By Geoff Cabin

Parker's solo concert at the Theatre of Living Arts in Philadelphia in October 1988 was recorded and subsequently released as an album in February 1989 under the title Live! Alone in America.¹

The album featured excellent performances of numerous Parker classics such as "White Honey," "Protection," "Gypsy Blood," "Back to Schooldays" and "You Can't Be Too Strong." The real highlights of the album, though, were three previously unreleased songs that were included. "Soul Corruption" was a heavy-duty reggae number with blatantly political lyrics. "Durban Poison" was another politically-oriented reggae number that protested apartheid in South Africa. (This song had previously been performed live in 1986 and apparently was originally intended for the abortive Atlantic album.) "The 3 Martini Lunch" was a country-tinged number that took a satirical look at the movie industry. The album closed with a cover of Sam Cooke's "A Change Is Gonna Come."

Although it received excellent notices, Live! Alone in America failed to chart.²

Parker's next studio album, Human Soul, was released in January 1990.³ The album was produced by Parker, Brinsley Schwarz and Jon Jacobs (who also served as engineer) and recorded at Livingston Studios in London.⁴ Parker was backed on the album by Schwarz on guitar, Andrew Bodnar on bass, James Hallawell on organ, Steve Nieve of the Attractions on synthesizers and Pete Thomas of the Attractions on drums.⁵ Several tracks also featured background vocalists and a horn section. The album was divided into a "real" side, which contained six songs, and a "surreal" side that featured an Abbey Road-style suite of song fragments, plus two additional songs. While the album was somewhat uneven as a whole, it included lots of excellent material.

In some respects, the album was a throwback to Parker's earlier material. The album was pervaded by a strong soul and r&b influence and this was the first time Parker had made such extensive use of a horn section since the early days of the Rumour. "Little Miss Understanding" was a catchy and swinging r&b number, while "My Love's Strong" was an excellent soul-based ballad with some lyrical guitar-playing from Brinsley Schwarz. On the reggae-flavored "Soultime," Parker reminisced about his youth in the mod scene. "You Got the World (Right Where You Want It)" was another strong, r&b-based number, with sarcastic lyrics mocking the hollowness and materialism of the yuppie lifestyle. The "surreal" side was a mixed bag, but contained some strong material. The opening number of the suite, "Everything Goes," was fantastic and unlike anything Parker had done before. The song featured a beautifully haunting melody and refrain sung by Parker in the upper register of his voice, contrasting sharply with the horrors recounted in the lyrics. "Green Monkeys" was another excellent number with a haunting refrain. It's too bad that only fragments of these songs were used, as it is frustrating not to hear them in their entirety. An extended version of "Everything Goes" that included an additional verse was released as a promotional 12", however, with a non-album track, "That Thing Is Rockin'," on the flipside.

Human Soul entered the Billboard charts on February 24, 1990 and remained on the charts for nine weeks, peaking at number 165.⁶

Following the release of Human Soul, Parker toured as part of Dave Edmunds Rock 'n' Roll Revue, along with Kim Wilson (of the Fabulous Thunderbirds), Dion, and Edmunds. Each of the singers did a set backed by a band that included Steve Cropper (of Booker T and the MGs) on guitar, Phil Chen on bass, Terry Williams (of Rockpile and Dire Straits) on drums and the Miami Horns: Richie "La Bamba" Rosenberg on trombone, Ed Manion on saxophone, Al Torrente on trumpet, and Julio Cruz on saxophone (most of whom were veterans of the Asbury Jukes and Disciples of Soul).

The shows were opened by Kim Wilson, who was followed by Parker. Parker's set included a selection of numbers from Human Soul, as well as a few older songs such as "Get Started, Start a Fire," "Local Girls," and "Heat Treatment." Parker was followed by Dion. During Dion's final number, "Abraham, Martin and John," Parker and Edmunds joined Dion on vocals. The show was closed with a set by Edmunds. During the encores, Parker joined Edmunds for a duet on "Crawling From the Wreckage," and then participated with the entire ensemble in performing numbers such as "Dock of the Bay," "Ready, Willin' and Able" and "Keep A Knockin'."

Parker's next album, Struck by Lightning, was released in February 1991.⁷ The album was produced by Parker and recorded at Dreamland Studios in West Hurley, New York.⁸

Parker has described Struck by Lightning as an "anti-production statement," and he took his approach of simplifying and stripping down his sound to its farthest extreme yet on this record.⁹ The songs were mostly low-key and folk-oriented, and were framed by spare, mainly acoustic arrangements. The music was performed primarily by a core group that consisted of Parker on guitar and vocals, Andrew Bodnar on bass, and Pete Thomas on drums.¹⁰ (Brinsley Schwarz was absent for the first time since Another Grey Area.) The core group was augmented by various guest artists such as Cyndi Cashdollar on dobro and lap steel guitar, Garth Hudson on accordion and organ, John Sebastian on autoharp, and Jay Ungar on violin.¹¹

Overall, the album was somewhat uneven, but it included a lot of strong material. "The Kid With the Butterfly Net" was a lovely number about the freedom and innocence of childhood, and featured some lyrical violin-playing from Jay Ungar. "Strong Winds" was a beautiful, haunting ballad backed by acoustic guitar, harmonica and organ. On "Guardian Angels," Parker ventured into country territory, with Cyndi Cashdollar guesting on lap steel guitar. "Children and Dogs" was a charmingly humorous look at Parker's domestic life. While many of the songs had a domestic theme, Parker also dealt with political topics. "She Wants So Many Things" was a metaphorical attack on America's overconsumption of the world's resources, while "Over the Border (To America)" provided a sardonic look at what was in store for immigrants coming to America. Probably the closest thing to a rock number was "Weeping Statues," which featured a spooky atmosphere and lyrics about people whose lives are altered by unexplained phenomena. The album closed with "The Sun Is Gonna Shine Again," a soulful number that was reminiscent of "People Get Ready" in both sound and spirit, and remains one of the most hopeful and optimistic of Parker's songs.

(In the UK, the vinyl version of the album was spread over an LP and a 12" EP and included three tracks that were not on the CD version of the album: "Museum Piece," "Museum of Stupidity," and a cover of Herman's Hermits "I'm Into Something Good.")

Struck by Lightning entered the Billboard charts on March 23, 1991 and remained on the charts for eight weeks, peaking at number 131.¹²

Following the release of Struck by Lightning, Parker toured as an opening act for Bob Dylan.

END NOTES

1. Anonymous; musician and production credits for Live! Alone in America.
2. Whitburn, p. 565.
3. Anonymous, "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word, p. 49
4. Anonymous, musician and production credits for Human Soul.
5. Id.
6. Whitburn, p. 565.
7. Anonymous, "sources/personnel" listed in the booklet included with Passion Is No Ordinary Word, p. 49
8. Anonymous, musician and production credits for Struck By Lightning.
9. Robson, p. 38.
10. Anonymous, musician and production credits for Struck By Lightning.
11. Id.
12. Whitburn, p. 565.

BIBLIOGRAPHY

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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.
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19. ---; musician and production credits for Human Soul by Graham Parker; RCA Records; 1990.
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26. 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.
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29. Cooper, Mark; "Forgiven?"; Q; January 1989; p. 12 - 13.
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32. de Whalley, Chas; liner notes for Don't Mind Rockin'Tonite by Ducks Deluxe; RCA Records; 1978.
33. Dopson, Roger; liner notes for Live on the Test by Graham Parker; Windsong International; 1994.
34. ---; liner notes for CD reissue of Nervous on the Road/New Favorites of... by Brinsley Schwarz; Beat Goes On Records; 1995.
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37. Guterman, Jimmy; untitled article in the booklet included with Passion ls No Ordinary Word: The Graham ParkerAnthology: 1976 - 1991; Rhino Records; 1993.
38. 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.
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40. Hepworth, David; "Parker Pummels Your Plexus!"; New Musical Express; November 13, 1976.
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52. Maslin, Janet with Malcolm MacPherson; "Mighty Mite"; Newsweek; January 31, 1977; p. 71 - 72.
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74. 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.
75. ---; "The On-Going Story of Little Men in Glasses"; New Musical Express; April 22, 1978.
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Reproduced with kind permission from Geoff Cabin.

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