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* RetroactiveRecognition:
** Original bassist Jim Mankey went on to play guitar for Concrete Blonde.
** ''Big Beat'' producer Rupert Holmes later became famous for the song "Escape (The Piña Colada Song)".
** Drummer David Kendrick, a member of the band from 1981 to 1986, would join Music/{{Devo}} from 1988-1990, replacing Alan Meyers.

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* GeniusBonus: All over the place in Ron Mael's lyrics, which make many obscure references and wordplay.


* EarWorm: Many of their songs are either ridiculously catchy or really annoying, depending on the listener's reaction to Sparks, particularly Russell's falsetto.


** "Computer Girl", all the way back from their 1969 pre-Halfnelson incarnation, [[http://graphikdesigns.free.fr/urban-renewal-project.html Urban Renewal Project]], predicted the prevalence of computers and the attachment some people get to them.

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** "Computer Girl", all the way back from their 1969 1967 pre-Halfnelson incarnation, [[http://graphikdesigns.free.fr/urban-renewal-project.html Urban Renewal Project]], predicted the prevalence of computers and the attachment some people get to them.


* LoveItOrHateIt:
** ''Introducing Sparks'' is either seen as a blemish on their otherwise adored 70s output or an under-appreciated slice of sunny LA pop music. The Maels at the very least see their attempt at developing a West Coast sound to attract American fans as a failure.
** Their 80s albums are seen as either severely underrated or their DorkAge.


* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found audience. This trope has steadily began to grow in stature worldwide from ''Lil' Beethoven'' onward, eventually leading to ''Hippopotamus'' cracking the UK Top 10 (#6) its first week in September 2017, their first placement there since ''Propaganda'' in 1974.


** The band were threatened during the early 70s by a crowd who thought they were part of the "dandy new wave". Their records would end up being highly influential to NewWaveMusic.

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** The band were threatened during the early 70s by a crowd who thought they were part of the "dandy new wave". Their records would end up being highly influential to NewWaveMusic.NewWaveMusic, and come ''Whomp That Sucker'' they were indeed a part of the New Wave scene.



** "Perfume", a song about not wearing perfume, went on to be featured in [[https://www.youtube.com/watch?v=Jr_G2DOD5zk an Dolce & Gabbana advert]].

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** "Perfume", a song about not wearing perfume, went on to be featured in [[https://www.youtube.com/watch?v=Jr_G2DOD5zk an a Dolce & Gabbana advert]].



* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found audience. This trope has steadily began to grow in stature worldwide from ''Lil' Beethoven'' onward.

to:

* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found audience. This trope has steadily began to grow in stature worldwide from ''Lil' Beethoven'' onward.onward, eventually leading to ''Hippopotamus'' cracking the UK Top 10 (#6) its first week in September 2017, their first placement there since ''Propaganda'' in 1974.


* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found audience. This trope has began to grow in stature worldwide from ''Lil' Beethoven'' onward.

to:

* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found audience. This trope has steadily began to grow in stature worldwide from ''Lil' Beethoven'' onward.


* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found success.

to:

* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found success.audience. This trope has began to grow in stature worldwide from ''Lil' Beethoven'' onward.

Added DiffLines:

* NewbieBoom: ''Gratuitious Sax and Senseless Violins'' won the duo a lot of fans in Europe, particularly in Germany, so they recorded ''Plagiarism'' (made up of reworked versions of older songs) to capitalize on their new-found success.


** Ron and Russel appeared on ''Series/GilmoreGirls'' playing a version of "Perfume" with just the two of them. Come the 2010s and they're doing two whole tours with that concept.[[note]]''Two Hands, One Mouth'' and ''The Revenge of Two Hands, One Mouth''[[/note]]

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** Ron and Russel Russell appeared on ''Series/GilmoreGirls'' playing a version of "Perfume" with just the two of them. Come the 2010s and they're doing two whole tours with that concept.[[note]]''Two Hands, One Mouth'' and ''The Revenge of Two Hands, One Mouth''[[/note]]Mouth''[[/note]]
** "Perfume", a song about not wearing perfume, went on to be featured in [[https://www.youtube.com/watch?v=Jr_G2DOD5zk an Dolce & Gabbana advert]].


* GermansLoveDavidHasselhoff: They were always more popular in Europe - especially the UK, where ''Kimono My House'' made them famous - than their native USA. To put it into perspective, they were ''huge'' during the 70s and have had many successful singles throughout their career in Europe, whereas the only song to reach very high in the US charts was "Cool Places" in the 80s.

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* GermansLoveDavidHasselhoff: They were always more popular in Europe - especially the UK, where ''Kimono My House'' made them famous - than their native USA. To put it into perspective, they were ''huge'' during the 70s and have had many successful singles throughout their career in Europe, whereas the only song to reach very high in the US charts was "Cool Places" in the 80s.80s at #49.


* DorkAge: Their SynthPop period, (excluding the acclaimed ''No. 1 in Heaven'' and ''Gratuitous Sax and Senseless Violins''). While these albums - particularly ''Angst in My Pants'' and ''Balls'', which have been VindicatedByHistory - certainly have their fans, it's a big point of contention.

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* DorkAge: Their SynthPop period, (excluding the acclaimed ''No. 1 in Heaven'' and ''Gratuitous Sax and Senseless Violins''). While these albums - particularly certainly have their fans, and some of them including ''Angst in My Pants'' and ''Balls'', which ''Balls'' have been VindicatedByHistory - certainly have VindicatedByHistory, their fans, it's quality and how well they've aged is a big point of contention.contention, particularly compared to the band's critically acclaimed 70s output.



* {{Harsher In Hindsight}}: The apocalyptic "The Calm Before the Storm" is thought to have predicted 9/11 a year before it happened.
* {{Hilarious In Hindsight}}: Sparks are noted for accidentally predicting the future in amusing ways:

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* {{Harsher In Hindsight}}: HarsherInHindsight: The apocalyptic "The Calm Before the Storm" is thought to have predicted 9/11 a year before it happened.
* {{Hilarious In Hindsight}}: HilariousInHindsight: Sparks are noted for accidentally predicting the future in amusing ways:


* SignatureSong: "This Town Ain't Big Enough for the Both of Us" overall, and "Beat the Clock" for their electronic period. Every one of their style phases may also have its own signature tune.

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* SignatureSong: "This Town Ain't Big Enough for the Both of Us" overall, and "Beat the Clock" "The No. 1 Song in Heaven" for their electronic period. Every one of their style phases may also have its own signature tune.


* VindicatedByHistory: ''Angst in My Pants'' is regarded much more highly than the rest of their 80s records in hindsight, whilst ''Balls'' has gained momentum for providing a smooth transition between the SynthPop of ''Gratuitious Sax'' and the GenreBusting NewSoundAlbum ''Lil' Beethoven''.

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* VindicatedByHistory: ''Angst in My Pants'' is regarded much more highly than the rest of their 80s records in hindsight, whilst ''Balls'' has gained momentum in recent years for providing a smooth transition between the SynthPop sound of ''Gratuitious Sax'' and the GenreBusting NewSoundAlbum ''Lil' Beethoven''.

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