THE ROUGH GUIDE TO ROCK
GRAHAM PARKER
In the early 1970s, London had a thriving pub-rock scene, populated by bands with an uncomplicated approach based on the traditions of 50s R&B. Most of these were destined to remain playing for their pints but there emerged a handful of bigger and more enduring talents, chief among them the soon-to-be-huge Dire Straits, but including lesser lights Dr. Feelgood, Chilli Willi and The Red Hot Peppers ... and Graham Parker and The Rumour.
It was from a composite of leading pub-rock bands -Chilli Willi and The Red Hot Peppers, Brinsley Schwarz, Ducks Deluxe, and Bontemps Roulez - that the original Rumour was formed. The group comprised Brinsley Schwarz (guitar), Bob Andrews (keyboards), Martin Belmont (guitar), Andrew Bodnar (bass) and Steve Goulding (drums). Under the auspices of studio owner (and future Stiff Records founder) Dave Robinson they were to become Parker's backing group.
Their debut album, credited to Graham Parker and The Rumour, was Howlin' Wind (1976). Produced by another pub-rock veteran, Nick Lowe, it was released to rapturous acclaim from the British music press, oozed passion and commitment, and introduced the Parker standards "Hey Lord, Don't Ask Me Questions" and "White Honey". Its follow-up, Heat Treatment (1976), was similarly suffused with urgency and energy.
Stick to Me (1977) marked the end of Parker's honeymoon with the critics, despite quality songs like "Problem Child" and "Soul on Ice", and was followed by a ramshackle live album, The Parkerilla, that seemed to have 'contract filler' written all over it. It was enough to get Parker dropped by his American record company, Mercury, with whom he was unhappy.
Parker's 1979 album, Squeezing Out Sparks, was credited to him alone, although The Rumour were still in place. Produced with a crisp immediacy by Jack Nitzche, it dropped the brass instrumentation, which had been used to supplement the band's sound on previous studio albums, and was arguably Parker's best yet collection of songs, from rip-roaring opener, "Discovering Japan", to the bitter closing track, "Don't Get Excited". Deservedly, it charted in both the UK (#18) and US (a best-thus-far #40).
The Up Escalator (1980) sold well, too, and had the memorable songs, "Empty Lives" and "Stupefaction", but it sounded a little too much as if the group had found a formula and were sticking to it. It was a missed chance, considering the presence of Nicky Hopkins on piano, Danny Federici of the E Street Band on organ, and even a guest appearance from Springsteen. It was also to be Parker's last album with The Rumour, who had already recorded two albums without him and went off to make one more before breaking up.
Parker's 1982 'solo' outing, Another Grey Area, suggested that session men (including, again, Hopkins) could do The Rumour as well as the original band. It was an almost seamless continuation of The Up Escalator, and opened in fine style with one of Parker's best ever songs, "Temporary Beauty". His subsequent 80s albums, however, moved away from the old R&B sound, alongside a mellowing of the anger and cynicism of his earlier compositions. All had their moments, but none were as consistent as his Rumour output and sales dropped, with Parker's US label, Elektra, dropping him after Steady Nerves (1985), which ironically had spawned his only US Top 40 single, "Wake Up (Next to You)".
The Mona Lisa's Sister (1988) was perhaps Parker's best late 80s outing, sparsely arranged and energetic, featuring fine songs like "OK Hieronymus" and "Success". It was followed by Human Soul (1989), Struck by Lightning (1991) and Burning Questions (1992), all of which had flashes of brilliance, the last album including, for example, a superb paean to 60s producer Joe Meek, "Just Like Joe Meek's Blues", and the lovely folkish "Long Stem Rose".
By now Parker was often playing live with just acoustic guitar accompaniment, and two albums captured these performances: Live! Alone in America (1989) and Live Alone! Discovering Japan (1993). In 1995 he released the disappointing 12 Haunted Episodes, playing most instruments himself on a mellow, almost pastoral set.
Then in 1996 came another live album, Live from New York, which showed Parker right back in the driving seat. He had new backing from a drums, bass and keyboards trio, The Episodes, who breathed new life into the old songs, and allowed him to chance new ones with confidence - including a wonderful, sneering rendering of Nirvana's "In Bloom". He followed up the next year with Acid Bubblegum, a continuation of his theme of wasting his flashing razor and glittering bottle of vitriol with a stale pub-rock backing band, standing outside the tent pouring scorn on those inside.
Keith Prewer
Taken from the Rough Guide to Rock. © Rough Guides Ltd. First edition published Aug 96 / Nov 96 (USA). Distributed by Penguin.