Beginning in the late 1960s and early 1970s, Parker sang in small-time amateur English bands such as the Black Rockers and Deep Cut Three, while working in dead-end jobs at a glove factory and a petrol station. In late 1974 he placed an ad in Britain’s "Melody Maker" music mag seeking like-minded musicians and he began performing professionally. In 1975, he recorded a few demo tracks in London with Dave Robinson, who would shortly found Stiff Records and who connected Parker with his first backing band of note.
Graham Parker & the Rumour (with Brinsley Schwarz and Martin Belmont on guitar, Bob Andrews on keyboards, Andrew Bodnar on bass and Steve Goulding on drums) formed in the summer of 1975 and began doing the rounds of the British pub rock scene. Their first album, Howlin' Wind, was released to acclaim in 1976 and rapidly followed by the stylistically similar Heat Treatment. A mixture of rock, ballads, and reggae-influenced numbers, these albums reflected Parker's early influences (Motown, The Rolling Stones, Bob Dylan) and contained the songs which formed the core of Parker's live shows -- "White Honey", "Soul Shoes", "Lady Doctor", "Fool's Gold", and his early signature tune "Don't Ask Me Questions", which hit the top 40 in the UK. Like the pub rock scene he was loosely tied to, the singer's class-conscious lyrics and passionate vocals signaled a renewal of rock music as punk rock began to flower in Britain.
Parker preceded the other "new wave" English singer-songwriters, Elvis Costello and Joe Jackson. Early in his career his work was often compared favorably to theirs, and for decades journalists would continue to categorize them together, long after the artists' work had diverged. Characteristically, Parker would not hesitate to criticize this habit with caustic wit.
The first two albums' critical acclaim was generally not matched with LP sales. Graham Parker and the Rumour appeared on BBC television's Top of the Pops in 1976, performing their top 30 hit version of The Trammps' "Hold Back the Night".
At this point, Parker began to change his songwriting style, reflecting his desire to break into the American market. The first fruits of this new direction appeared on Stick To Me (1977). The album broke the top 20 on the UK charts but divided critical opinions.
Energized by his new label, Arista, and the presence of legendary producer Jack Nitzsche, Parker followed with Squeezing Out Sparks (1979), widely held to be the best album of his career. For this album, The Rumour's brass section, prominent on all previous albums, was jettisoned, resulting in a spare, intense rock backing for some of Parker's most brilliant songs. Of particular note was "You Can't Be Too Strong", one of rock music's rare songs to confront the topic of abortion, however ambivalently.
Squeezing out Sparks is still ranked by fans and critics alike as one of the finest rock albums ever made. Rolling Stone named it #335 [1] on their 2003 list of the 500 greatest albums of all time. In an early 1987 Rolling Stone list of their top 100 albums from 1967-1987, Squeezing Out Sparks was ranked at #45, while Howlin' Wind came in at #54 [2].
Although marginally less intense than its predecessor, 1980's The Up Escalator was Parker's highest-charting album in the UK and featured glossy production by Jimmy Iovine and guest vocals from Bruce Springsteen. Nevertheless it was Parker's last album with the Rumour, although guitarist Brinsley Schwarz would join most of the singer's albums through the decade's end.
The 1980s were Parker's most commercially successful years, with well-financed recordings and radio and video play. Over the decade, the British press turned unkind to him, but he continued to tour the world with top backing bands, and his 1985 release Steady Nerves included his only US Top 40 hit, "Wake Up (Next to You)". The singer began living mostly in the United States during this time.
In early 2011, Parker reunited with all five original members of The Rumour to record a new album. The record, titled Three Chords Good, was released in November 2012.
Black Lincoln Continental
Graham Parker Lyrics
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The doors are locked and the windows are closed
There's only one way to the American dream
They're awaiting your arrival in a big limousine
In the back of a, black... in the back of a, black..in the back of a, black
Lincoln continental, Lincoln continental Lincoln continental,
Black black, Lincoln continental black black, Lincoln continental,
They take you to dinner and you eat off the plate
And you don't taste the poison until it's too late
And seven years later something is funny
Is it the black upholstery or the dirty money?
In the back of a, black in the back of a, black..in the back of a, black
Lincoln continental, Lincoln continental Lincoln continental,
Black black, Lincoln continental black black, Lincoln continental,
Black black, Lincoln continental
The rugs all fake made of Persian jute
And the chauffeur got the job by actin' cute
He's watching the speedometer and counting your money
And the big white lines make your heart beat funny
In the back of a, black... in the back of a, black..in the back of a, black...
Lincoln continental, Lincoln continental Lincoln continental,
Black black, Lincoln continental black black, Lincoln continental,
Black black, Lincoln continental
The lyrics of "Black Lincoln Continental" by Graham Parker & The Shot are an ironic portrayal of the American Dream. The song talks about a person who is being driven in a limousine to achieve their version of the American dream. The person is being served dinner and being offered luxury as they follow this path. However, things are not what they seem, and the lyrics paint a picture of a not-so-pleasant reality. The driver is counting the person's money and the Persian rugs and other luxury items are fake. The reference to "dirty money" suggests that the person has made some compromising choices to achieve this dream, and there is something about the black upholstery that seems to hint at a sense of unease.
The lyrics also contain a larger critique of the societal norms that uphold this ideal of success. The poison on the plate suggests that the path to success is filled with hidden traps, and the reference to the "big white lines" suggests that there is a toll being taken on the individual's mental and physical health. The refrain of "black in the back of a Lincoln Continental" is a commentary on the superficiality of this image and the emptiness that lies at its core.
Overall, the lyrics of "Black Lincoln Continental" are a critique of the American Dream and a cautionary tale about the dangers of pursuing success at any cost.
Line by Line Meaning
Shake that cocktail and follow the road
Get yourself ready and embark on the journey
The doors are locked and the windows are closed
The destination is secure and exclusive
There's only one way to the American dream
There is a single predetermined path to success
They're awaiting your arrival in a big limousine
The elite are eager to welcome you into their world
In the back of a, black... in the back of a, black..in the back of a, black
The repetition of this line emphasizes the setting - inside a luxurious black Lincoln Continental
Lincoln continental, Lincoln continental Lincoln continental, Black black, Lincoln continental black black, Lincoln continental, Black black, Lincoln continental
Continued emphasis on the lavish setting
They take you to dinner and you eat off the plate
The wealthy treat you as a guest and serve you their finest
And you don't taste the poison until it's too late
The consequences of your actions may not appear until later
And seven years later something is funny
Unforeseen problems arise after a significant amount of time
Is it the black upholstery or the dirty money?
The source of the trouble may be unclear, but it could be tied to the elitist lifestyle
The rugs all fake made of Persian jute
The opulence is often artificially manufactured
And the chauffeur got the job by actin' cute
Even those who serve the wealthy must be charming
He's watching the speedometer and counting your money
The driver is constantly aware of the wealth being transported
And the big white lines make your heart beat funny
The drugs and addictive substances associated with the lifestyle can have physical and emotional consequences
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind