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.
Nobody Hurts You
Graham Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
G
I try to pull my weight, study my geography
A d
It doesn't seem to get me anywhere
G
I hold a picture up, everybody thinks it's me
A d
Bm g
Hey baby, I'm out of favour
Bm d
Can't always be the right flavour
G
It just seems that no matter what you do
A
Someone, somewhere's suddenly gotta punish you
Chorus
D a g a
Nobody hurts you nobody hurts you
D a g a
Nobody hurts you nobody hurts you
G d
Harder than yourself harder than yourself
G d
Harder than yourself harder than yourself
I once had this dream, woke up with the daily news
And it looked like forever
I had a coffee fix, every item there to choose?
All my love came by letter
Suffocating in suburbia
The new estates build claustrophobia
Grandfather's money only in the finest stuff
That's enough, that's enough, that's enough
Repeat chorus, repeast intro
You make me tag along, run into the rent-a-crowd
But they're just imitation
I try to write the song, you and me are laughing loud
But it comes out frustration
No one's going to illuminate you
All the odds are stacked against you
You're just cavin' in, right there in front of me
It's a picture I don't ever want to see
Repeat chorus with variations chords are g and d /pre>
The lyrics of "Nobody Hurts You" by Graham Parker express frustration with trying to fit into society's expectations and constantly being met with punishment and disappointment. The opening verse describes the singer's efforts to conform, such as studying geography, but feeling like it doesn't get him anywhere. The second verse provides a contrast to this effort, as the singer recalls a dream where everything seemed idyllic but ultimately suffocating. The chorus repeats the message that no one can hurt you more than yourself, implying that the pressure to conform and meet expectations comes from within.
The third verse shifts focus to a relationship where the singer feels like they are always following the lead of their partner and getting lost in the crowd. They try to write a song together but end up feeling frustrated. The final lines of the song express disappointment in seeing their partner "cavin' in" and giving up.
Overall, the lyrics suggest a struggle with societal pressure to conform, personal expectations, and the pressures of relationships. The repeated refrain that "nobody hurts you" implies that these struggles ultimately come from within, but the song also suggests that external factors like social norms and toxic relationships can contribute to this self-inflicted hurt.
Line by Line Meaning
I try to pull my weight, study my geography
I am making an effort in my life by working hard and educating myself, but it doesn't seem to be getting me anywhere.
It doesn't seem to get me anywhere
My efforts are going unrewarded, and I am not seeing any progress or success.
I hold a picture up, everybody thinks it's me
I am presenting an image of myself to others, but they do not truly know who I am.
I get a thrill out of tampering with the atmosphere
I enjoy shaking things up and causing a stir in my surroundings.
Hey baby, I'm out of favour
I am currently experiencing a lack of popularity or acceptance.
Can't always be the right flavour
I understand that I cannot be everyone's preference or choice all the time.
It just seems that no matter what you do, someone, somewhere's suddenly gotta punish you
I feel like I am constantly being criticized or punished, even when I am trying my best to do the right thing.
Nobody hurts you nobody hurts you
No one can hurt you as much as you hurt yourself.
Harder than yourself harder than yourself
You are your own worst enemy.
I once had this dream, woke up with the daily news
I had a hope for the future that was quickly shattered by the harsh reality of the present.
And it looked like forever
The current state of the world seems like it will never change or improve.
I had a coffee fix, every item there to choose?
I had access to an abundance of choices and luxuries, including coffee.
All my love came by letter
I received love and affection through written correspondence rather than in person.
Suffocating in suburbia
Living in a suburban environment is stifling and suffocating for me.
The new estates build claustrophobia
The new housing developments only add to the feeling of being trapped and confined.
Grandfather's money only in the finest stuff
My inheritance and financial security only affords me the best and most luxurious things in life.
You make me tag along, run into the rent-a-crowd
You force me to go along with the crowd, even if they are not genuine or authentic.
But they're just imitation
The people in the crowd are not real or original, they are just copying the behaviors of others.
I try to write the song, you and me are laughing loud
I attempt to express myself through music, but our laughter suggests that we are not taking it seriously.
But it comes out frustration
My creative output is fueled more by frustration than by genuine inspiration or passion.
No one's going to illuminate you
No one is going to give you the answers or guide you to success and happiness.
All the odds are stacked against you
The chances of overcoming obstacles and achieving success are highly unlikely and stacked against you.
You're just cavin' in, right there in front of me
You are giving up and succumbing to the pressures and challenges of life, and it is happening right in front of me.
It's a picture I don't ever want to see
The sight of someone giving up and losing hope is too painful for me to witness or even imagine.
Lyrics © BMG Rights Management
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind
Oppothumbs M
One of the great .. unknown in the states. Graham's Best in my humble but always sharp Opinion are:
Between You and Me (Best Demo ever)
Discovering Japan
Nobody Hurts You
You've got to be kidding (love it)
Heat Treatment
Pourin' it all out (might be my favorite - Then I found myself in a new year celebration crying alone in a crowd. Yeah that really was some new year celebration all bravado was strong and loud )
back door love
That's what they all say
Mona lisa sister
White Honey
And the lesser know but still great
Call Me your doctor (really great)
I'm Just Your Man (beautiful)
And It Shook Me
Sharpening Axes
Jay Diefenderfer
This has been one of my all-time favorite albums since it's release
Martin Stockman
Isnt it strange, such a fabulous song yet unavailable on both iTunes and Spotify ... lovely to see Graham getting featured sympathetically in This Is 40
asxtc
Ah...the soothing vibes of REAL Music.
Rich Alderson
You can only feel as bad as you let somebody make you feel even though sometimes you would like to kill them. A great song from a great artist.
Glen Quagmireful
Saw him do this on June 16th, 2015 in Ridgefield, Connecticut and he brought the house down.! Fantastic to see him reunited with the Rumour, especially the great Martin Belmont.
Tony Bates
Parker is so underrated. Elvis Costello definitely took something from him vocally; on My Aim Is True he sounds a hell of a lot like GP, though I actually think EC is the better writer overall.
Ceil Strakna
I think both EC and GP learned a lot about vocals from Paul Jones of Manfred Mann ... listen to "Do Wah Diddy."
brainsick213
A+ record! Ahead of its time by preceding the arrival of New Wave music.
Bill Simpich
This song climaxed the end of the seventies for me. One of the greatest albums ever.
inverianvie
It is funny how this ones held up so well.