Heaven has a Mirror Ball
4 Out of 5 Stars
In 1979, those purveyors of quirk (aka Sparks) decided that they should make a record with the reigning king of European electronic disco, Giorgio Moroder. Moroder, primarily known as the man who gave America Donna Summer, said OK. The result was this bizarre delight, "Number 1 In Heaven." And while it made almost no impact at all in the USA, it delivered three hits in the UK. For an album comprised of a mere six songs, that's saying something.
Moroder (who recently turned 70!) did little to change his sound, yet neither did the Mael Brothers. The spacey disco-toms still cascade across the songs and a four-to-the-floor kick drum pounds relentlessly, all while Russell's piercing vocals cut through the fog machines and spinning lights. Hall of fame synth-nerd Ron handled the bulk of the keyboards (and future mega-producer Keith Forsey played drums). Somehow, Moroder Munich Machines the whole thing and it still sounded like Sparks.
Shotgun wedding or not, "No 1 In Heaven" works. The three main singles, "Tryouts For The Human Race," "Beat The Clock" and the title song, still sound terrific (something most late 70's disco records can't boast), and the non-hits are almost a strong. The Mael bro's wit under pressure still enthralls (the gold diggers in "La Dolce Vita" in particular). I think it may have also given Moroder a nudge in other directions, he eventually turned to more rock artists like Berlin, Cheap Trick and Kenny Loggins. As for Sparks, this was their last album of the 70's and holds its own as a pinnacle for both Sparks and Moroder.
Moroder (who recently turned 70!) did little to change his sound, yet neither did the Mael Brothers. The spacey disco-toms still cascade across the songs and a four-to-the-floor kick drum pounds relentlessly, all while Russell's piercing vocals cut through the fog machines and spinning lights. Hall of fame synth-nerd Ron handled the bulk of the keyboards (and future mega-producer Keith Forsey played drums). Somehow, Moroder Munich Machines the whole thing and it still sounded like Sparks.
Shotgun wedding or not, "No 1 In Heaven" works. The three main singles, "Tryouts For The Human Race," "Beat The Clock" and the title song, still sound terrific (something most late 70's disco records can't boast), and the non-hits are almost a strong. The Mael bro's wit under pressure still enthralls (the gold diggers in "La Dolce Vita" in particular). I think it may have also given Moroder a nudge in other directions, he eventually turned to more rock artists like Berlin, Cheap Trick and Kenny Loggins. As for Sparks, this was their last album of the 70's and holds its own as a pinnacle for both Sparks and Moroder.
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