By Geoff Cabin

Parker was backed by one of the great rock'n'roll bands of the era - the Rumour. Combining soul and r&b influences with hard-edged guitar rock, the Rumour provided the perfect accompaniment to Parker's songs.

Graham Parker was born in London in 1950, but grew up in Deepcut, a small viIlage south of London. As a teenager Parker was a mod and listened to American soul music by people such as Otis Redding and Wilson Pickett and Jamaican ska and blue beat by people such as Desmond Dekker and the Aces, Prince Buster and the All Stars and the Skatalites.(2) During his teenage years, Parker played in the Deepcut Three, a Merseybeat group, and the Blackrockers, an r&b combo.(3)

After leaving school in 1967, Parker worked for two years at the Animal Viral Research Institute, breeding mice and guinea pigs for research.(4) Following that, he lived for a while on the island of Guernsey in the English Channel and then drifted through France, Spain, Gibraltar and Morocco working a series of odd jobs, before returning to England, where he continued to work odd jobs.(5) During this period - the late sixties and early seventies - Parker became immersed in hippy culture, writing songs that combined elements of folk, blues and psychedelia.(6)

By 1975, Parker had ended up back at his parents' house and was working at a nearby gas station.(7) He had grown tired of the "progressive rock hangover" and had starten to get back into soul music again.(8) He also was listening to Bob Dylan, Bob Marley, Van Morrison, the Rolling Stones and Busby Berkeley soundtracks.(9) Parker began to concentrate seriously on writing short three-and-a-half minute songs that drew on these influences.(10)

In early 1975, Parker placed an ad in Melody Maker seeking musicians to form a band.(11) Through the ad, Parker met a guitarist named Noel Brown.(12) Brown introduced Parker to Paul Riley, who had been the bass player in the pub rock band, Chilli Willi and the Red Hot Peppers.(13) Riley, in turn, introduced Parker to Dave Robinson.(14)

Robinson was one of the main movers and shakers on London's pub rock scene. He booked bands at the Hope & Anchor pub, operated a small eight-track recording studio that he had built above the pub, and had been the manager of the pub rock bands, Brinsley Schwarz and Bees Make Honey.(15) The following year (1976), Robinson would found Stiff Records along with Jake Riviera, another fixture on the pub rock scene.(16)

Impressed with Parker, Robinson became Parker's manager and started recording demos with him at the studio at the Hope & Anchor.(17) During the course of recording the demos, Robinson hooked Parker up with the musicians who would become his backing band - the Rumour.(18) The members of the Rumour were all veterans of pub rock bands that had recently broken up. Brinsley Schwarz (guitar) and Bob Andrews (keyboards) were from Brinsley Schwarz; Martin Belmont (guitar) was from Ducks Deluxe; and Andrew Bodnar (bass) and Stephen Goulding (drums) were from Bontemps Roulez.

Robinson took copies of Parker's demos, along with those of other acts he had recorded, to the disc jockey, Charlie Gillett.(19) Gillett hosted a radio show called "Honky Tonk" that was broadcast on Sunday mornings on BBC Radio London.(20) (Gillett is also the author of The Sound of the City, the best and most comprehensive history of rock'n'roll yet written.) Gillett played one of Parker's songs, "Between You and Me," on his show.(21)

Nigel Grainge, an A&R person for Phonogram, heard the broadcast, immediately became interested in Parker, and called, asking about the guy who "sounds like Van Morrison."(22) Shortly afterwards, Parker signed to Phonogram's U.K. label, Vertigo.(23)

Nick Lowe, another former member of Brinsley Schwarz was enlisted to produce Parker's debut album, Howlin' Wind.(24) The albun was recorded at Eden Studios in London.(25) In addition to backing by the Rumour, the album featured guest appearances by Noel Brown (dobro on "Not If It Pleases Me" and "Back To Schooldays"), Dave Edmunds ("rockabilly guitar" on "Back To Schooldays") and Ed Dean (slide guitar on "Soul Shoes").(26) Parker and the Rumour were also augmented by a horn section on several tracks.(27)

Released in the U.K. in April 1976, Howlin' Wind was a stunning debut.(28) Perhaps because Parker was making his debut at a relatively advanced age for a rock musician (25!) and was backed by seasoned veterans, Parker and the Rumour seemed to emerge full-blown on their first album. The material on the album drew on a wide variety of musical styles, but never sounded derivative. Regardless of the musical genre of a song, Parker and the Rumour put their own unique stamp on it and put it across with authority and conviction.

The album kicked off with "White Honey," a soulful r&b number, which featured the organ and horn section. "Back To Schooldays" was a hard-driving rockabilly number, which boasted defiant lyrics and featured a great guitar solo by Dave Edmunds. "Soul Shoes" was a Rolling Stones-style rocker with heavy-riffing guitar. On "Silly Thing" and "Lady Doctor," both of which featured the horn section, Parker added an element of big band swing to the mix. "Gypsy Blood" was a simmering acoustic ballad, reminiscent of Van Morrison. "You've Got To Be Kidding," with its sneering lyrics and prominent organ, was reminiscent of Bob Dylan. "Between You and Me," the song responsible for landing Parker his recording contract, was a gorgeous country-rock number. The song appeared on the album in its original demo form as recorded at the Hope & Anchor and played on Charlie Gillett's "Honky Tonk" program.(29) (Another track from the demo sessions, "Back To Schooldays," later appeared on an album called Honky Tonk Demos (Opal) and also as an unlisted track on A Bunch of Stiff Records (Stiff). It can currently be found on The Stiff Records Box Set (Demon/Rhino).) On the album's title track and "Don't Ask Me Questions," Parker and the Rumour fused reggae with hard-edged guitar rock behind Parker's apocalyptic lyrics.

Twenty years after its release, Howlin' Wind still sounds great and remains one of the best and most important records of its era.

(To be continued next issue.)

Ducks Deluxe was formed in 1972.(30) The original lineup consisted of Martin Belmont (guitar and vocals), Sean Tyla (guitar and vocals), Nick Garvey (bass and vocals) and Tim Roper (drums).(31) Most of the band members were former roadies: Martin Belmont had worked for Brinsley Schwarz, Sean Tyla for Help Yourself and Nick Garvey for the Flamin' Groovies.(32) Ducks Deluxe was a hard rocking outfit that combined classic rock 'n' roll and r&b influences with the proto-punk sounds of Lou Reed and the MC5.

The band released its first album, Ducks Deluxe (RCA), in early 1974.(33) Following the release of the first album, Andy McMasters joined the group on keyboards.(34) In early 1975, the band released its second album, Taxi to the Terminal Zone (RCA) (U.K. only), which was produced by Dave Edmunds.(35) Shortly afterwards, Nick Garvey and Andy McMasters left the group.(36) The band recorded a final single, a cover of "I Fought the Law," with Mick Groom taking over bass and lead vocals.(37)

The band continued on for awhile with additional personnel changes, playing its final gig on July 1, 1975 at the 100 Club in London.(38)

While Martin Belmont went on to the Rumour, Sean Tyla formed Tyla's Gang and Nick Garvey and Andy McMasters formed the Motors. A Ducks Deluxe "best of" album, Don't Mind Rockin' Tonite (RCA), was released in 1978.

END NOTES

1. Anonymous, untitled essay, Graham Parker and the Rumour (concert program from November 1979 Australian tour), p. 10; Marcus, "The Graham Parker Rumor," pp. 48 and 52; McGrath, p. 23; Whitburn, p. 565.
2. Birch, p. 88; Marcus, "The Graham Parker Rumor," pp. 47-48.
3. Marcus, "The Graham Parker Rumor," p. 48.
4. Id., p. 52.
5. Birch, p. 88; Handelman, p. 34; Marcus, "The Graham Parker Rumor," pp. 48 and 52.
6. Birch, p. 88; Borack, p. 20; Rowland, p. 41.
7. Birch, p. 88.
8. Birch, p.,88; Borack, p. 22; Guterman, pp. 10-11; Rowland, p. 41.
9. Birch, pp. 88-89; Guterman, pp. 10-11.
10. Birch, pp. 88-89.
11. Anonymous, untitled essay, Graham Parker and the Rumour, (concert program from November 1979 Australian tour), p. 10; Birch, p. 90; Borack, p. 20.
12. Birch, p. 90; Borack, p. 20.
13. Id.
14. Id.
15. Birch, p. 81; McCann, p. 4; Muirhead, p. 93.
16. Muirhead, p. 6.
17. Birch, p. 90; Borack, p. 22; Dopson, p. 1.
18. Id.
19. Birch, p. 90.
20. Birch, p. 82; Dopson, p. 1.
21. Anonymous, "Graham Parker," Mercury Records promotional biography, p. 2; Birch, p. 90; Dopson, p. 1.
22. Anonymous, "Graham Parker," Mercury Records promotional biography, p. 2; Anonymous, "Graham Parker and the Rumour," Graham Parker and the Rumour (concert program from March 1977 British tour), p. 4; Birch, p. 90; Dopson, p. 1.
23. Id.
24. Anonymous, musician and production credits for Howlin' Wind.
25. Id.
26. Id.
27. Id.
28. Anonymous, "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word, p. 47.
29. Anonymous, musician and production credits for Howlin' Wind.
30. de Whalley; Muirhead, p. 97.
31. Birch, p. 95; de Whalley.
32. Birch, p. 95; de Wahlley.
33. de Whalley; Scoppa, p. 71.
34. de Whalley.
35. de Whalley; Scoppa, p. 71.
36. de Whalley.
37. Id.
38. Birch, p. 89; de Whalley.

BIBLIOGRAPHY

1. Anonymous; "Graham Parker"; Mercury Records promotional biography; 1976.
2. ---; "Graham Parker and the Rumour"; Graham Parker and the Rumour (concert program from March 1977 British tour); Top-Billing Publications, Ltd.; February 1977; p. 2-5.
3. ---; musician and production credits for Howlin' Wind by Graham Parker; Mercury Records; 1976.
4. ---; "The Rumour"; Arista Records promotional biography; 1979.
5. ---; "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word: The Graham Parker Anthology: 1976 - 1991; Rhino Records; 1993.
6. ---; untitled essay; Graham Parker and the Rumour (concert program from November 1979 Australian tour); Playbill; 1979; p . 10-13.
7. ---; untitled promotional essay for The Mona Lisa's Sister by Graham Parker; RCA Records; 1988.
8. Birch, Will; "Cheers: Raise a glass to the regulars: in his usual chair, Ian Dury; hogging the jukebox, Nick Lowe; jockying up to the oche, Graham Parker and Elvis Costello; ordering pork scratchings, Wilko Johnson. And then there's Ace, Chilli Wiili, Eggs Over Easy, the Hot Rods, Kokomo ... Yes, it's the story of Pub Rock, served by our host, Will Birch."; Mojo; May 1996; p. 74-96.
9. Borack, John M.; "Graham Parker Is No Ordinary Dude"; Goldmine; April 15, 1994; p. 15- 48.
10. Considine, J.D.; "Graham Parker Is 'Stuck With' Solo Tour"; The Baltimore Sun; October 2, 1988; p. 1N and 6N.
11. de Whalley, Chas; liner notes for Don't Mind Rockin Tonite by Ducks Deluxe; RCA Records; 1978.
12. Dopson, Roger; liner notes for Live on the Test by Graham Parker; Windsong International; 1994.
13. Guterman, Jimmy; untitled article in the booklet included with Passion Is No Ordinary Word: The Graham Parker Anthology: 1976 - 1991; Rhino Records; 1993.
14. Handelman, David; "Graham Parker's Shades of Success: New Wave's Angry Young Man Is Older and Wiser"; Rolling Stone; June 30, 1988; p. 31-34.
15. Himes, Geoffrey; "Graham Parker: Rock's Last Angry Man Reflects on Life after the Rumour"; Musician; June 1982; p. 48-54.
16. ---; "Graham Parker's Solo Act: The Angry Rocker, Tackling 'Musical Fascism"'; The Washington Post; October 14, 1992; p. C7.
17. Joseph, Frank; "Brinsley Schwarz, Parker's Spark"; Musician; circa fall 1983; p. 80, 88 and 90.
18. Marcus, Greil; "The Graham Parker Rumor: A Search for Fool's Gold on Rte. 66"; Rolling Stone; December 29, 1977; p. 47-52.
19. ---; "Graham Parker's Tale of Fear and Drama"; Rolling Stone; May 17, 1979; p. 66-68.
20. McCann, Ian; The Stiff Records Story (booklet included in The Stiff Records Box Set); Demon Records/Rhino Records; 1993.
21. McCormick, Moira; "On the Road: Graham Parker and the Rumour: Marquee"; Sounds; June 19, 1976.
22. McGrath, T.J.; "Graham Parker: Squeezing Out All the Sparks"; Dirty Linen; June/July 1994; p. 23-25 and 98.
23. Milward, John; "Parker's Brand of Pub Rock"; Performance: The International Talent Weekly; September 3, 1976.
24. Morthland, John; "Things Begin to Happen for Graham Parker"; Rolling Stone; circa winter 1977.
25. Muirhead, Bert; Stiff: The Story of a Record Label: 1976-1982; Blandford Press; 1983.
26. Parker, Graham; "Graham Parker" (autobiographical/promotional essay for Burning Questions); Capitol Records; 1992.
27. Rogers, Sheila; "Random Notes: Parker's Stinging 'Success'"; Rolling Stone; May 5, 1988; p. 11.
28. Rowland, Mark; "Graham Parker: Better Living on the Up Escalator: A Corrosive Would- Be Commercialist Finds Some Hard-Won Satisfaction and a Hard-Edged New Band"; Musician; circa summer 1985; p. 38-44.
29. Scoppa, Bud; "Pub Rock: Grass Roots on the Other Side of the Fence"; Crawdaddy; October 1975; p. 70-73.
30. Sculley, Alan; "Parker Goes Beyond His 'Angry Man' Reputation"; The Baltimore Sun: "Maryland Live" section; May 26 - June 1, 1995; p. 5.
31. Snow, Mat; "Phone Home: Graham Parker"; Mojo, issue #16, p. 21.
32. Spotnitz, Frank; "Wake Up! Graham Parker Has Something To Say"; Rollinq Stone; July 18/August 1, 1985; p. 22-23.
33. Stewart, Tony; "This page has confidence and sniffs. It's (sniff) Graham Parker, The Singing Petrol Pump Attendant himself. And watch it - this boy could be going places! Tony Stewart told you first (or possibly second or third)."; New Musical Express; May 1, 1976; p. 12 and 38.
34. Whitburn, Joel; Joel Whitburn's Top Pop Albums: 1955-1992; Record Research, Inc.; Monommee Falls, Wisconsin; 1993.

Reproduced with kind permission from Geoff Cabin.

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