"This Town Ain't Big Enough for Both of Us" | ||||
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Single by Sparks | ||||
from the album Kimono My House and Plagiarism (1997 re-recording with Faith No More) | ||||
B-side | "Barbecutie" | |||
Released | April 1974 | |||
Recorded | 1974 | |||
Genre | ||||
Length | 3:06 | |||
Label | Island | |||
Songwriter(s) | Ron Mael | |||
Producer(s) | Muff Winwood | |||
Sparks singles chronology | ||||
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Faith No More singles chronology | ||||
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Music video | ||||
"This Town Ain't Big Enough for Both of Us" on YouTube |
"This Town Ain't Big Enough for Both of Us" is a song by American pop band Sparks. Written by Ron Mael,it is the opening track on their third studio album Kimono My House (1974),and was the lead single from the album. Although it did not chart on the Billboard Hot 100,"This Town Ain't Big Enough for Both of Us" achieved major success in Europe,peaking within the top ten of the charts in the Netherlands,Switzerland and the United Kingdom. In the latter country,the song peaked at number two on the UK Singles Chart,where it remained for two consecutive weeks. [4] The song has become the highest-charting for Sparks on the UK Singles Chart,held off from the top spot by The Rubettes' bubblegum pop song "Sugar Baby Love".
The original idea for the song was that after each verse Russell Mael would sing a movie dialogue cliché,one of which was "This town ain't big enough for both of us",used in the 1932 film The Western Code . They dropped the idea of having different phrases and instead used only the one in the title. The original working title of the song was "Too Hot to Handle".[ citation needed ]
The record's producer Muff Winwood used distinctive Western movie-style gunshots on the recording after Ron and Russell "went through a whole BBC library and found the perfect gunshot for that song." [5]
The Maels frequently told the story that Winwood had bet his friend Elton John that the song would become a top-five hit on the UK Singles Chart and that John,saying it would not,lost the bet. [6] However,in his Sparks biography Talent Is an Asset,Daryl Easlea reports that this was a "great tale" propagated by the Mael brothers but contradicted by Winwood himself. Winwood said that he was unsure of how commercial the track would be,so he played it to John,who told him,"Listen,I'll bet you a hundred quid that that makes the Top 3". Winwood's wife agreed,and his doubts were allayed. [6]
The song was written without any regard for the vocal style of Russell Mael. Songwriter Ron Mael has explained:
"This Town Ain't Big Enough for Both of Us" was written in A,and by God it'll be sung in A. I just feel that if you're coming up with most of the music,then you have an idea where it's going to go. And no singer is gonna get in my way.
Russell Mael has claimed in reply:
When he wrote "This Town Ain't Big Enough for Both of Us",Ron could only play it in that key. It was so much work to transpose the song and one of us had to budge,so I made the adjustment to fit in. My voice ain't a "rock" voice. It's not soulful,in the traditional rock way;It's not about "guts". It's untrained,unschooled,I never questioned why I was singing high. It just happened,dictated by the songs. Ron has always written Sparks' lyrics and never transposed them into a rock key for me to sing. He always packed each line with words and I had to sing them as they were. [7]
An acoustic version of the song was recorded in 1985 for the B-side of the "Change" single.
In 1997,Sparks recorded two new versions of the song for their album Plagiarism . The first was an orchestral reworking arranged and conducted by Tony Visconti which reinstated a verse that Winwood had cut from the original. The other was as a collaboration with Faith No More,which was released as a single and peaked at number 40 on the UK Singles Chart. [8]
The Guardian said the song "was like a three-minute warning that Sparks were a band different from any other:octave-leaping vocals,gunshots,incomprehensible lyrics and an unrelenting sense of drama." [9]
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Chart | Certifications (sales thresholds) |
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UK (Official Charts Company) | BPI: Silver [19] |
The song appears in a dream sequence, in an episode of the British sitcom Green Wing . The original track is mimed by two of the characters, Dr. "Mac" Macartney and Dr Alan Statham, who pretend to be Russell and Ron Mael respectively.
The original Sparks version of the song is heard in the 2010 movie Kick-Ass .
The song is used in episode 2 of Telltale's video game series Guardians of the Galaxy .
The song is used in Season 1, Episode 8 of Justified: City Primeval in a scene with a confrontation between two characters.
Ronald David Mael is an American musician, songwriter, composer and record producer. He is the keyboard player and principal songwriter in the band Sparks, which he founded with vocalist, occasional songwriter and younger brother Russell Mael in 1971. Mael is known for his quirky and idiosyncratic approach to songwriting, his intricate and rhythmic keyboard playing style and for his deadpan and low key, scowling demeanour onstage often remaining motionless over his keyboard in sharp contrast to Russell's animated and hyperactive frontman antics. Ron Mael is also noted for his conservative clothes and distinctive moustache. The Mael brothers are the founders of Lil' Beethoven Records.
Russell Craig Mael is an American singer best known as the lead singer for the band Sparks, which he formed in 1971 with his elder brother Ron Mael. Mael is known for his wide vocal range, in particular his far-reaching falsetto. He has a flamboyant and hyperactive stage presence which contrasts sharply with Ron Mael's inexpressive demeanour. The band released an album with British rock band Franz Ferdinand, as the supergroup FFS, titled FFS, released in 2015. The Mael brothers are the founders of Lil' Beethoven Records.
Sparks is an American pop and rock duo formed by brothers Ron (keyboards) and Russell Mael (vocals) in Los Angeles. The duo is noted for their quirky approach to songwriting; their music is often accompanied by sophisticated and acerbic lyrics—often about women, and sometimes containing literary or cinematic references—and an idiosyncratic, theatrical stage presence, typified by the contrast between Russell's animated, hyperactive frontman antics and Ron's deadpan scowling. Russell Mael has a distinctive wide-ranging voice, while Ron Mael plays keyboards in an intricate and rhythmic style. Their frequently changing styles and visual presentations have kept the band at the forefront of modern, artful pop music.
Kimono My House is the third studio album by American rock band Sparks, released on May 1, 1974, by Island Records. The album is considered to be their commercial breakthrough, and was met with widespread acclaim.
A Woofer in Tweeter's Clothing is the second studio album by the American rock band Sparks. It was released in 1973 and includes the single "Girl from Germany". It was the last release by the original five-member incarnation of Sparks.
Propaganda is the fourth studio album by American rock band Sparks, released on November 11, 1974. Following up their commercial breakthrough, Kimono My House, released earlier the same year, it was a moderate success in the United States and peaked at No. 9 in the UK in 1975. The album cover features an image of a tied-up and gagged Mael brothers, titled "Welcome on Board", which was taken by photographer Monty Coles.
Indiscreet is the fifth album by Sparks. It was released in 1975 and later re-released with three bonus tracks. The album was a departure from the glam rock sound of Kimono My House and Propaganda, and emphasised the theatrical elements of their work, with greater use of orchestral arrangements and drawing from non-rock orientated styles such as jazz, big band, swing, vaudeville, and classical music. The album was produced by Tony Visconti, with whom the group reunited in 1997 to produce several tracks for their retrospective album Plagiarism. The song "How Are You Getting Home?" was used in Leos Carax's film Holy Motors.
Big Beat is the sixth album by American rock band Sparks, released in 1976.
Introducing Sparks is the seventh album by the American rock band Sparks, released in 1977 by Columbia Records.
Nº 1 in Heaven is the eighth studio album by American rock band Sparks. Recorded with Italian disco producer Giorgio Moroder, the album marked a change of musical direction for the group and became influential on later synth-pop bands.
Terminal Jive is the ninth album by the American rock band Sparks and the second recorded with Giorgio Moroder. The album has a disco-vibe like its predecessor but featured fewer synthesizers, opting instead for more electric rock guitar, resulting in a new wave sound. The album was produced by Moroder and Harold Faltermeyer, the latter of whom is claimed to have produced the majority of the album.
Plagiarism is the 17th album by American rock band Sparks. It is a tribute album of sorts featuring new alternate versions of some of their best known songs.
Lil' Beethoven is the nineteenth studio album by the American rock band Sparks, released on October 14, 2002. Written and produced by members Ron and Russell Mael, and self-described as their "genre-defying opus", the album was considered a radical musical departure from their recent work, which had been predominately electronic and beat-orientated in nature.
Hello Young Lovers is the 20th album by American pop and rock duo Sparks, released in 2006. A continuation of the repetitious, orchestral sound of their previous album Lil' Beethoven, though with a much greater emphasis on guitar and drums, it is a concept album which addresses aspects of modern love.
The following is a comprehensive discography of Sparks, an American rock and pop music band formed in Los Angeles in 1970 by brothers Ron (keyboards) and Russell Mael (vocals), initially under the name Halfnelson. Best known for their quirky approach to songwriting, Sparks' music is often accompanied by cutting and acerbic lyrics, and an idiosyncratic stage presence, typified in the contrast between Russell's wide-eyed hyperactive frontman antics and Ron's sedentary scowling.
Exotic Creatures of the Deep is the 21st album by the American rock band Sparks.
"I Predict" is a song by the Los Angeles new wave band Sparks. It was released in 1982 as the first single from Angst in My Pants, although an effort was made to release "Eaten by the Monster of Love" as a second single. The group promoted the single with an eclectic performance on Saturday Night Live. They also performed "Mickey Mouse", another Angst in My Pants track. It was their first single to ever enter the Billboard Hot 100 charts in America.
The Seduction of Ingmar Bergman is the 22nd album by American rock group Sparks, released in August 2009. The duo's first work in the radio musical genre, the album is built around an imaginary visit to Hollywood by Swedish film director Ingmar Bergman in the mid-1950s. Its storyline focuses on the divides between European and American culture, between art and commerce. Unlike other Sparks albums, the work is conceived as a single piece, to be listened to as a whole, rather than a collection of stand-alone songs.
Norman Victor "Dinky" Diamond was a British drummer who played with the rock band Sparks at the height of their fame in the UK in the early 1970s, playing on the albums Kimono My House (1974), Propaganda (1974) and Indiscreet (1975). In 1975 Diamond was voted Drummer of the Year in a poll held by Premier Drums. He committed suicide by hanging in 2004 after a long-running dispute with noisy neighbours.
Hippopotamus is the 23rd studio album by American rock group Sparks. It was released on September 8, 2017, through BMG Rights Management and The End Records, their first record issued on a major label for decades.