They signed the band in late '73, '74, and had us come to England and do what turned out to be the "Kimono My House" album. Russell Mael: It's a pretty unique situation and story - well, first of all, that a group has even albums, but that Island Records was so instrumental in launching Sparks to an international audience. How much significance does it have for you both that this album is on Island Records, which is obviously a label that meant so much to you as well in the '70s? In a way, you could say it's a love song too - but a love song coming from hopefully a completely fresh angle. It's this couple - but they get together on this crazy ride that they take once a week to take them out of their mundane life, doing almost a Bonnie and Clyde thing or something on the weekend to spice things up. You could even say to a certain extent that "Take Me For A Ride" is a love song in a way. Even if the theme might have some traditional elements to it, taking a traditional theme - love or whatever - but saying it in some other way where it doesn't have to be clichéd or hackneyed. Russell Mael: A lot of times we like having situations in the lyrics of our songs. That's one of my favorite parts about the record. And a lot of songs on this record in particular have that characteristic. There's a story happening there's a narrative. You mentioned "Take Me For a Ride" - I like that song especially because it feels like a mini-movie.
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The incorporation of vocals feels like, even in a movie musical, a natural continuation of what we do ordinarily as Sparks. Not that it's easy, but it feels like a natural step for us, because the incorporation of vocals into a musical setting - even though with a movie musical, it's a long narrative affair and multiple singers, speakers, voices - still doesn't feel like it's this completely separate endeavor for us. Ron Mael: Working on a movie musical feels very natural. In the movies maybe some of Sparks slips - and then in Sparks, some of the movies slips into that. They sound almost pieces that are coming from a pop sensibility, but then imposing the narrative of the story within the lyrics and the dialogue.Įverything with us now is this hybrid where everything feeds off each other. Sometimes pieces that were in "Annette" that don't necessarily sound cinematic in a traditional way, like a movie score. There's one song in particular, "Take Me For A Ride," that is really orchestral in its approach and sounds more cinematic even down to the instrumentation.īut then in the movie "Annette" that we did - and then even in what we're writing now for our next movie musical - we are all over the map, even musically in those projects.
And so maybe subliminally things creep in them. Russell Mael: I'm sure that everything works with everything else. How did doing the movie influence the way you were approaching this music, even subtly? It was about a year's worth of time, both in the writing and the recording. And so it came together fairly quickly for us. Ron Mael: We had been working on a movie project and so there was some time in between and we were inspired to get back to writing three- and four-minute songs. When did inspiration for this particular set of songs first arise for you both? You've been so prolific in the last few years. On a recent afternoon, Ron and Russell Mael Zoomed with Salon to discuss the impact of the documentary, as well as "The Girl Is Crying in Her Latte" and the importance of visuals to Sparks' existence. Coming on the heels of Edgar Wright's thorough, career-spanning 2021 documentary "The Sparks Brothers" and the band's award-winning movie musical "Annette," Sparks are also riding an incredible wave of momentum and popularity.
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