Let us out of here, let us out of here, let us out of here We must, we must, we must, we must leave from here We must, we must, we must leave from here Gotta make it, gotta try, gotta get the chance to live and die It's an angry sea we face, just to get the chance to join the race We're just pawns in a funny game, tiny actors in the oldest play We're the future and the past, we're the only way you're gonna last Tryouts for the human race, from twilight time 'til dawn Tryouts for the human race, from Burlington to Bonn When that love explosion comes, my, oh my, we want to be someone Pressure building, gettin' hot, give it, give it, give it all you got One of us might make it through, the rest will disappear like dew We're just a gleam in lover's eyes, steam on sweaty bodies in the night The best songs are solid, innovative and exciting.' (Trouser Press, July 1979) Every cut sizzles your head and your feet at once.' (Hit Parader, 6 September 1979) 'This record is an amazing blend of frantic rock and Germanic disco that pushes beyond both idioms and into a state of pop-flash and fantasy that leaves one breathless. 'The end result is a powerfully effective blend of Sparks' assertive, ironic lyrics over instrumentation of considerable energy.' (Ray King, Manchester Evening News, 6 April 1979) The risk element of the venture was immense.as it happened, the experimental mix of Moroders wall of frenetic synthesizer sound and Sparks sharp rock wit clicked, and (the album) is probably one of the best ones either has produced.' (Harry Doherty, Melody Maker, 7 April 1979) '‘Number One in Heaven’ is one of the most fascinating collections of contemporary music recorded this or any other year. 1 in Heaven surprises by succeeding on an artistic and commercial level despite the fact that neither the Maels nor Moroder tempered their respective idiosyncrasies for the project.' (John Bush, All-Music Guide) From the chart hits 'Number One Song in Heaven' and 'Beat the Clock' to solid album tracks like 'La Dolce Vita,' No. 'It may not have been the most natural match in music history, but the marriage of Sparks' focus on oddball pop songs to the driving disco-trance of Giorgio Moroder produced the duo's best album in years. Suffice to say, the album is as decisive a freefall from formula for Moroder as it is for Sparks.' (New Musical Express, 9 December 1978) '(The album) will provide any stragglers.still concerned at the vacillating fortunes of the Brothers Mael with their most compulsive - and propulsive - encouragement since Sparks scintillating 1974 Kimono My House Island debut.