By Geoff Cabin

Bob Andrews had left the Rumour after the Squeezing Out Sparks tour, reducing the band to a quartet. After leaving the Rumour, Andrews continued to work as a house producer at Stiff, producing records for Jona Lewie, the Equaters and Jane Aire, among others.(2) For The Up Escalator, the keyboard seat vacated by Andrews was filled by Nicky Hopkins on piano, Danny Federici, of the E Street Band, on organ, and Pete Wood, formerly of the Sutherland Brothers, on synthesizers.(3)

Iovine's production gave Parker and the Rumour a radio friendly pop sheen without compromising any of their aggressive energy. The album kicks off with "No Holding Back," an ultra-catchy and infectiously energetic rocker. On "Stupefaction" Parker set sneeringly funny lyrics to a bouncy, cheerful pop tune. "Endless Night" is a catchy, hard-driving rocker that features a guest appearance by Bruce Springsteen on background vocals. "Empty Lives" is a classic Parker tune, with an aura of menace and violence and some great guitar playing by Brinsley Schwarz.

The Up Escalator seemed perfectly designed to build on the commercial success of Squeezing Out Sparks, but for some reason it didn't happen. The new album didn't get any higher on the charts and remained on the charts for less time. The Up Escalator entered the Billboard charts on May 31, 1980 and remained on the charts for 15 weeks, peaking at number 40.(4)

"Stupefaction," backed by a non-album track, "Women in Charge," was released as a single but failed to chart.(5) ("Women in Charge" is currently available as a bonus track on the CD reissue of The Up Escalator.)

After the release of The Up Escalator Parker and the Rumour made a few concert and t.v. appearances and then Parker split from the band. Parker had become unhappy with the Rumour, feeling that the band members were overplaying, all going in different directions at the same time, and "butchering" his songs.

Also in 1980, Parker's first novel, The Great Trouser Mystery, was published by Stiff in the U.K.(6) The book was a science fiction comedy with illustrations by Willy Smax.(7)

The Rumour's third and final album, Purity of Essence, was released by Stiff in the U.K. in the summer of 1980. The album was recorded at Eden Studios and Genetic Sound in London and produced by Alan Winstanley.(8)

The band appeared to be running out of steam a bit at this point and having trouble coming up with original material - five of the album's eleven songs are by outside writers. Certainly the band was suffering from the loss of Bob Andrews who had played an important role in writing and arranging material for them.

In spite of that, Purity of Essence is a strong and enjoyable album. With Bob Andrews gone, the album has a much more guitar-oriented sound. The album kicks off with a cover of Bacharach and David's "Little Red Book," with the arrangement copied from Love's version of the song. This is followed by covers of Nick Lowe's "I Don't Want the Night to End" and Randy Newman's "Have You Seen My Baby?" The band also turns in a nice version of the old Ike and Tina Turner hit, "It's Gonna Work Out Fine," with new lyrics by Brinsley Schwarz. The album also includes a previously unreleased Graham Parker song, "That's the Way the Ball Rolls," although it's a fairly undistinguished song. Among the original material, one of the best songs is "Falling in Love With a Dream," written by Martin Belmont and Stephen Goulding. This is one of the most pop-oriented songs that the band ever did and features a wonderfully catchy refrain. Another standout is "Tula" by Brinsley Schwarz, which also features a memorable refrain.

Purity of Essence was supposed to be released by Hannibal in the U.S., but Stiff wanted more money for the tapes than Hannibal was willing to pay. To overcome this obstacle, the Rumour returned to the studio and recorded an entirely new version of the album for Hannibal. This new version of the album was recorded at Island Studios in London, with no producer credited.(9) As released by Hannibal, the album has a different cover and a somewhat different track listing than the Stiff version. The songs are in a different sequence and "Little Red Book," "Pyramids" and "That's the Way the Ball Rolls" are eliminated while "All Boys Lie," "Rubber Band Man," "Depression" and "Name and Number" are added. The album failed to chart.(10)

(The British version of Purity of Essence has recently been issued on CD in the U.S. by Gadfly Records with "Name and Number" as a bonus track. While it's great to see some of the Rumour's material being made available on CD, there are some problems with this release that need to be pointed out. Although this is the British version of the album, it includes the production credits for the American version. It also erroneously lists Bob Andrews as playing keyboards on the album. Finally, the liner notes barely even mention the Rumour, but instead provide a history of Stiff Records that has been cobbled together out of excerpts from Bert Muirhead's book, Stiff: The Story of a Label. These notes are totally out of place and appear to have been thrown together simply to fill up space. While this release is certainly worthwhile, it's unfortunate that it wasn't put together with a bit more care.)

The Rumour next served as the backup band for another singer/songwriter - Garland Jeffreys. Andrew Bodnar and Stephen Goulding had played on Jeffreys' 1981 album, Escape Artist. The entire band then backed Jeffreys on the tour in support of the album. This resulted in an excellent live album, Rock 'n' Roll Adult, which was released later in 1981.

By late 1981 the Rumour had come to an impasse. The band had been unable to establish itself as a viable unit on its own. One of the band's problems was that Brinsley Schwarz, who sang lead on most of the band's songs, was uncomfortable in the role of lead singer onstage.(11) Schwarz suggested that the band hire a lead vocalist, but this suggestion was rejected by the other members of the band, and the band instead decided to call it a day.(12)

Graham Parker's first album without the Rumour, Another Grey Area, was released by Arista in March 1982.(13) (In the U.K. the album was released by RCA.) The album was recorded at the Record Plant in New York and produced by Jack Douglas and Parker.(14) Parker was backed on the album by New York session musicians, including a couple of members of Billy Joel's band (which gives a certain unintended irony to Parker's crack about Joel on the Live! Alone in America album).

Compared to the albums that Parker made with the Rumour, Another Grey Area has a slick, heavily-produced sound. While Parker had ostensibly split with the Rumour in order to pursue new musical directions, there are not any new musical direction evident on the album. Stylistically, the music is the same mixture of r&b and soul-based rock and reggae that Parker had always played. There are some excellent songs on the album - particularly the ballad, "Temporary Beauty," the reggae number, "No More Excuses," and the sarcastic rocker, "Big Fat Zero" - but they are smothered by the album's slick production. The session musicians simply didn't have the muscle to deliver the knockout punch that the Rumour had always delivered as a matter of routine. All in all, Another Grey Area sounds like a pale imitation of the work that Parker had done with the Rumour.

If this was an attempt to make a more commercial record it didn't succeed, as Another Grey Area didn't do as well as Parker's previous two albums. Another Grey Area entered the Billboard charts on April 10, 1982 and remained on the charts for 16 weeks, peaking at number 51.(15)

"Temporary Beauty" and "You Hit the Spot" were both released as singles, but neither charted.(16) "You Hit the Spot" was backed by a non-album. track, "Habit Worth Forming," which was written by Parker and Andrew Bodnar.

Although he did not appear on Another Grey Area, Brinsley Schwarz rejoined Parker for the tour in support of the album and would continue to work with Parker for the next several years. The rest of the band for the tour consisted of Carlos Alomar on guitar, George Small on keyboards, Kevin Jenkins on bass and Michael Braun on drums. The tour's Chicago stop was filmed for MTV and later released on video by Sony Video Software under the title Graham Parker: Live Concert.

(To be continued next issue.)

Bontemps Roulez was formed in January 1975.(17) The band's original lineup consisted of Steve Bonnet on guitar and vocals, Tony Downes on keyboards and future Rumour members Andrew Bodnar on bass and Stephen Goulding on drums.(18) Bonnet, Bodnar and Goulding had previously played together in another pub-rock outfit, the Sky Rockets.(19) In March 1975 guitarist and vocalist Diceman Bailey joined the Bontemps Roulez lineup.(20) It's difficult to tell what the band sounded like since they never released a record, but they reportedly played in an "artificial white English funk" style.(21) The band remained together for less than six months, breaking up in May 1975.(22)

END NOTES

1. Anonymous, "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word, p. 47.
2. Muirhead, p. 10 - 52.
3. Anonymous, musician and production credits for The Up Escalator.
4. Whitburn, p. 565.
5. Id.
6. Dopson, liner notes for Live on the Test; Muirhead, p. 92.
7. Muirhead, p.92.
8. Anonymous, musician and production credits for Purity of Essence, Stiff Records, 1980.
9. Anonymous, musician and production credits for Puritv of Essence, Hannibal Records, 1981.
10. Whitburn, p. 641.
11. Joseph, p. 88.
12. Id.
13. Anonymous, "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word, p. 48.
14. Anonymous, musician and production credits for Another Grey Area.
15. Whitburn, p. 565.
16. Id.
17. Frame, p. 28.
18. Id.
19. Id.
20. Id.
21. Id.
22. Id.

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. ---; musician and production credits for Heat Treatment by Graham Parker and the Rumour; Mercury Records; 1976.
5. ---; musician and production credits for The Pink Parker by Graham Parker and the Rumour; Mercury Records; 1977.
6. ---; musician and production credits for Max by the Rumour; Mercury Records; 1977.
7. ---; musician and production credits for Stick to Me by Graham Parker and the Rumour; Mercury Records; 1977.
8. ---; musician and production credits for The Parkerilla by Graham Parker and the Rumour; Mercury Records; 1978.
9. ---; musician and production credits for CD reissue of Squeezing Out Sparks/Live Sparks by Graham Parker and the Rumour; Arista Records; 1996.
10. ---; musician and production credits for Frogs, Sprouts, Clogs and Krauts by the Rumour; Arista Records; 1979.
11. ---; musician and production credits for The Up Escalator by Graham Parker and the Rumour; Arista Records; 1980.
12. ---; musician and production credits for Purity of Essence by the Rumour; Stiff Records; 1980.
13. ---; musician and production credits for Purity of Essence by the Rumour; Hannibal Records; 1981.
14. ---; musician and production credits for Another Grey Area by Graham Parker; Arista Records; 1982.
15. ---; "The Rumour"; Arista Records promotional biography; 1979.
16. ---; "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word: The Graham Parker Anthology: 1976 - 1991; Rhino Records; 1993.
17. ---; untitled essay; Graham Parker and the Rumour (concert program from November 1979 Australian tour); Playbill; 1979; p. 10-13.
18. ---; untitled promotional essay for The Mona Lisa's Sister by Graham Parker; RCA Records; 1988.
19. Belmont, Martin; liner notes for CD reissue of Ducks Deluxe/Taxi to the Terminal Zone by Ducks Deluxe; Mau Mau Records; 1991.
20. 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 Willi, Eggs Over Easy, the Hot Rodsp Kokomo... Yes, it's the story of Pub Rock, served by our host, Will Birch."; Mojo; May 1996; p. 74-96.
21. ---; liner notes for Naughty Rhythms: The Best of Pub Rock; EMI/Premier; 1996.
22. Borack, John M.; "Graham Parker Is No Ordinary Dude"; Goldmine; April 15, 1994; p. 15-48.
23. Considine, J.D.; "Graham Parker Is 'Stuck With' Solo Tour"; The Baltimore Sun; October 2, 1988; p. 1N and 6N.
24. de Whalley, Chas; liner notes for Don't Mind Rockin' Tonite by Ducks Deluxe; RCA Records; 1978.
25. Dopson, Roger; liner notes for Live on the Test by Graham Parker; Windsong International; 1994.
26. ---; liner notes for CD reissue of Nervous on the Road/New Favorites of... by Brinsley Schwarz; Beat Goes On Records; 1995.
27. Frame, Pete; Rock Family Trees; Omnibus Press; 1993.
28. Guterman, Jimmy; untitled article in the booklet included with Passion Is No Ordinary Word: The Graham Parker Anthology: 1976 - 1991; Rhino Records; 1993.
29. 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.
30. Heatley, Michael; liner notes for Live From New York by Graham Parker and the Episodes; Nectar Masters; 1996.
31. Himes, Geoffrey; "Graham Parker: Rock's Last Angry Man Reflects on Life after the Rumour"; Musician; June 1982; p. 48-54.
32. ---; "Graham Parker's Solo Act: The Angry Rocker, Tackling 'Musical Fascism"'; The Washington Post; October 14, 1992; p. C7.
33. Joseph, Frank; "Brinsley Schwarz, Parker's Spark"; Musician; circa fall 1983; p. 80p 88 and 90.
34. Marcus, Greil; "The Graham Parker Rumor: A Search for Fool's Gold on Rte. 66"; Rolling Stone; December 29, 1977; p. 47-52.
35. ---; "Graham Parker's Tale of Fear and Drama"; Rolling Stone; May 17, 1979; p. 66-68.
36. McCann, Ian; The Stiff Records Story (booklet included in The Stiff Records Box Set); Demon Records/Rhino Records; 1993.
37. McCormick, Moira; "On the Road: Graham Parker and the Rumour: Marquee"; Sounds; June 19, 1976.
38. McGrath, T.J.; "Graham Parker: Squeezing Out All the Sparks"; Dirty Linen; June/July 1994; p. 23-25 and 98.
39. Milward, John; "Parker's Brand of Pub Rock"; Performance: The International Talent Weekly; September 3, 1976.
40. Morthland, John; "Things Begin to Happen for Graham Parker"; Rolling Stone; circa winter 1977.
41. Muirhead, Bert; Stiff: The Story of a Record Label: 1976-1982; Blandford Press; 1983.
42. Parker, Graham; "Graham Parker" (autobiographical/promotional essay for Burning Questions); Capitol Records; 1992.
43. ---; liner notes for The Best of Graham Parker and the Rumour; Vertigo Records; 1992.
44. ---; liner notes for BBC Live in Concert by Graham Parker; Windsong International; 1996
45. ---; liner notes for CD reissue of Squeezing Out Sparks/Live Sparks; Arista Records; 1996.
46. Robbins, Ira; liner notes for CD reissue of Squeezing Out Sparks/Live Sparks; Arista Records; 1996.
47. Rogers, Sheila; "Random Notes: Parker's Stinging 'Success"'; Rolling Stone; May 5, 1988; p. 11.
48. 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.
49. Scoppa, Bud; "Pub Rock: Grass Roots on the Other Side of the Fence"; Crawdaddy; October 1975; p. 70-73.
50. Sculley, Alan; "Parker Goes Beyond His 'Angry Man' Reputation"; The Baltimore Sun: "Maryland Live" section; May 26 - June 1, 1995; p. 5.
51. Snow, Mat; "Phone Home: Graham Parker"; Mojo, issue #16; p. 21.
52. Spotnitz, Frank; "Wake Up! Graham Parker Has Something To Say"; Rolling Stone; July 18/August 1, 1985; p. 22-23.
53. 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.
54. 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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