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.
That's What They All Say
Graham Parker Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Thanks to "john d.hayman"
Thanks to kirk anderson
Em* 322003 (gmaj6)
Intro
See slide up to d (repeat) d see
G (1st position) g (add an e on the d string) g see d
(verse)
G em* see g
You think you've got a head for heights be careful, babe, you might fall
G see d
You think you know all your rights but you're at someone's beck and call
G em* see g
You think you've got life on a plate but it's harder to eat than to play
(chorus)
See d g see am g (*riff)
You're in the race you've got a place but that's what they all say
(verse)
You wanna stand in the working man's shoes
And have someone step on your head
You wanna bruise your skin on my teeth
But you just bite me instead
You wanna come down and check out my level
But something stands in your way
(chorus) then (*riff)
(bridge)
Bm see bm see
Standing in the rain you pass by, don't even remember my name
Am d
But baby, baby, this ain't no place for fame
Am d
And it ain't the street, it's the gutter you've got to blame
(verse)
Well, you think you are a real rough diamond
'cause you can stand to the test
You think if you got a car to climb in you will shine out the best
You think your jewels aren't made out of paste
Believe me they're looking that way
(repeat chorus) then d c# see g
(instrumental-a verse and a chorus) then
(repeat bridge)
(verse)
You think if you got a hall of mirrors you will see every way
You think if you buy a piece of tomorrow someone else has to pay
You think if you can pin someone down they won't get in your way
(repeat chorus (twice) then
See d g see d g see d g
That's what they all say, baby that's what they all say
/pre>
The song "That's What They All Say" by Graham Parker & The Rumour is a commentary on the shallow nature of society's beliefs and aspirations. The opening verse warns against overestimating one's own abilities and station in life, cautioning the listener that they may be at the whim of others despite their perceived superiority. The chorus emphasizes this point, mocking the idea that simply being in the "race" or having a "place" means one has truly achieved success. The second verse goes on to critique those who seek to assert themselves by subjugating others, only to find that they are unable to face their own shortcomings. The bridge adds a layer of cynicism, pointing out that even those who are briefly hailed as famous are ultimately forgotten, and that true success is found in the most unlikely places.
Overall, "That's What They All Say" seems to be arguing that the traditional markers of success – wealth, status, and celebrity – are hollow and meaningless, techniques used by those seeking to manipulate others. Instead, Parker suggests that true fulfillment comes from a more authentic and personal source, untethered from societal expectations.
Line by Line Meaning
You think you've got a head for heights be careful, babe, you might fall
You believe you are confident enough, but be aware that you may fail or lose control of the situation.
You think you know all your rights but you're at someone's beck and call
You assume that you are entitled to certain privileges, but in reality, you are dependent on others or the circumstances around you.
You think you've got life on a plate but it's harder to eat than to play
You believe that everything is easily served to you, but it is much more difficult to handle or deal with than you anticipated.
You're in the race you've got a place but that's what they all say
You are competing and have a spot reserved, but that is a common phrase that everyone in the same situation says.
You wanna stand in the working man's shoes / And have someone step on your head / You wanna bruise your skin on my teeth / But you just bite me instead / You wanna come down and check out my level / But something stands in your way
You desire to experience the struggles of the ordinary person, but you are not willing to truly suffer or endure pain yourself. You also want to see things from another's perspective, but there are obstacles preventing you from doing so.
Standing in the rain you pass by, don't even remember my name / But baby, baby, this ain't no place for fame / And it ain't the street, it's the gutter you've got to blame
As you walk by me in the rain and forget who I am, I want you to know that this is not a situation for being noticed or gaining attention. It is not the street that is to blame for your failures, but rather the lowest and worst place of society.
Well, you think you are a real rough diamond / 'cause you can stand to the test / You think if you got a car to climb in you will shine out the best / You think your jewels aren't made out of paste / Believe me they're looking that way
You imagine that you are strong and capable of enduring any challenge, but your true worth may be questionable. You also believe that acquiring possessions will boost your status and reputation, but in reality, they may not be as valuable as you perceive.
That's what they all say, baby that's what they all say
This phrase is used to imply that what others claim or affirm is simply a common or clichéd response, and therefore, may not be entirely true or sincere.
Lyrics © BMG Rights Management
Written by: GRAHAM THOMAS PARKER
Lyrics Licensed & Provided by LyricFind
Eric Jarvis
I know GP himself didn't like Heat Treatment, but in my view it's his most perfectly crafted album. Everyone should have a copy.
Oppothumbs M
@Scott Briggs Just as good. I have no love for Stick to Me. I didn't know about problems just thought the writing was not as good as Parker did on his first two gems.
Scott Briggs
I didn't realize that he wasn't fond of it. Reading of, and hearing of (in the recent GP documentary film) all the bad luck they had recording Stick To Me, technical or otherwise, you would have thought that would have been his least favorite of the earlier LPs. Go figure. This is absolutely a solid album all the way through, easily as good as Howlin' Wind.
jeb bush
dontbringmedown190
dontbringmedown1900
+Eric Jarvis ...He was touring HT ( and Howling Wind really )when I found him ...at the Armadillo in Austin winter '76 ...he opened for Roy Buchanan and Lynyrd Skynyrd ...blew them both away with how tight and powerful He and the Rumor's performance was ..Roy was great and you find a ner identical performance on utube from the previous night if search 'Roy Buchanan Austin' ...Skynyrd, ehh, they were the main attraction, but by the time they took the stage, I think they were as drunk and stoned as we were
vazmo14850
one of the greatest R and R albums ever!!!!!
Nick Macfie
The brief, energetic organ solo by ex-Brinsley Schwarz keyboard player Bob Andrews makes this song irresistible.
Oppothumbs M
Bob is great. Watch him live on Surrender to the Rhythm by Brinsley Schwarz.
rocketsdad7
I saw GP and the Rumour at the Queen Elizabeth Hall in 1976, supported by Sean Tyla and the Damned. They played this song early in the set, and when the guitars hit that six-note melody in the intro, I swear it was like the heavens opened. I saw them several times after that, and to this day they're still the best live band I've ever heard.
Sophia
His voice is a musical instrument.