GRAHAM PARKER'S a nice guy, writes great songs. He leads a tight, exciting band full of talented players, and his stage presence looms larger than life. So then why is he in the unfortunate position of having to dump a live album onto the shelves in order to get out of his contract with Phonogram? Why is he failing where his direct spiritual descendant, Elvis the C, is tearing both the halls down and the charts up?
When Parker first appeared on these shores, it was obvious that the guy had not only talent, but a fair share of guts as well. To release an album that relied solely on songs and performances - one almost totally without image, hype or identifiable commercial hooks - showed Parker to be an individual with definite ideas and no fear. Personally, I don't feel that the second and third Parker albums did all that much to prove his net worth, Parker kicked a very tightly shut door open, and quite a few people followed him through. Disregarding the ridiculous comparisons to Parker that the first Elvis album engendered, it is beyond question that Parker set the stage for Elvis' entree, through the interlocking management and production of the two, the sound and style, the lack of background, and the mystery that both used to a surprising advantage. The only problem, as far as Parker is concerned, is that Elvis did (and does) it better. His songs are stronger, and the intensity of his music is way beyond the urban funk tendencies of the Rumour. Plus, Elvis got signed to Columbia...
The Parkerilla consists of three well-produced live sides and a 12" studio single version of ‘Don't Ask Me Questions’. (I wonder how many other LPs have two versions of one song?) The material is drawn unevenly from all three albums, with six from Howlin' Wind, two from Heat Treatment, and three from Stick To Me. The selection pretty well covers the basic Parker catalogue, and the performances are tight and hot. They've probably played better, but these cuts will do nicely, thank you.
Live, the Rumour has always sounded like one of those orchestra/bands that backed up soul singers on package tours. They would have served grandly behind someone like Otis Redding or Wilson Pickett. Now that they've taken to carrying a horn section on tour with them, the effect is heightened. Which leads to the basic character of The Parkerilla - it's the only white soul album of 1978. This has nada to do with disco, funk, blues or R&B. This Is Soul!
- Ira Robbins
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