Sparks

Normally, this would sound like bandwagon-jumping of the highest order: a band that formed as art rockers in their native Los Angeles in 1968 move to England and become glam rock megastars in 1973, then traveled on to Munich to become Eurodisco pioneers in 1978 and new wave synth-rockers in 1981. But the reason why Sparks managed to do all of this and more while keeping their artistic credibility intact is that falsetto-wielding singer Russell Mael and his keyboard-playing, song-writing, creepy-looking older brother Ron Mael have always bent the rules of their chosen musical styles to suit their own peculiar ends rather than simply switching clothes to fit into prevailing fashions. Indeed, the Sparks albums that have been the least satisfying (1977's Introducing Sparks, 1988's Interior Design) have been those that sounded the most like other bands. Russell's aggressively unusual delivery of Ron's impossibly wordy, often snide lyrics is one of rock's classic love it or hate it propositions. But no matter which of the brothers' incarnations is the first one a fan discovers--the dramatic power pop of "This Town Ain't Big Enough For Both Of Us," the smooth electronic pulse of "Beat the Clock," the arch new wave of "Angst In My Pants," the hypnotic chamber pop of more recent albums like Lil Beethoven--those who develop a taste almost invariably end up loving almost all of them.