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GRAHAM |
Parker burst onto the London rock scene in the mid-seventies, right at the dawn of punk. His urgent style of rock 'n' roll initially reminded some of a younger, angrier Van Morrison, but it soon became clear that Graham Parker was his own man. Joining forces with the Rumour, comprised of veterans of pub-rock bands Ducks Deluxe, Brinsley Schwarz, and Bontemps Roulez, Parker signed with Phonogram and released three hot studio LP's 'Howlin' Wind', 'Heat Treatment', and 'Stick To Me', as well as a live set, 'The Parkerilla'.
At the end of the decade he recruited producer Jack Nitzsche for 'Squeezing Out Sparks', a widely acclaimed LP that signalled to many his maturity as an artist.
Parker subsequently shifted directions again by parting company with the Rumour. Explaining the separation, he says, "When the backing band thinks their own records are more important than yours, it's time to split". For his next two LPs, Parker worked with session musicians and a couple of 'star' producers, collaborating with Jack Douglas on 'Another Grey Area' and tapping David Kirschenbaurn for 'The Real Macaw'. Both records retained his white-hot intensity but also displayed new polish, placing greater emphasis on the melodic side of his singing and songwriting.
A logical extension of Parker's earlier work, 'Steady Nerves' his latest album is at the same time a departure for him. It's his debut for Elektra Records and the first time he's played such a major role in shaping the actual sound of a record, co-producing with William Wittman. "I was credited as co-producer on 'Another Grey Area'", he recalls, "but this one was the real thing. Although I didn't know a decibel from an eq. I knew I wanted more the attack of 'Squeezing Out Sparks' than I'd had on my last few records.
"Steady Nerves should dispel any suspicion that I've mellowed out. It attacks in a way my last few albums haven't, and I think it sounds great. But," Parker adds, with typical candor, "people will have to listen and make up their own minds".
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