Sparks - PropagandaJapan Issue UICY-94099 (Just released)
Mini LP Replica SHM-CD (3 Bonus Tracks)
Mini LP Replica SHM-CD (3 Bonus Tracks)
Propaganda is the fourth album by Sparks. The title track is a short a cappella song with multiple overdubs from Russell Mael.
GENRE: Rock
Original Release Date: 1974
Number of Discs: 1
Format: Extra tracks, Import
Genre Rock
Length 43:06
Label Island Records
21st Century Edition track listing
Number of Discs: 1
Format: Extra tracks, Import
Genre Rock
Length 43:06
Label Island Records
21st Century Edition track listing
1. "Propaganda" - 0:23
2. "At Home, At Work, At Play" - 3:06
3. "Reinforcements" (Ron and Russell Mael) - 3:55
4. "B.C." - 2:13
5. "Thanks But No Thanks" (Ron and Russell Mael) - 4:14
6. "Don't Leave Me Alone with Her" - 3:02
7. "Never Turn Your Back on Mother Earth" - 2:28
8. "Something for the Girl with Everything" - 2:17
9. "Achoo" - 3:34
10. "Who Don't Like Kids" - 3:37
11. "Bon Voyage" (Ron and Russell Mael) - 2:54
12. "Alabamy Right" - 2:11
13. "Marry Me" - 2:54
14. "Interview" - 7:16
Personnel
* Ron Mael - keyboards
* Russell Mael - vocals
* Trevor White - guitar
* Ian Hampton - bass
* Norman "Dinky" Diamond - drums
* Adrian Fisher - guitar
* Produced by Muff Winwood
All Music Review by Dave Connolly
What better way to promote Sparks' spinning blender of demented pop than Propaganda? The band's fourth album (and second with producer Muff Winwood) is chock-full of great ideas, including the overseas hits "Something for the Girl With Everything" and "Never Turn Your Back on Mother Earth." With Russell Mael delivering the lyrics in his rapid-fire falsetto, the lyric sheet is a necessary compass, as the clever wordplay is a key to discovering what these pranksters are up to. Ron Mael's skewed take on relationships ("At Home, at Work, at Play," "Don't Leave Me Alone With Her") are nearly upstaged by the hyperactive arrangements, but when the words and the music click, it's pure magic. In fact, "Bon Voyage" might be the most sublime song they've ever written, teetering between genuine pathos for and lampooning of the plight of those left behind by Noah and his ark. Other highlights include "Achoo" (about, you guessed it, catching a cold) and "Who Don't Like Kids," in which Mael uncorks the opening lines "You got a cigar, here's a couple more/Because the offspring are springing through swinging doors" in a few seconds. The torrential outpouring of words and ideas, underscored by guitars and keyboards with oft-shifting rhythms, either repels or attracts listeners. Though the similarities to Queen are sometimes striking, they eschew that band's seriousness and epic guitar work, favoring hit-or-miss observations that suggest a cross between 10cc and the power pop of the late '70s. Propaganda remains one of Sparks' brightest achievements, brimming with a loopy charm that continued to captivate the open-minded English listeners, if not their close-minded countrymen in the U.S. [Note that European CD reissues in the late '90s include non-album B-sides from the record's two U.K. singles as bonus tracks: "Alabamy Right" and "Marry Me."
What better way to promote Sparks' spinning blender of demented pop than Propaganda? The band's fourth album (and second with producer Muff Winwood) is chock-full of great ideas, including the overseas hits "Something for the Girl With Everything" and "Never Turn Your Back on Mother Earth." With Russell Mael delivering the lyrics in his rapid-fire falsetto, the lyric sheet is a necessary compass, as the clever wordplay is a key to discovering what these pranksters are up to. Ron Mael's skewed take on relationships ("At Home, at Work, at Play," "Don't Leave Me Alone With Her") are nearly upstaged by the hyperactive arrangements, but when the words and the music click, it's pure magic. In fact, "Bon Voyage" might be the most sublime song they've ever written, teetering between genuine pathos for and lampooning of the plight of those left behind by Noah and his ark. Other highlights include "Achoo" (about, you guessed it, catching a cold) and "Who Don't Like Kids," in which Mael uncorks the opening lines "You got a cigar, here's a couple more/Because the offspring are springing through swinging doors" in a few seconds. The torrential outpouring of words and ideas, underscored by guitars and keyboards with oft-shifting rhythms, either repels or attracts listeners. Though the similarities to Queen are sometimes striking, they eschew that band's seriousness and epic guitar work, favoring hit-or-miss observations that suggest a cross between 10cc and the power pop of the late '70s. Propaganda remains one of Sparks' brightest achievements, brimming with a loopy charm that continued to captivate the open-minded English listeners, if not their close-minded countrymen in the U.S. [Note that European CD reissues in the late '90s include non-album B-sides from the record's two U.K. singles as bonus tracks: "Alabamy Right" and "Marry Me."
ANOTHER SPARKS MASTERPIECE!, October 23, 2004
By Madeline Bocaro "Madeline X"
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, Coming up next!
By Madeline Bocaro "Madeline X"
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, Coming up next!
very nice Acecool I just got up for a drink of water and saw that you have been busy. Thanks very much for sharing these jap releases.
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