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.
Lunatic Fringe
Graham Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
G em
I want to thank you for sticking my neck out
G em7 see
I know I'll be there when they let the cranks out
G em see dm
I won't be culpable, got too much to answer for ooo oooh
G em
G em7 see
You wanted a family man but I'm not relating
G see see em7 em em
I'll never be arranged I'd rather be estranged, I don't care, I don't care
Chorus in a
A f#m
Second cousin to the poor relation,
A f#m7 d
Holding last week's ticket in this week's train station
A f#m d em
Relegated to the third division on the lunatic fringe
Verse in g
We're not on any team not after what I've seen
All that back slapping makes me want to scream
I'll just be feeling low, waiting for the final whistle to blow oo oo ooh
They're beating metal, outside this window
I'm getting a kick out of every hammer blow
I know I can't escape it until I've been reshapen
I'm on the I'm on the...
Chorus in a
Second cousin to the poor relation,
Holding last week's ticket in this week's train station
Relegated to the third division on the lunatic fringe
Instrumental break in a (nice guitar solo, brins)
Verse in g
They're pumping iron down in the village
They're locking lions up in the zoo
I don't know what I'm thinking I don't know where I'm sinking
Down there, down there
Second cousin to the poor relation,
Holding last week's ticket in this week's train station
Relegated to the third division on the lunatic fringe
On the lunatic fringe, on the lunatic fringe, on the lunatic fringe,
/pre>
The song "Lunatic Fringe" by Graham Parker & The Shot is a reflection on the feeling of being an outsider in society. The song starts with Parker thanking someone for "sticking his neck out," possibly referring to someone who has supported him through tough times. He acknowledges that he will be there for them when they need support, but he feels he can't be held responsible for their actions. Parker then speaks about how he can never be the arranged "family man" that he's expected to be and prefers to be estranged. He doesn't fit in with society's expectations and doesn't care to conform.
As the song progresses, Parker speaks about feeling isolated and alone, not part of any team, and how the backslapping in society makes him want to scream. He is waiting for the final whistle to blow, indicating that he feels like he's in a game that he can't win. The sound of metal being beaten outside his window gives him some sort of pleasure, and he realizes that he can't escape his situation until he's been reshaped. The repeated lyric "on the lunatic fringe" reinforces his feelings of being an outsider.
The song resonates with people who feel they don't fit in with what society expects of them. It's a reminder that it's okay not to conform, and there are others out there who feel the same way.
Line by Line Meaning
I want to thank you for sticking my neck out
I want to express gratitude for taking a risk on my behalf.
I know I'll be there when they let the cranks out
I am aware that I will be present when the crazy people are released.
I won't be culpable, got too much to answer for ooo oooh
I cannot be held responsible, as I have too many things to account for.
My heart is in a can, my neck is in your hands
My emotions are vulnerable, and I am at your mercy.
You wanted a family man but I'm not relating
You desired a man who values family, but I do not connect with that lifestyle.
I'll never be arranged I'd rather be estranged, I don't care, I don't care
I refuse to conform to societal expectations, and I would rather be disconnected from those around me.
We're not on any team not after what I've seen
I do not align myself with any group, based on my past experiences.
All that back slapping makes me want to scream
The excessive celebration and congratulation is overwhelming and irritating.
I'll just be feeling low, waiting for the final whistle to blow oo oo ooh
I will be in a depressed state, just waiting for the end to arrive.
They're beating metal, outside this window
There is a sound of metal being hit, coming from outside this location.
I'm getting a kick out of every hammer blow
I am experiencing amusement or enjoyment from every strike of the hammer.
I know I can't escape it until I've been reshapen
I understand that I cannot avoid this situation until I have undergone a transformation.
They're pumping iron down in the village
People are engaged in weightlifting exercises in the nearby town.
They're locking lions up in the zoo
Wild animals are being confined in captivity at the zoo.
I don't know what I'm thinking I don't know where I'm sinking
I am unsure of my thoughts and my current state of decline.
Second cousin to the poor relation, Holding last week's ticket in this week's train station
I am a distant relative to those who are struggling, holding onto expired opportunities.
Relegated to the third division on the lunatic fringe
I have been pushed down to a low status, among those who are considered crazy or eccentric.
Lyrics © BMG Rights Management
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind
Creaulx
Thanks for this X2 - it's been stuck in my head for a couple of days now...
Thomas Fortier
So much huge tune ... :-)
Kent Nelson
thanks for this
The Boner Boyz
Second cousin to a poor relation, holding last weeks ticket in this weeks train station......