BIOGRAPHY
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THE RUMOUR

Although The Rumour are best known for squeezing rock sparks alongside Graham Parker, the five musicians have always been a band in their own right, and a good one at that (in fact, should anyone put forth the proposition that, man for man, they are unsurpassed among functioning rock units, there will be no loud argument from this corner.) Their devotion to the wiry-rocker, both on record and on stage, has undoubtedly obscured their prowess as a self-sufficient quintet, a state of affairs which should be remedied by careful consideration of their second LP, Frogs, Sprouts, Clogs and Krauts, a worthy successor to their considerably wonderful Max, an album that prompted U.K.'s Sounds to call them "one of the most skillful and tasteful bands this country has ever spawned."

If things were as they should be, the individual members of The Rumour and their musical history would need little elucidation; the collected works of their previous bands would be in every American home (ah, but then there mightn't have been a Rumour at all, right? Events may have worked out for the best.) To capsulize: these five musicians are the remains of the British "pub-rock" scene that produced bands of high quality, minimal success commercially and enormous influence. From this rock and roll community have cometh such current raves as Nick Lowe, Elvis' Attractions, Dury's Blockheads, Bram Tchaikovsky, Miller's Highlife, and the band in question.

Bob Andrews (keyboards) and Brinsley Schwarz (guitar) have been banded together off and on since 1965, first in Kippington Lodge and then in Schwarz's eponymous outfit. Brinsley Schwarz (the group), also counting Ian Goimm and Mr. Lowe among its members during its six year tenure, were a band always on the verge of stardom. Alas, at the end, it eluded them. The records survive, and are well worth pursuing. The same could be said for the LP's of Ducks Deluxe, whose members included Rumour guitarist Martin Belmont, plus some future Motors and Sean Tyla; they existed contemporaneously with the Brinsleys ('72 - '75) and were likewise rockers of much flair and less fame. Meanwhile, bassist Andrew Bodnar and drummer Steve Goulding rhythm-sectioned with groups Sky-Rockets and Bontemps Roulez (the latter loosely translated as "Let The Good Times Roll", which they did.)

As Bodnar is quoted as saying in Pete Frame's copyrighted "pub-rock" family tree, from whence some of this info is glommed, "Stephen Goulding and I, plus various remnants of the Ducks, the Willies and Brinsley Schwarz -- all of whom had broken up around the same time -- were all hanging around Dave Robinson's studio at the Hope & Anchor. He asked us if we'd have a shot at backing Graham Parker on some demos he was doing." So as the pub-rock scene made its demise, these five survivors Schwarz, Belmont, Andrews, Goulding and Bodnar by name -- became Parker's band The Rumour, and Parker's demo, once aired on the radio, earned the conglomeration a record contract. Putting their own ambitions on hold for a spell, The Rumour provided the punch behind Parker's voice and songs on Howlin Wind, Heat Treatment, Stick To Me, The Parkerilla, "The Pink Parker" EP, a live promotional LP, Squeezing Out Sparks, etc. There is no other singer-band combination like it, and long may it spark.

In the midst of all this, and along with other outside projects (the band recording and touring with Carlene Carter, Andrews pianoing on Nick Lowe's "I Love The Sound Of Breaking Glass", Schwarz guitaring on Rachel Sweet's album, Goulding and Bodnar helping Costello watch the detectives), The Rumour decided to have a go at the record that might have been realized earlier had Parker not come along. Andrews says, "We'd put ourselves one hundred per cent behind him and put our own songs away." Belmont offers, "I think Max is the album The Rumour would have made eventually. But if we hadn't met Graham, I can't see that we would have been in such a strong position. There are songs we were playing when we were rehearsing before he came along, but becoming involved with him gave us direction, confidence und experience." During a break in the Parker tour schedule in early 1977, Max was recorded with Robert John Lange helping with production, and the LP included Rumour originals plus tunes by the likes of Lowe, Stevie Wonder and Duke Ellington.

"When you've built up a reputation", Goulding told Melody Maker, "like we have, there's a lot of pressure on you. You can't escape it. People are going to scrutinize you more closely." Their two albums apart from Parker reflect their autonomy and individuality, giving The Rumour a chance to explore their addictive synthesis of R&R, R&B, blues and country, to step out as writers, singers and players and reach an international audience (Australia and Holland have recently become Rumour-mongers.) With songs like "Emotional Traffic", "Frozen Years" and "All Fall Down" from Frogs, Sprouts, Clogs und Krauts, The Rumour have established themselves as front-runners, or, as the Belmont-Lowe song would have it, "Leaders." And that's a fact.

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