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"Beat the Clock" is a 1979 song by the American pop and rock duo Sparks. Produced by famed disco producer Giorgio Moroder, it was released as the fourth single from the band's eighth studio album No. 1 in Heaven. The song peaked at number 10 in August 1979 and spent six weeks in the UK Singles Chart. [1]
In 1973, Sparks had decamped from the US to the UK, resulting in a change of lineup upon hiring English musicians to fill the roles of guitar, bass and drums. Consequently, Sparks enjoyed their first period of success, wherein their singles and albums sold well and were received warmly by the critics.
"When I'm with You" is a song released by Los Angeles band Sparks. The song relies on disco and new wave as its two main genres with rock guitars audible throughout the song. . The song did not chart on any Billboard charts, but was Sparks' only Top 40 single in Australia, where it peaked at number 14, whilst it peaked at number 1 in France for six weeks
Terminal Jive is the ninth album by the American rock band Sparks and the second recorded with Giorgio Moroder.The album has a disco-vibe like its predecessor but featured fewer synthesizers, opting instead for more electric rock guitar, resulting in a new wave sound. [4]
He was a founding member and guitarist for the band Halfnelson, later called Sparks. He became a record producer , predominantly for Los Angeles area bands like The Pop, 20/20 , The Runaways , Concrete Blonde , Jumpin' Jimes, The Long Ryders , The Three O'Clock , The Tearaways , The Conditionz, Adicts , Durango 95, Leslie Pereira and The Lazy ...
Credits are adapted from the In Outer Space liner notes. [3]Sparks. Russell Mael – Vocals; Ron Mael – All synthesizers (Roland JP-8); Additional musicians. Bob Haag – Endodyne guitars and Roland guitar synthesizers, Tab cans, background vocals, and additional bass guitar
"The Number One Song in Heaven" is a disco song by the American rock duo Sparks. Released as a single in 1979, the song was produced and co-written by electro-disco producer Giorgio Moroder . It became a top 20 hit in the UK, where it peaked at number 14.
The lyrics are truly magnificent, both in their literal meaning and the way they work with the music, creating a rhythmic counter-melody that echoes Fisher's guitar line, and Muff Winwood’s crystal-clear production emphasizes the song's soaring, anthemic elements; although "Amateur Hour" and "This Town Ain’t Big Enough for Both of Us" were ...