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.
Sugaree
Graham Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
When they bring that wagon around
When they come to call on you
And drag your poor body down
Just one thing I ask of you
Just one thing for me
Please forget you knew my name
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
You thought you was the cool fool
And never could do no wrong
Had everything sown up tight
How come you lay awake all night long?
Just one thing I ask of you
Just one thing for me
Please forget you knew my name
My darlin' Sugaree
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
You know, in spite of all you gained
You still had to stand out in the pouring rain
One last voice is calling you
And I guess it's time you go
Just one thing I ask of you
Just one thing for me
Please forget you knew my name
My darlin' Sugaree
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it up now Sugaree
I'll meet you at the jubilee
And if that jubilee don't come
Baby I'll meet you on the run
Just one thing I ask of you
Just one thing for me
Please forget you know my name
My darlin' Sugaree
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
Shake it, shake it Sugaree
Just don't tell them that you know me
The lyrics of Graham Parker's song "Sugaree" tell a story about someone who is being called out and taken down by authorities. The song's title refers to the person being addressed, who is asked to forget the singer's name and to act as if they do not know each other. The singer is trying to protect themselves by distancing themselves from the situation and the person being taken away.
In the second verse, the singer asks Sugaree why they are not able to sleep at night, suggesting that despite their perceived success and immorality, they are struggling with some sort of internal conflict. The third verse alludes to the idea that, regardless of their achievements, Sugaree is still vulnerable and subject to the same fate as everyone else. The song ends with a promise of a possible future meeting at a "jubilee," or a public celebration, but also acknowledges the possibility of meeting on the run.
Overall, the song seems to be touching on themes of betrayal, the fleeting nature of success, and the idea that no one is invincible or above the law.
Line by Line Meaning
When they come to take you down
When the authorities come to arrest you
When they bring that wagon around
When they bring the police van to take you away
When they come to call on you
When they come to your house to arrest you
And drag your poor body down
And forcefully take you away to jail
Just one thing I ask of you
The singer has a favor to ask
Just one thing for me
The singer only asks for one thing
Please forget you knew my name
Please don't mention the singer's name to the authorities
My darlin' Sugaree
Term of endearment for the person being addressed
Shake it, shake it Sugaree
Dance and move around
Just don't tell them that you know me
Don't reveal any connection to the singer
You thought you was the cool fool
You thought you were invincible
And never could do no wrong
And could never make a mistake
Had everything sown up tight
Had everything under control
How come you lay awake all night long?
Why are you so worried and unable to sleep?
You know, in spite of all you gained
Despite all your success
You still had to stand out in the pouring rain
You still had to endure difficult times
One last voice is calling you
Final reminder to leave and avoid getting caught
And I guess it's time you go
And it's time for you to leave
I'll meet you at the jubilee
I'll see you at the upcoming celebration
And if that jubilee don't come
And if the event doesn't happen
Baby I'll meet you on the run
We'll meet while on the run from the law
Contributed by Molly Y. Suggest a correction in the comments below.