A Wry Waltz of Self-Obsession: The Enduring Charm of a 70s Art-Pop Gem
A theatrical, self-deprecating anthem celebrating the sheer, unadulterated joy of radical self-love.
Ah, Sparks. Just the name conjures up a whole era—a flash of glam, a dose of theatrical eccentricity, and the inimitable, intellectual wit of the Mael brothers, Ron and Russell. When we talk about their groundbreaking 1974 album, Kimono My House, it’s usually the chart-busting single “This Town Ain’t Big Enough for Both of Us” that first springs to mind. But for those of us who spent countless hours poring over every track on that vinyl, there was a deep-cut that captured the Sparks sensibility just as perfectly, albeit with a quieter, cabaret-esque flair: “Falling in Love with Myself Again.”
This delightfully warped waltz, penned by keyboardist and chief-songwriter Ron Mael, was the third track on the album. While not released as a single, and therefore having no specific chart position of its own, it was nestled within an album that defined a new phase for the band and became a sensation, hitting a remarkable No. 4 on the UK Albums Chart. The success of Kimono My House, and the singles it spawned, guaranteed that tracks like “Falling in Love with Myself Again” were widely heard by a burgeoning, sophisticated audience that hungered for something cleverer than standard pop fare.
The story behind the song is really the story of Sparks themselves—a tale of transplanting their uniquely American, art-rock vision to the UK, where they found the perfect, receptive environment. With Russell Mael‘s operatic, soaring vocals and Ron Mael‘s static, mustachioed presence and intricate, piano-driven arrangements, they were an electrifying, avant-garde pairing. “Falling in Love with Myself Again” is pure Ron Mael genius, a cynical yet humorous piece that hearkens back to German cabaret or even the musical satire of Bertolt Brecht. Its unusual 3/4 time signature lends it that theatrical, slightly unnerving air of a decadent dance hall.
The meaning of the song is a masterclass in self-deprecation turned on its head. It’s an ode to the ultimate in self-sufficiency—a narrator so completely, blissfully engrossed in their own existence that they find no need for a romantic partner. It is narcissism framed as the most practical and convenient form of devotion. The iconic, hilarious lines like “I bring home the bacon and eat it myself, Here’s to my health, Hope that I am feeling well” capture this ethos perfectly. It is a brilliant rejection of the conventional romantic narrative in pop music, offering an alternative where the self is the most satisfying object of affection. It’s a cheeky, satirical celebration of egocentrism, but delivered with such a light, melodic touch that you can’t help but smile and maybe, just maybe, feel a little bit of envious appreciation for the narrator’s unshakeable self-regard. This track, with its advanced harmonic chord sequences and blocky electric organ sounds, showed the immense depth and versatility of Sparks beyond their glam-pop hits. It’s a reminder of a time when album tracks were as vital as the singles, and when bands weren’t afraid to be as funny as they were profound.
The unique style and arrangements present in “Falling In Love With Myself Again” are a perfect representation of the eclectic genius Sparks brought to the music scene in the mid-70s.