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.
Just Like Hermann Hesse
Graham Parker Lyrics
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You saw something else living under my skin the wolf with no thought of disgrace
I know I know some things you must never confess
I drop to the ground like a bird hit by gunshot
Just like hermann hesse
I stood by the theatre door knowing it had to begin
I know I know some things I cry as the angels confess
I left my identity back in the theatre
Just like hermann hesse
You saw my precious mask falling from my face
I stood naked in front of you the wolf with no thought of disgrace
I know I know some things you must never confess
You chose the spirit I chose the flesh
Just like hermann hesse
Just like hermann hesse
The lyrics to "Just Like Hermann Hesse" by Graham Parker delve into the concept of revealing one's true self, regardless of the potential repercussions it may bring. From the opening lines, it's clear that the persona is shedding a façade and revealing something darker and more raw. The imagery of a wolf with "no thought of disgrace" shows a willingness to embrace their primal nature without shame.
The second verse touches on the idea that some things are better left unsaid; secrets that should never be revealed. The metaphor of a bird hit by gunshot signals the sudden and painful impact that such revelations can have. The line "just like Hermann Hesse" serves as a nod to the German author known for his exploration of self-discovery and the search for meaning. It seems to suggest that the persona is undergoing a similar journey.
The final verse sees the persona confronted by another person who has witnessed their true self. The repetition of "I know some things you must never confess" highlights the weight of these revelations. The line "You chose the spirit I chose the flesh" suggests a clash of values between the two individuals. The final line again references Hermann Hesse, showing that the persona has chosen to navigate the difficult path of self-discovery in a way similar to the author.
Line by Line Meaning
I took off my mask that night and bared my teeth in your face
I showed you my true self, even the parts that are usually hidden or concealed, and was unapologetically honest with you.
You saw something else living under my skin the wolf with no thought of disgrace
You saw my innermost desires and true nature, which may be considered savage or immoral by others, but I am unashamed of it.
I know I know some things you must never confess
I am aware that there are certain thoughts or actions that may be considered taboo or inappropriate to express or reveal publicly.
I drop to the ground like a bird hit by gunshot
I feel vulnerable and exposed, like a helpless animal fatally wounded.
Just like hermann hesse
Similar to Hermann Hesse, a German author who explored themes of self-discovery and individualism.
I stood by the theatre door knowing it had to begin
I was standing at the threshold of a new experience or journey, fully aware that it was about to start.
I was shaking down to my core knowing I had to go in
I was nervous and scared, but also determined to face the challenge that lay ahead.
I cried as the angels confess
I was moved to tears by the beauty or sacredness of a moment or experience, similar to how angels may express their devotion or worship.
I left my identity back in the theatre
I felt transformed or changed by the experience, to the point where my previous sense of self or identity no longer seemed relevant or important.
You saw my precious mask falling from my face
You witnessed my facade or false persona being stripped away, revealing the true person underneath.
I stood naked in front of you the wolf with no thought of disgrace
I was completely exposed and vulnerable, yet unafraid to show my true self, even if it may be considered savage or shameful by others.
You chose the spirit I chose the flesh
You may have prioritized spiritual or emotional connections, while I focused on physical or carnal pleasures.
Contributed by Peyton A. Suggest a correction in the comments below.