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.
Crying for Attention
Graham Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Baby can you hear me?
Who do you think I'm talking to?
Is there anyone else near me?
Precious things come in my path
Like new clothes for me to try on
In the end they make me laugh
[Chorus]
I'm not crying for attention baby
I'm not crying for attention baby
I'm not crying for attention I'm screaming to be heard
Everybody's listening but you
What's the matter?
Well there is no need to flatter
How do I get you to take notice?
Do I have to break and shatter?
When I feel that I am driven
Over the edge where it's all hidden
I hang my head and hit a table or a chair
I know my place I just can't stay there
[Chorus]
[Bridge]
It's your loving example I need to receive
I need more than a handful give it to me
Hey sometimes everybody has to be the centre of attraction
But I...I...I never expect any satisfaction
And I'm not crying I'm not crying I'm not crying
Not crying for attention
[Chorus]
I'm not crying for attention
Baby I'm not crying for attention
Don't even say I am I'm not crying
In Graham Parker's song "Crying for Attention," the singer is in a relationship where she is struggling to be heard, despite her attempts to communicate with her partner. The opening lines of the song beg the question, "Can you hear me?" which sets the tone for the rest of the song. She pleads with her partner, "Is there anyone else near me?" which suggests that she feels as though her attempts to connect with her partner are being overlooked.
The chorus of the song, "I'm not crying for attention baby, I'm screaming to be heard, everybody's listening but you," echoes this sentiment. The singer is not seeking attention, but rather a chance to express herself and be understood by her partner. She acknowledges that others may be listening to her, but without her partner's attention, it still feels as though her voice is not being heard.
The bridge of the song, "It's your loving example I need to receive, I need more than a handful give it to me, Hey sometimes everybody has to be the centre of attraction, But I...I...I never expect any satisfaction," implies that the singer feels as though she is not being shown love from her partner, and that she desires more attention and affection from them. She recognizes the need for attention, but does not believe that seeking it through communication is necessarily selfish or unimportant.
Overall, "Crying for Attention" is a powerful commentary on the importance of communication and the need to feel heard and understood in a relationship. It speaks to the frustration and sadness that can come from feeling ignored or overlooked, and the importance of actively listening to and valuing one's partner.
Line by Line Meaning
Can you hear me?
Asking if the listener can hear the singer
Baby can you hear me?
Addressing the listener, hoping they respond
Who do you think I'm talking to?
Rhetorical question, emphasizing that there is only one person being addressed
Is there anyone else near me?
Wondering if there is anyone else in the singer's vicinity
Precious things come in my path
Attractive opportunities come into the singer's life
Like new clothes for me to try on
The opportunities are tempting and appear to fit the singer's needs
In the end they make me laugh
The opportunities turn out to be humorous, not what the singer needs
In the beginning they are something to rely on
Initially, the opportunities seem like the singer's solution
I'm not crying for attention baby
The singer is not seeking attention, emphasizing that they just want to be heard
I'm screaming to be heard
The singer is making an effort to be heard
Everybody's listening but you
Despite people being around, the person the singer wants to hear them out is not listening
What's the matter?
Questioning what the problem is
Well there is no need to flatter
Acknowledging that there is no reason to use flattery to be heard
How do I get you to take notice?
Asking how to get the listener to pay attention
Do I have to break and shatter?
Asking if the singer needs to physically break something to get noticed
When I feel that I am driven
When the singer feels overwhelmed
Over the edge where it's all hidden
When the singer becomes emotional and starts to hide their feelings
I hang my head and hit a table or a chair
Displays the singer's frustration and pent up emotions
I know my place I just can't stay there
The singer knows their role, but they can't continue being silenced and unheard
It's your loving example I need to receive
The listener needs to show an example of love or care
I need more than a handful give it to me
Asking for more attention or support
Hey sometimes everybody has to be the centre of attraction
Everyone needs attention once in a while, emphasizing that it's normal
But I...I...I never expect any satisfaction
The singer never expects to feel satisfied, only heard
And I'm not crying I'm not crying I'm not crying
Repeating, to emphasize that the singer is expressing themselves and not crying for attention
Don't even say I am I'm not crying
Demanding the listener to not accuse the singer of crying for attention
I'm not crying for attention
Final statement, reiterating that the singer wants to be heard and not seeking attention
Baby I'm not crying for attention
Repeating the message, to emphasize the singer is not crying for attention
Lyrics © BMG RIGHTS MANAGEMENT US, LLC
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind