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.
Green Monkeys
Graham Parker Lyrics
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In a forest grows a sweet fruit filled with poison
In a clear blue sky a plane bursts into flames high above us
In an office blind machines blink out data in a rush
Whatever they say they say it isn't true what they say
It didn't come from the gays the blacks the haitians or the whores or
Green monkeys ya ya ya yah or green monkeys ya ya ya yah
The lyrics of Graham Parker's song "Green Monkeys" are metaphorical in nature, presenting a dystopian view of the world where machines and technology have taken over and humanity is left struggling to comprehend and survive in the chaos that surrounds them. The lyrics are a commentary on the many ways in which modern society is being eroded, as machines and technology have replaced much of the natural world.
The first verse of "Green Monkeys" describes a distant beat that repeats like a machine gun, creating a sense of unease and danger lurking in the shadows. The second stanza uses imagery from nature to portray something that looks sweet and desirable but is filled with poison, perhaps alluding to the empty promises of those in power. The third stanza describes a plane bursting into flames high above, suggesting a world on the brink of collapse. Finally, the fourth stanza uses the metaphor of "blind machines" in an office churning out data at a breakneck pace, indicating a society more focused on material progress than human well-being.
The repeated chorus of "green monkeys" is a metaphor for the unknown and unexplainable forces that are causing the downfall of society. The inclusion of the line "Whatever they say they say it isn't true" suggests a general sense of mistrust and paranoia, with people struggling to understand what is happening and who to trust.
Line by Line Meaning
In a distant street a distant beat repeats machine gun like
The sound in the distance sounds like machine guns repeating, creating a scary and anxiety-inducing effect.
In a forest grows a sweet fruit filled with poison
The beauty of the fruit growing in the forest masks the danger it poses, just like how something that seems sweet and harmless can actually be harmful.
In a clear blue sky a plane bursts into flames high above us
The sudden and unexpected explosion of a plane in the sky above is a powerful reminder of the fragility of life and the unpredictability of tragedy.
In an office blind machines blink out data in a rush
The machines in the office blindly spew out data without concern for the human impact or consequences, reflecting a lack of empathy and morality in the corporate world.
Whatever they say they say it isn't true what they say
There is a sense of distrust in those in power, as their words are often untrue or not fully transparent.
It didn't come from the gays the blacks the haitians or the whores or
People often try to blame marginalized groups for societal issues, but the true source of the problem lies elsewhere.
Green monkeys ya ya ya yah or green monkeys ya ya ya yah
The repeated reference to green monkeys is a metaphor for something unexpected and unknown, as monkeys are creatures associated with unpredictability and mischief.
Lyrics © BMG Rights Management
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind
Kihm Sanders
Here's a little ditty from Graham that is under two minutes in length, but will lodge in your brain forever. That's how catchy it is. This man rules...
Shodo’s Dojo
always relevant