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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]
Released in March 1979 by Virgin Records (with initial copies on colored vinyl) and later licensed to Elektra Records in the US, Nº 1 in Heaven renewed interest in the band after disappointing sales of the preceding albums Big Beat (1976) and Introducing Sparks (1977). It is the band's only album on Elektra, the fourth label that the band was ...
The following is a comprehensive discography of Sparks, an American rock and pop music band formed in Los Angeles in 1970 by brothers Ron (keyboards) and Russell Mael (vocals), initially under the name Halfnelson.
Gratuitous Sax & Senseless Violins became Sparks most successful album in Germany reaching #29 [12] and scored three hits on the German Singles chart. While the album only reached #150 [13] on the UK Albums Chart, the singles did well enough to return the group to the Top 40, the first time since "Beat the Clock" in 1979.
"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.
Two Hands, One Mouth: Live in Europe is an album by American rock/pop group Sparks, released in March 2013.It is their first ever live album, and first double CD album. In October 2012, Ron and Russell Mael embarked on the Two Hands, One Mouth Tour, which saw them performing for the first time ever as a duo, with no band.
The Sparks need flashy stars and Johnson has to insist they find them. Chicago Sky's Angel Reese drives to the basket under pressure from the Sparks' Dearica Hamby on May 30. (Charles Rex Arbogast ...
Like Hippopotamus, the studio album preceding it, A Steady Drip, Drip, Drip uses a full rock-group format. [11] Described by Randall Roberts in the Los Angeles Times as "contemporary, electronically driven art-pop", [1] the album reflects Sparks' traditional stylistic versatility encompassing "pop, rock, New Wave, synth-pop, disco, dance, electro, orchestral, opera" [12] while prominently ...