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No. 1 In Heaven
Russell Mael recalls the making of 'No. 1 In Heaven' (a title which can also be read as the bleak 'No-one In Heaven'):
"'I Feel Love' had created an amazing impression on us. Working with Giorgio Moroder, we wanted to see if we could combine some of the electronics and feel of that song with our lyric slant.Whereas the album cover of 'No. 1 In Heaven' (above left) featured a glamorous woman scientist holding a microscope, the UK 12" single of 'Tryouts For the Human Race' (below left) featured a robotic hand holding a test tube. These oblique references to artificial insemination may indicate Sparks' initial anxieties about their rebirth within Moroder's synthetic brave new world."Both Giorgio and ourselves were feeling our way through the recording process, as he had never worked with a band before, and we had never worked with a producer known more for his work with solo disco artists like Donna Summer. No drum machines were used on the album; none existed at the time. Just Keith Forsey and his steady right foot."
Ironically, Sparks were soon so heavily influenced by Moroder at this point in their career, that they themselves started to write and produce Moroder-sounding disco records for other artists most notably the highly Moroder-esque 'Dancing Is Dangerous' (1979) for Noël, 'C'est Sheep' (1979) for Adrian Munsey and 'Sex' (1981) for Belgian synth-trio Telex.
'No. 1 In
Heaven' was released in the UK on Virgin Records and two of its accompanying
12" singles ('Beat The Clock' and 'Tryouts For The Human Race') featured
humorous monologues by British comic and satirist Peter Cook: one as Sparks'
supposed lawyer, the other as an over-enthusiastic connoisseur of synthesiser
sounds. In terms of style both of these sketches are reminiscent of Peter
Cook and Dudley Moore's improvised 'Derek And Clive' recordings. These
short 'bonus' tracks also featured song excerpts from the album.