It was Friday November 10 1972, that Sparks were in Holland for a day. Judging by their first LP, a very promising band, initially called Halfnelson but as unsuccessful, renamed into Sparks. With this name their first album was re-released and that time it had indeed some success in the United States. When we were given the opportunity to accompany the band for a day we fell for it.

At nine o'clock a.m. we are at Schiphol airport, where it has just started to rain heavily. The day will be gloomy. When a plastic voice from the ceiling announces that the plane from Zürich has just arrived, we get a bit nervous, because that's the one that brings them! We are to repeat carefully the names of the band members again, as memorized the night before and wait.

Ron

After a couple of minutes, the five plus one (manager Larry Dupont) appear to introduce themselves, sit down and order lemonade. The brand name of the lemonade has the effect of a bomb;......... Sparks, complete with stars and all.

Russell

"That's for the next album cover", Ron Mael says. We start chatting, mainly about the remarkable success Sparks have with the Swiss young ladies. Remarks on the interview to be given to Radio Veronica, are full of understatements. "Beethoven would have been a lousy lead guitarist", Ron suddenly states and on the question "who is the leader of the band", he says: "Just wait and see who will talk the most."

Earle

"What did you play before?", a question is raised. "Jim and I used to play blues but that's out now. We were also involved in the underground scene but we got enough of that", Earle replies.

Jim

Fizzy lemonade
Harley roguishly remarks: "First we played the blues and now we pay our dues". The replies to the questions remain jocular and soon enough Ron appears to be the leader of the band. Earle makes some feeble efforts to take over this role but without any success. Questions are raised about Todd Rundgren (that will go on for the whole day) and their connection to the Kinks. To the first question Ron replies that Todd is doing very well and to the second he says that, just like the Kinks they're very interested in the nature of both their songs and of that of the band.

Harley

"Why did you change your name from Halfnelson to Sparks?". Ron: "Halfnelson is the name of an obscene Japanese sex act and our manager thought this would jeopardise commercial success. Sparks is a more accessible name, sparkling.....lemonade....known everywhere."

Girls
After the photo session, we hit the road in the direction of Naarden, to the studios of Radio North Sea. During the trip Russell and Earle describe their peculiar experiences in Switzerland, where they have been confronted for the first time ever with an incredible popularity between so-called teenyboppers.

Ron

Dozens of girls had been fighting over an autograph. One of them requested an autograph on her forehead. This sort of audience was totally new to them and it utterly surprised them. With a camera in his hands Earle is ready to take photos of the first windmill he sees but the only one that we actually come across is by a curve of the road.

Russell tells us that the band has been travelling throughout Europe for the past six weeks and have taken England as the temporary headquarters as his parents are living there. To my question whether there will be a second album, the answer is affirmative. They have just received the first copies in France and they promise me one as well. "This record is different from the first one", he says "because we did not record it with Todd Rundgren". Surprised I raise my eyebrows "You didn't?"

"No, in retrospect we were not all that happy with his production", Russell quickly says. I start to suspect that the subject of Todd Rundgren is not amongst their most favourite ones and decide to refrain from this subject for the time being. We arrive at the North Sea studios, where Rundgren-fan Alfred Lagarde is rigging his three master. Sparks are allowed to help him with this. Ron is talking with a sonorous voice and twinkling dark eyes, while constantly busy with a cassette recorder. On, off, on, changing tapes, etcetera. I don't see any microphone but cannot hear a sound either. A weird act, I think to myself.

The same questions about Todd, the Kinks and their single Wonder Girl, during which I notice again that Todd is being avoided. After having improvised a cheerful Christmas jingle, the group can go to Hilversum. Manager Larry urges to reserve some time to take a shower and to wash their hairs as the boys always want to look immaculate during a television performance. And rightly so.

The television recording is for "Top Pop" and there might be a chance to go to the radio station Hilversum 3. It all appears a bit strange to me as these boys do not strike me as trying to build up a busy career. They just seem to be genuinely friendly to one and other, constantly seeing things in perspective and analysing pros and contras of all that is happening to them.

Hitler
Ron, whose moustache and twinkling eyes remind me of Chaplin (some say Hitler but according to Ron Hitler only influenced him on his piano techniques), does not say much, sees everything and replies with cryptic remarks. Like to Felix Meurders' question, what the title of the song No More Mr. Nice Guys means.

"Look, this title wants to express the fact that there are not that many nice guys around nowadays, like you for instance." Felix looks at him confused but then screams the song's title into the microphone. Felix as well starts talking about Todd, but without any result.

Meanwhile Ron is still playing with his cassette recorder and now I notice that it does have a built-in microphone. He has actually been recording everything that has been said today!

Then we return, in the pouring rain to the television studios where the others have used their time to change into neat suits, which is part of the dandy-look. A colourful wide tie finishes the job.

On the way back to the studio I tell Ron that I do not find their image to be in line with their music, especially when it concerns their lyrics. Those lyrics have quite unusual subjects and are not easy to understand instantly. Ron confirms this, they do have a problem to determine for what kind of audience they are making music. Their experience in Switzerland has made him think again. Moreover, the British audience are comparing their music with that of T. Rex. The band was quite surprised about that comparison.

Harley

"How do you write your songs?"
"I first make the music and after that the lyrics. For the lyrics I don't have any specific subject, except for the fact that they shouldn't be common."
"Why was your new album (A Woofer In Tweeter's Clothing) not produced by Todd Rundgren ", I finally dare to ask him.
"Well, actually the first album was also only partly done by him. Todd is extremely nice, but if you had to work with him, you wouldn't have much space for your own ideas. We did not feel his way of producing was suitable for our music. However, he could not be convinced otherwise."
"Then how did you get rid of him?"
"We started to behave a bit nasty and aggressive towards him and finally he didn't turn up anymore. James Lowe, the engineer finished the job and he's also produced our latest album."

Well, that's quite some news. Todd Rundgren was frozen out. With the deadly sense of understatement and humour of Ron Mael, this doesn't even seem impossible to me. Now I understand why they preferred not to talk about him and got kind of itchy about all those questions from people who were not specifically interested in Sparks, but rather in him.

During the make up session before the television broadcast, I read my Aloha story to them outloud. When I mention the fact that it's unbelievable, that a band with a name like Halfnelson and such a lovely album cover, has to try again with a much simpler name and approach, there's a lot of affirmative mumbling. Ron mentions: "I wish Mr. Grossman had read that phrase." "Albert Grossman?" I ask surprised. "Yeah, he was against our old image and wanted us to change radically. We could not convince him otherwise, so we just had to do it. After all, he's the big boss."

Harley

So it turns out that Grossman was the ugly guy and not their (and Fanny's) manager, Roy Silver, as is mentioned in the biography from the record company.

Bachelor's histogram
After the recordings for "Top Pop" are finished, (featuring the "marvellous" Penny as the Wonder Girl), the suits go back into the suitcases and I use the opportunity to talk a bit with manager Larry. From him I learn that they all have a university degree from UCLA. Ron, for instance has a Bachelor degree for graphics (he has amongst others, designed the inner sleeve for Todd's second album), Earle has an engineering degree, as has Jim while Russell studied theatre and arts. Larry himself also studied graphics but all of them gave up their studies to concentrate on music and commercials only. Larry is also a photographer (he did the cover of the new album). He worries about the gig that they will be doing that night in Scheveningen, as they don't really feel like another non-concert concert.

I feel it my duty to warn him, as Tiffany's is not exactly considered a giant concert hall. I ask whether the band is living under a certain tension now that their single, Wonder Girl has a possibility to become big. He tells me that it's not really an issue as they are all far too busy to focus on things like that. Moreover, the song has already reached the first place in local charts at weird places like Houston, Alabama and Idaho. They all find this quite peculiar but they are looking forward to playing in these "weird places".

In New York, they played for the first time in front of an audience who actually knew what band was going to perform (at Max's Kansas City) and who were very enthusiastic. There had even been a number of fans waiting outside!

Dance floor
In Scheveningen, a slight disappointment awaits them. The club is extremely small, as is the stage of a meter and a half, which is right beside the dance floor. The entire space is about 25 square metres and it is virtually impossible to get a decent sound and perform a stage act. They were told that the venue was big enough to hold 800 people and for that reason, quite a large PA system was rented. Unnecessary and only partly useable in this small and cold room, where there is space for a mere 400 people, at the most.

Again there wouldn't be a nice gig, again they were mislead. The PA is put in place, as good as they possibly can and they are informed that the support act has cancelled so that they have to play an hour and half twice. Ron suggests to play the same setlist twice, with a difference in the sequel when they play the second part.

After a last sound check, they get into their coats and decide to find a restaurant. At Bali, (an Indonesian restaurant) the guy at the front claims that the restaurant is full. He suggests us to try the restaurant at the other side of the road, Cosy Corner. A promising name, so we hasten ourselves into that direction. After we have found the entrance we go inside and bump into a somewhat confused waiter who starts to explain that the kitchen is closed at 9:30, (it was 8:45) and that we'd better hurry if we'd want to eat anything.

He suggested us to all choose the same dish, so that everything would be simpler and faster. Our request to place two tables together almost results into the man's heart attack and he firmly refuses. While we are translating the menu, he clearly gets impatient and keeps repeating that the kitchen will be closed any minute now. We order as fast as we can and as soon as he has left for the kitchen, we shift the two table against each other. Apparently, that was the straw that broke the camel's back as the poor man is now utterly disturbed.

He keeps saying that this is impossible and that this restaurant is not used to this sort of behaviour. "But there's nobody else in the restaurant", I protest, "I do not understand your problem. Isn't this place called Cosy Corner?"

"That's for us to decide", he replies, "I would prefer if you all would just go. The kitchen will be closed soon anyway." Since we do not feel like looking for another restaurant, we put the table back at its place. This is easier said th h han done as the table has to be put at the exact same spot meticulously and our brutal behaviour nearly ends in a shock for the poor man. "You should be glad that we're serving you anyway", he claims, "it would be difficult enough for you to get access to a restaurant with all that long hair and the way you all look."

"What are you trying to say?", I ask him quite upset. "There's nobody else in this restaurant and you would refuse us simply because of the way we look?"

"There's no other place where you'd be allowed, believe me."
"So in fact, we should consider ourselves lucky to be served by you, is that it?"
"Exactly."

I mumble something about cosy and long hair and feel embarrassed for the others. How is this possible. The other quickly notice what it's all about and one after another make some sort of remark, starting by Ron, who had put his coat on a chair next to him. "Oh, I apologise", he says, "I noticed the wardrobe was already closed", followed by "You could do with a haircut yourself."

On my remark that I will mention this incident in the music paper, Larry suggests: "You should write that you've found this nice little restaurant in Scheveningen for hippies, then they really will have a ball."

Since the food is excellent, the good mood returns soon enough and in a very friendly manner, we say goodbye to our host and invite him for the concert tonight. This offer he courteously turns down, claiming that he is too old for this sort of events.

The gig is poorly attended, the quality of the band unworthy. But at this point, we have got so close to them that we are all in a very optimistic mood. For me personally, this is even increased by hearing, after many years, their version of Tomorrow's White Bicycle. Noticeable is Russell's phenomenal singing, who seems to have a control over his voice, which has seldom been heard. This particularly applies for his modulations, of which he makes ample use, especially during the magnificent Girl From Germany, which ends yodelling.

Ron's act consists of taking various poses for several seconds each, thereby carefully avoiding any contact with the audience. This however, results in a lot of laughter. Most of the songs are (still) new to me but the band plays with full spirit.

The second set is indeed the same as the first one. Quite daring, although it might be not such a bad idea after all for an unknown band.

After having arrived at the "hotel", Ron asks at what time they are supposed to leave the next day. It turns out to be around 10:00 a.m. so he suggests to leave an hour earlier to be able to drive through Amsterdam.

"Shall we place the tables together?", someone asks the next morning during breakfast. The tables are round-shaped.

Departure hall
In Amsterdam we first pass by the Concert Hall to show them where they should have played and will play next time (This, in fact is true. In December 1974, Sparks second concert in Holland was held at the Concert Hall in Amsterdam - RS).

After a short sight-seeing tour, we return to Schiphol airport where the farewell is very warm. We have the feeling as if our best friends have gone and drive home with an empty feeling.

At home we are re-acquainted with Sparks through their latest album, A Woofer In Tweeter's Clothing. On this we find quite a number of songs that we had heard the night before. (There will be more about that later). Finally a record again which I know I will play for days in a row. It goes to show, that music to which you feel connected is the most special.

Sparks are not just another band but a collection of students from Los Angeles who know exactly what they do and what they want. In America's Record World of October 28 (1972), some Ron Ross wrote: "Sparks have proven to be the best British band to come out of America since Nazz (Todd Rundgren's band)" and "Their combination of vaudeville and rock and roll might very well determine the pop and show business of the Seventies"

In Aloha #9, I already described the music of these five guys (Ron and Russell Mael, Earle and Jim Mankey and Harley Feinstein) as the American Kinks. After having read their biography, I was not all that wrong, as Russell appeared to have stayed with Ray Davies for a while in 1966. He has joined the Kinks and added his falsetto vocals to the recordings of "Waterloo Sunset" (not true according Russell, Nov. 1999).

All five are speaking American with an English accent. In 1967, Russell and Ron Mael started to compose songs, based upon the melodies of English beat and rock bands of that era. Those songs they wanted to record and therefore they replied to a classified in which a studio with a 16-track recorder was offered.

When they arrived there, it turned out to be the room of Earle Mankey, equipped with a tape recorder and one guitar. Earle was of opinion that they urgently needed a guitarist (offering his services at $ 2,50 an hour) and a name to go by. That name became Halfnelson and since there was no rhythm section, they decided to be a studio band.

In 1969, a linguistic student named Harley Feinstein read a classified in an old student magazine, in which a drummer was required. He went after it and was hired instantly as he couldn't play at all. Now all they needed was a bass player.

Earle suddenly remembered that he had a brother who was involved in making music and although it took a while, they eventually convinced him to join this group of weird people. Jim later told me that he couldn't understand why he was playing far worse now than before he had joined the band.

Soon afterwards, the reason why I got interested in this band turned up: Todd Rundgren. He liked their music, wanted to produce a record for them and got them signed with Albert Grossman's Bearsville Records.

Halfnelson