with its amazing range and orchestrations, sudden tempo changes and strange storylines - and it rocked! Gilbert & Sullivan would have either been proud or envious!

Guitarist Trevor White told Goldmine in July, 1995, "'Achoo' ended with this really great characteristic long solo... (from Adrian) and they wiped it off and put on all those horrid multi-tracked sneezes. They figured everyone had heard a guitar solo, but they hadn't heard us all sneezing." Yes, guitar solos are a dime a dozen, but sneezing on a Sparks record was groundbreaking! Unfortunately, it never did catch on.

1974 brought Sparks four hits in the UK Top Twenty within nine months. The album charted instantly, and "Something For The Girl With Everything" / "Marry Me" reached #17. All of the UK singles from Propaganda contained non-LP B-sides.

In October of 1974, "Never Turn Your Back On Mother Earth" /"Alabamy Right" reached #13. It was the nearest thing to a ballad that Sparks had ever done, featuring beautiful mellotron and synth strings.

Sparks were uncomfortably wedged somewhere between Glam and Rock although they were neither one entirely. As refreshing as their music was to some, it was equally annoying to others - a high standard which Sparks maintain to this day!

The Propaganda album elaborately set the stage for Sparks' next excursion...the inimitable Indiscreet.

I came to the Sparks roundabout. I was listening to one of the last BBC shortwave radio broadcasts to the U.S., to John Peel's pop show (Peel died in 2004) and was gobsmacked at "This town ain't big enough for the Both of Us." I've collected the group since then. This is an interesting album for completists. The Sparks are an extremely quirky group, at times banal, at times geniuses. "Don't Turn Your Back On Mother Earth," "B.C." and "Bon Voyage" are extremely good. The rest of the entries are, well, extremely sparky and adventurous, but they don't always succeed. Still, this is a remarkable group. They almost make a fetish of clarity, incredible chromatic chord changes, like Richard Strauss on 78 rpm, and they are always on key. They do really astounding arpeggios and the notes are like gunshots, dead-on. They have very Dada lyrics, which are often extremely funny and witty. I can see why they were popular in Germany. In short, they're a remarkable musical combination, completely out of the ordinary and still thought-provoking after all these years. Some good came of the 1970s. This is not average music. This is very original.

I'm not that old, but my 1st copy of this album was on 8-track (found it in the bargain bins for less than a dollar)! Some years later I finally upgraded to vinyl. Here I am again downgrading to compact-disc. Don't get me wrong...it's great to hear these songs skip/scratch free w/2 bonus tracks included. "Propaganda" was the 2nd Sparks album I had ever purchased. I came late, during the "Angst in my Pant" era, but since then, I have never lost interest in the Mael brothers. It's great to see such a large following of the band after so many years. "Propaganda" is probably the music industry's best decision to re-issue in the last decade. But, as you can see, it is only available as an "import." This import is worth those extra dollars you pay! Though I love "Kimono My House", "Woofer In Tweeter's Clothing" as well as the post-1974 albums, "Propaganda" has always remained my favorite. It's fun, witty, & the quickest 45 minutes of anyone's listening! Only the 1st Halfnelson/Sparks album (produced by Todd Rundgren)comes so close! Why aren't all of the Sparks' albums available in some shape or form? Why is there not at least an import version available of 77's "Introducing Sparks"? Well, loving Sparks after all these years is definately snobbery for all of us fans...for we know the secret ingredient that the music industry has been missing after all of these years. "Propaganda" is proof that Sparks' fans are simply a "fun bunch of guys that come from outer space!"

Propoganda is impressive and a great example of "real" songwriting,although quirky and WAY off-beat. I first saw the Brothers Mael on Don Kirshner's Rock Concert on a Friday night in 1975 and was an instant fan,although I was in to way heavier music at the time. Being a musician, I "got it",as far as what they were doing musically and lyrically. This is a classic album from the 70's era,a multi-tracked master-piece with classic hooks,guitar licks,piano fills and melody galore. Some VERY witty tracks on this CD,folks,and proof there was some artistic,humorous rock and roll of the highest order made in the mid-1970's.
If you can only understand 3-chord rock,don't buy this CD,but if you savvy what a recording artist is all about,turn yourself on to the work of two near-genius brothers. You will not regret it,I promise...

Sparks' fourth album, Propaganda, showed many of this band's
strengths. The follow up to the UK hit album Kimono My House,
Ron and Russell Mael returned here to the Gilbert and Sullivan meets the Kinks sound that the preceding album had introduced.
The sound here is really strong--"At Home At Work, At Play" is a rapid fire resounding rocker, reliant on Russell's staccato
falsetto to drive the riff home. "Something for the Girl with Everything" contains one of the best of Ron Mael's lyrics,
as 'everything' does not quite include freedom. "Bon Voyage" is
simply a melodically beautiful song, with lyrics exploring the Noah myth with Ron's characteristic drollery. Propaganda
portrays life as a sort of giant Wodehouse novel set to music,
to which none of us quite belong. This album raises for me a quandary about artistic progression. Sparks went on to explore many more styles, and to keep their sound fresh and contemporary some 25 years later. But part of me continues to wish that Sparks had been more like Madness or Jethro Tull...having found this unique and charming sound, I rather wish they'd stuck to it.
I suppose Sparks needed a Marillion to its Genesis to keep this
bouncing bit of hilarity alive; perhaps someday such a Marrillion will appear. In the meantime, buy Propaganda--it's
one of the very best things to ever happen musically in the 1970s.

This is one of those unknown undiscovered gems of a time gone by. I discovered this in my sister's album collection and fell in love with it, and went on to get Whomp that Sucker and Angst in My Pants (more my time frame). Regardless, this album transends the 70's - listen to it today for the first time and it will seem fresh and inventive. A great, great album (although I haven't heard the last few songs, as my LP ends with "Bon Voyage" - looking forward to picking up the CD...)

I reckon this follow up album to the breakthrough 'Kimono My House' is a lot better, since it is a lot more song-orientated than it's predecessor. Once again, Ron's drole lyrics are magnificent. Only a really good lyricist could seamlessly use words like 'shrubbery' and 'ornithologist'. As with 'KMH' and 'Indiscreet', the Island remasters contain useful bonus tracks, in this case the perky 'Marry Me' is a nice addition to a highly enjoyable album. Again, big credit to the other musicians, in particular Adrian Fisher, whose guitar playing is in touch with the Mael's wacky song styles, and also drummer Dinky Diamond. The playing on 'At home, at work, at play' is riveting.

Probably the most (glam)rocking of all Sparks albums, this is the one I have played the most. After the nostalgic and witty under-a-minute title track, the bombastic "At Home At Work At Play" has rarely been topped for its combination of rock 'n' roll mirth and majesty. The fun goes on with some of the most solid and consistently enjoyable songs by the brothers Mael. Although the lengthy "Bon Voyage" drags on a bit, songwriter Ron Mael still deserves credit for penning a teary lament from one of those unfortunate enough to be left behind Noah's Ark. And "Who Don't Like Kids" has to be the funnest, catchiest song ever written about children without stooping to cutesiness. Not bad moves.

From 1974-1975, Sparks achieved the apex of their creative genius. The band was their best, their sound was most distinct, and never since have they written such original "pop" pieces that aggressively challenge the accessible ear. Yeah, America didn't know what to do with them, but what else is new? "Propaganda" contains some true gold. The aural sensation of "At Home, At Work, At Play" rivets me still. "Never Turn Your Back on Mother Earth" (which charted in the U.K.)...a ballad for any era. "Who Don't Like Kids?" features the biggest blowout on guitars from Trevor White and(?)Adrian Fisher ever committed to Sparks vinyl. All in all, purchase this with "Kimono" and you have yourself the Best dish of Sparks in the canon. Here's to the Maels.

This is the followup to the brilliant glam-rock excess of Kimono My House, which is an essential 70's album. Propaganda was written in the studio, a sort of brain-dump by Ron Mael of all the stuff that sticks in his head -- appropriation of british music hall and classical music themes, pun-filled juvenile/clever sexual innuendo. It has the same production values (bombastic excess), and a really really strong opening. But, if you want to buy just one Sparks album, get Kimono My House. If you want to buy a second one, get Angst in My Pants. If you want a third....well, you have a bunch of good ones to pick from, including this one.

--hal