By Geoff Cabin

The Real Macaw was not much of an improvement over Another Grey Area. The Real Macaw had a slick, overproduced sound and, for the most part, featured weak material. In spite of Brinsley Schwarz's welcome presence, the album had a very keyboard/synthesizer-oriented sound. The album's sound appears to have been influenced by synthpop bands that were popular at the time, such as Human League and Soft Cell.

The Real Macaw did have a few good moments. "You Can't The Love for Granted" was an excellent ballad, with a strong melody and a brooding, atmospheric arrangement. In the tradition of "Mercury Poisoning" and "Maneuvers," "Passive Resistance" was a sarcastic broadside against the music industry. Parker wrote the song after Arista label head Clive Davis told Parker that his songs were receiving "passive resistance" from the radio-listening audience. "(Too Late) The Smart Bomb" was a mostly instrumental number that provided a showcase for Brinsley Schwarz's guitar work. The song was inspired by a video game called "Defender".⁴

The Real Macaw entered the Billboard charts on August 20, 1983 and remained on the charts for 14 weeks, peaking at number 59.⁵ "Life Gets Better" was released as a single and grazed the bottom of the Billboard Hot 100, making it to number 94.⁶ This was only the second time that Parker had made it onto the singles chart.

Parker toured in support of The Real Macaw with a band that consisted of Brinsley Schwarz and Huw Gower (formerly of the Records) on guitar, George Small on keyboards, Kevin Jenkins on bass and Gilson Lavis on drums.

The Real Macaw was the last album that Parker would record for Arista. As with Mercury, Parker had become dissatisfied with Arista, feeling that they weren't promoting his records adequately and decided to leave the label.⁷ After leaving Arista, Parker signed with Elektra.

Parker's next album, Steady Nerves, was released in March 1985.⁸ The album saw Parker attempting to put some aggression and energy back into his sound. Tired of working with "name" producers, Parker chose to co-produce the album with William Wittman, who had been associate producer and engineer on Cyndi Lauper's highly successful She's So Unusual album.⁹ Elektra was reluctant to allow Parker to work with an "unknown engineer," but agreed to allow Parker and Wittman to record three tracks together.¹⁰ The results were sufficiently impressive for Elektra to allow them to go ahead and complete the album.¹¹

Steady Nerves was billed to "Graham Parker and the Shot" to emphasize the more band-oriented sound of the album. While the Shot was referred to at the time as Parker's "new band," the Shot's members were actually drawn from the musicians who had backed Parker on The Real Macaw and the subsequent tour. The Shot consisted of Brinsley Schwarz on guitar, George Small on keyboards, Kevin Jenkins on bass and Michael Braun on drums.¹²

By and large, Steady Nerves was successful in returning more aggression and energy to Parker's sound. While the album was still a bit slick and overproduced, it was a tremendous improvement over Parker's previous two efforts. lt also found Parker back in top songwriting form.

The album kicked off with "Break Them Down," a scorching rocker about missionaries' destruction of lndian culture in Latin America. The song was inspired by an article in The Times of London.¹³ "Wake Up (Next to You)" was a wonderful, Smokey Robinson-style soul ballad. "The Weekend's Too Short" was a catchy rocker with a surprisingly lighthearted spirit. On "Black Lincoln Continental" Parker made a rare foray into rockabilly territory. "Everyone's Hand ls on the Switch" took a black-humored look at public lust for the death penalty. The album concluded with "Locked into Green," an r&b-based balled that erupted into a raucous, horn-laden ending. The CD version of the album contained a bonus track, "Too Much Time to Think," co-written by Parker and Kurt McGettrick, a rare instance of Parker collaborating with another writer.

"Wake Up" was released as a single with a non-album song, "Bricks and Mortar," on the flipside. Elektra put a big promotional push behind the single, including spending $97,000 to produce a promotional video.¹⁴ To gain exposure to a wider audience, Parker and the Shot toured as an opening act for Eric Clapton.

These promotional efforts worked, but only up to a point. "Wake Up" made it to number 39 on the Billboard Hot 100.¹⁵ While this was Parker's highest-ever chart placing, it was still not good enough to give him the breakthrough hit that he needed. Steady Nerves entered the Billboard charts on April 20, 1985 and remained on the charts for 21 weeks, peaking at number 57.¹⁶ The modest sales of "Wake Up" and Steady Nerves were not sufficient for Elektra to recoup its substantial investment in Parker and he was dropped from the label.¹⁷

Parker next signed to Atlantic Records. Parker had written numerous songs, but when he submitted a tape to Atlantic it did not meet with the label's idea of how Parker should sound.¹⁸ The A&R people at Atlantic told Parker that he should try to "sound more like Genesis" and suggested that Parker try writing with other people.¹⁹ Unable to reach agreement with Atlantic as to artistic direction, Parker left the label without ever making a record for them.

After leaving Atlantic, Parker began to shop around a proposal for a new album that would have a stripped-down, no-frills sound and would be recorded on a low budget and produced by Parker himself, with no outside input.²⁰ lnitially, no record labels showed any interest in the proposal, not even independent labels.²¹ Finally Parker found some interest at RCA, who gave Parker a small advance to record the album.²²

To record the album, Parker returned to Lansdowne Studios in London, where he recorded Squeezing Out Sparks.²³ Parker also tried to return to the approach that Jack Nitzsche had initiated with Squeezing Out Sparks - using a small number of instruments and keeping the arrangements spare and simple.²⁴ Parker was backed on the album by Brinsley Schwarz on guitar, Andrew Bodnar on bass, James Hallawell on keyboards and Terry Williams (formerly of Rockpile and Dire Straits) and Pete Thomas (of the Attractions) on drums. The album was produced by Parker and Schwarz and recorded for $60,000, less than the cost of the video for "Wake Up (Next to you)."²⁵

The album, entitled The Mona Lisa's Sister, was released in May 1988.²⁶ The Mona Lisa's Sister was Parker's best album in years and one of his best ever. The album totally abandoned the slick production of Parker's last few efforts in favor of a stripped-down semi-acoustic sound. Parker's acoustic guitar played a much more prominent role than it had in the past. James Hallawell's organ playing was very much reminiscent of Garth Hudson. And Brinsley Schwarz's guitar playing was as sharp as ever.

The album kicked off with "Don't Let lt Break You Down," a sharp-edged rocker whose catalogue of horrors in the verses belied the encouraging message of the refrain. "Under the Mask of Happiness" presented a chilling portrait of a broken marriage. "The Girl lsn't Ready" was a catchy reggae tune that saw Parker writing from the point-of-view of the parent that he had now become. On "Get Started, Start a Fire," Parker combined a slightly funky dance groove with a strong melody and enigmatic lyrics. The song featured one of Parker's best and most soulful vocal performances. "Success" was another of Parker's sarcastic broadsides against the music industry, this time inspired by his experience with Atlantic Records.²⁷ Perhaps the best song on the album was "I Don't Know," a wonderfully catchy rocker with searching lyrics.

The Mona Lisas Sister entered the Billboard charts on May 28, 1988 and remained on the charts for 19 weeks, peaking at number 77.²⁸ "Get Started, Start a Fire" was released as a single with a non-album track, "Ordinary Girl," on the flipside, but failed to chart.²⁹

Parker toured in support of The Mona Lisa's Sister with a band that consisted of Brinsley Schwarz on guitar, Andrew Bodnar on bass, James Hallawell on keyboards and Andy Maxwell on drums.

(To be continued next issue.)

END NOTES

1. Anonymous, "sources/personnel" listed in the booklet included with Passion ls No Ordinary Word, p. 48.
2. Anonymous, musician and production credits for The Real Macaw.
3. ld.
4. Johnson, p.27.
5. Whitburn, p. 565.
6. Id.
7. Spotznitz, p. 23
8. Anonymous, "sources/personnel" listed in the booklet included with Passion ls No Ordinaty Word, p.48 - 49.
9. Rowland, p.44.
10. Parker, "Graham Parker," p. 3; Rowland, p. 44.
11. Rowland, p. 44.
12. Anonymous, musician and production credits for Steady Nerves.
13. Spotznitz, p. 23.
14. Handelman, p. 31.
15. Whitburn, p. 565.
16. Id.
17. Handelman, p. 31.
18. Id. at p. 34.
19. Handelman, p. 31 and 34; Rogers, p. 11
20. Handelman, p.34.
21. Id.
22. Considine, p. 6N; Handelman, p. 34.
23. Anonymous, musician and production credits for The Mona Lisa's Sister.
24. Borack, p. 40 -42.
25. Anonymous, musician and production credits for The Mona Lisa's Sister, Handelman, p. 34.
26. Anonymous, "sources/personnel" listed in the booklet included with Passion ls No Ordinary Word, p. 47.
27. Rogers, p. 11
28. Whitburn, p. 565.
29. 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. ---; musician and production credits for The Real Macaw by Graham Parker; Arista Records; 1983
16. ---; musician and production credits for Steady Nerves by Graham Parker and the Shot; Elektra Records; 1985.
17. ---; musician and production credits for The Mona Lisa's Sister by Graham Parker; RCA Records; 1988.
18. ---; "The Rumour"; Arista Records promotional biography; 1979.
19. ---; "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word: The Graham Parker Anthology: 1976 - 1991; Rhino Records; 1993.
20. ---; untitled essay; Graham Parker and the Rumour (concert program from November 1979 Australian tour); Playbill; 1979; p. 10 -13.
21. ---: untitled promotional essay for The Mona Lisa's Sister by Graham Parker; RCA Records; 1988.
22. Belmont, Martin; liner notes for CD reissue of Ducks Deluxe/Taxi to the Terminal Zone by Ducks Deluxe; Mau Mau Records; 1991.
23. Birch, Will; "Cheers: Raise a glass to the regulars: in his usual chair, lan Dury; hogging the jukebox, Nick Lowe; jockeying up to the oche, Graham Parker and Elvis Costello; ordering pork scratchings, Wilko Johnson. And there's Ace, Chilli Willi, 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.
24. ---; liner notes for Naughty Rhythms: The Best of Pub Rock; EMI/Premier; 1996.
25. Borack, John M.; "Graham Parker Is No Ordinary Dude"; Goldmine; April 15, 1994; p. 15 - 48.
26. Cooper, Mark; "Forgiven?"; Q; January 1989; p. 12 - 13.
27. Considine, J.D.; "Graham Parker Is 'Stuck With' Solo Tour"; The Baltimore Sun; October 2, 1988; p. 1 N and 6N.
28. de Whalley, Chas; liner notes for Don't Mind Rockin'Tonite by Ducks Deluxe; RCA Records; 1978.
29. Dopson, Roger; liner notes for Live on the Test by Graham Parker; Windsong International; 1994.
30. ---; liner notes for CD reissue of Nervous on the Road/New Favorites of... by Brinsley Schwarz; Beat Goes On Records; 1995.
31. Drozdowski, Ted; "Why Won't Graham Parker Just Go Away?"; Pulse; May 1991; p. 73 - 74.
32. Frame, Pete; Rock Family Trees; Omnibus Press; 1993.
33. Guterman, Jimmy; untitled article in the booklet included with Passion ls No Ordinary Word: The Graham ParkerAnthology: 1976 - 1991; Rhino Records; 1993.
34. 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.
35. Heatley, Michael; liner notes for Live From New York by Graham Parker and the Episodes; Nectar Masters; 1996.
36. Hepworth, David; "Parker Pummels Your Plexus!"; New Musical Express; November 13, 1976.
37. ---; "Turning on the Endless Night"; The Face; circa June 1980.
38. Hewitt, Paulo; "The Beating of a Rock'n' Roll Heart"; Melody Maker; June 21, 1980; p. 30 - 31.
39. Himes, Geoffrey; "Graham Parker: Rock's Last Angry Man Reflects on Life After the Rumour"; Musician; June 1982; p. 48 - 54.
40. ---; "Graham Parker's Solo Act: The Angry Rocker Tackling 'Musical Fascism'"; The Washington Post; October 14, 1992; p. C7.
41. Johnson, Dean; "The Real Graham Parker Stands Up!"; Boston Rocker; October 11, 1983; p. 27 and 44.
42. Jones, Allan; "On the Down Escalator"; Melody Maker; April 17, 1982; p. 11.
43. Joseph, Frank; "Brinsley Schwarz, Parker's Spark"; Musician, circa fall 1983; p. 80, 88 and 90.
44. Kent, Nick; "Going Down on the Up Escalator"; New Musical Express; July 12, 1980; p. 30.
45. Lanham, Tom; "Graham Parker: A Legendary Crank Turns Soft?'; Pulse; June 1995.
46. Marcus, Greil; "The Graham Parker Rumor: A Search for Fool's Gold on Rte. 66"; Rolling Stone; December 29, 1977; p. 47 - 52.
47. ---; "Graham Parker's Tale of Fear and Drama"; Rolling Stone; May 17, 1979; p. 66 - 68.
48. McCann, lan; The Stiff Records Story (booklet included in The Stiff Records Box set); Demon Records/Rhino Records; 1993.
49. McCormick, Moira; "On the Road: Graham Parker and the Rumour: Marquee"; Sounds; June 19, 1976.
50. McGrath, T.J.; "Graham Parker: Squeezing Out All the Sparks"; Dirty Linen; June/July 1994; p. 23 - 25 and 98.
51. Milward, John; "Parker's Brand of Pub Rock"; Performance: The International Talent Weekly, September 3, 1976.
52. Morthland, John; "Things Begin to Happen for Graham Parker"; Rolling Stone; circa winter 1977.
53. Muirhead, Bert; Stiff: The Story of a Record Label: 1976 - 1982; Blandford Press; 1983.
54. Parker, Graham; "Graham Parker" (autobiographical/promotional essay for Burning Questions); Capitol Records; 1992.
55. ---; liner notes for The Best of Graham Parker and the Rumour, Vertigo Records; 1992.
56. ---; liner notes for BBC Live in Concert by Graham Parker; Windsong International; 1996.
57. ---; liner notes for CD reissue of Squeezing Out Sparks/Live Sparks by Graham Parker and the Rumour; Arista Records; 1996.
58. ---; liner notes for No Holding Back by Graham Parker; Demon Records; 1996.
59. ---; liner notes for Vertigo by Graham Parker; Vertigo Records; 1996.
60. Robbins, Ira; liner notes for CD reissue of Squeezing Out Sparks/Live Sparks by Graham Parker and the Rumour; Arista Records; 1996.
61. Robson, Andy; "The Righteous Brother"; Vox; April 1991; p. 38.
62. Rogers, Sheila; "Random Notes: Parker's Stinging 'Success'"; Rolling Stone; May 5, 1988; p. 11.
63. 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.
64. Salewicz, Chris; "Believe Everything You Hear"; New Musical Express; November 13, 1976.
65. Scoppa, Bud; "Pub Rock: Grass Roots on the Other Side of the Fence"; Crawdaddy, October 1975; p. 70 - 73.
66. Scully, Alan; "Parker Goes Beyond His 'Angry Man' Reputation"; The Baltimore Sun: "Maryland Live" section; May 26 - June 1, 1995; p.5.
67. Snow, Mat; "Phone Home: Graham Parker"; Mojo; issue #16; p. 21.
68. Spotnitz, Frank; "Wake Up! Graham Parker Has Something To Say": Rolling Stone; July 18/August 1, 1985; p. 22 - 23.
69. 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.
70. ---; "The On-Going Story of Little Men in Glasses"; New Musical Express; April 22, 1978.
71. Waugh, Bob; "The Island-Ear Interview"; The Island-Ear; June 4 - 17, 1985, p. 10 - 11.
72. Whitburn, Joel; Joel Whitburn's Top Pop Albums: 1955 - 1992; Record Research, lnc.; Monommee Falls, Wisconsin; 1993.
73. Young, Jon; "Graham Parker Wants You... To Get Stuck!"; Trouser Press; January 1978; p. 16 - 18.

Reproduced with kind permission from Geoff Cabin.

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