Label: Island Records (UK), IMCD 198
Style: Art Pop, Art Rock, Glam Rock
Country: Pacific Palisades, California, U.S.
Time: 43:10
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb
Charts: US #101, AUS #22, CAN #58, NLD #10, UK #4. UK: Gold.
Brothers Ron and Russell Mael or, as they are better known, Sparks, are among the most prolific and original artists to ever arise from the sun-soaked streets of California. Throughout their six-decade career, the band have explored every genre under the sun, from art rock to techno and everything in between. Before they were a global success, with nearly 30 studio albums and an Edgar Wright-directed documentary, there were simply two brothers and Kimono My House.
First released in 1974, Kimono My House had some stiff competition, with the early 1970s rock scene dominated by truly iconic artists such as Roxy Music and David Bowie. Unphased, Sparks successfully managed to create an album unlike any other. Kimono My House is fearlessly individualistic and pioneering, much like the band themselves. Although the record provided Ron and Russell with their breakout success, you get the feeling that this commercial success was not entirely by design. Sparks were fairly content to operate away from the mainstream, playing by their own rules.
From the first bars of the opening track, ‘This Town Ain’t Big Enough For The Both Of Us’, Ron and Russell establish the mood for the vibrant and eclectic album which will follow. Arguably their defining track, the opener is awash with proto-new-wave influences and art rock tendencies, with the undeniable tones of singer Russell acting as a guiding voice through the sonic menagerie. Evoking the gun duels of a Clint Eastwood flick, the song also speaks to the cinematic nature of Sparks, something which they would later develop while writing the soundtrack to the 2021 Leos Carax film Annette.
As the tracklisting of Kimono My House progresses, Sparks repeatedly affirm their endearing eccentricity and seemingly endless ability to craft pieces which are equal parts innovative and pop-centric. With all songs composed by the moustachioed master Ron Mael, Kimono My House is a true masterpiece of songwriting. When taking into account not just the tracks on this album but the rest of Sparks’ extensive discography, it does not seem at all outlandish to list Ron as being among the most profuse and gifted writers in pop history.
Stand-out tracks on the record come in the form of ‘Amateur Hour’ and ‘Talent Is An Asset’, with Russell’s distinctly un-American singing style becoming increasingly captivating as the album progresses. Sparks also establish their unique sense of humour on this record too, through the ‘Bah, humbug’ anthem of ‘Thank God It’s Not Christmas’ and ‘Complaints’. This sense of humour, that has followed Sparks throughout their discography, is one of the things that make the group so special to their legions of fans.
While the brotherhood of Ron and Russell is undoubtedly the driving force behind Sparks, their infallible backing band should certainly not be forgotten. On Kimono My House, for example, the incredible guitar stylings of Adrian Fisher form the basis for many of the album’s stand-out moments, particularly on ‘Hasta Manana Monsieur’ and ‘Here In Heaven’.
With 26 studio albums under their belts and a career spanning over five decades, it is easy to get lost in the excellence of Sparks. However, Kimono My House remains a stand-out project within their discography. With the benefit of hindsight, it is easy to see why it acted as the gateway to their long history of commercial success, but even if that was not the case, Kimono My House is undoubtedly one of the greatest albums to arise from the art rock scene of the 1970s.
(faroutmagazine.co.uk/sparks-kimono-my-house-album-review/)
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