Hi--

It's midnight on May 12 and I just returned from the show you did in Annapolis, MD at the Ramshead Tavern. Great show! Here's my question: It was my first chance to see you perform after listening to your albums and CDs for 20 years and I was really enthralled the whole night. But during the show there were people talking and one person in particular kept shouting stuff, most of it very silly stuff about your albums. It bugged me, so I'm wondering as a performer whose music is personal and somewhat passionate, how you block out garbage like that and get to the heart of the song? Is it just focus and determination? Thanks again-- great show!

Being old and mellow (or slow witted), I usually just ignore people who are a tad over-excited and let them get on with it, hoping that they'll eventually calm down -- which they usually do.

I remember the fellow you speak of in The Rams Head. I met him before the show and he seemed harmless enough. He was from Pittsburgh, as it happens, and was going to be paying money to see me again when I reached that fair city later in the tour. I need all the ticket sales I can get in Pittsburgh, so I thought I'd let him rant unfettered and before long, I couldn't even hear him any more.

Graham,
Question and Comment,

I had a copy of an import Album you did that had Japanese type on the sleeve and contained the song "Hold Back The Night", does it exist on c-d and how do I get it?

A brief comment: I saw your show at Buffalo State College on the Real Macaw tour, it was without question the best concert I ever experienced. In the confines of a small auditorium, you kicked ass and left us all amazed. Thanks for the contributions your body of work has meant to me and several of my friends.

The only Japanese lettering I remember on an album of mine appears on "Live Alone! Discovering Japan," but "Hold" is not on it. Sorry. Can't help you.

Graham, my friend,

I have only recently discovered your wonderful, intelligent, charming, moving talent. I am trying to get each and every one of your recordings and my newest goal in life is to be where you are - playing live. I missed you in Chicago last week and it made me so sad. Please come back to the midwest soon. Come to Grand Rapids, Michigan. There are lots of people here who appreciate you and it would be good to see you. I am serious - not a groupie-type, but a person with a genuine affection for excellence. Please investigate the idea. Thanks!

Tish

You're not a "groupie-type"? Damn. Anyway, glad you got into my stuff and I'd love to come to Grand Rapids and play sometime. Never comes up on my itinerary, unfortunately. Too near to Chicago? My geography is poor. Oh, I see you say it's in Michigan......where the hell is Chicago?.....right, Illinois. Ok, glad we're straight on that.

GP,

You were in St. Louis 2 days ago, and I was working out of town. I just don't go to concerts much any more, and yours was one I would have dropped anything to attend. I've been fortunate enough to see you in Madison, WI (with John Hiatt), Milwaukee (with Kenny Loggins of all people), Rochester, NY (2X, including once with Rick Danko at which I met you) and last year in St. Louis with the Figgs. So, I've seen you in the 70's, 80's and 90's, and here's hoping you'll keep coming back.

The other day I grabbed "Squeezing out Sparks" to play for my friend at work, and that same day it was written about in the local paper as one of the greatest rock albums in history. Coincidence?

I explained to my wife that "Wake Up Next To You" was your hit, but what makes you anything but a one-hit-wonder is that you have always been a great songwriter, and you continue to be. That song just happened to be placed on the radio. You have many songs that could have surpassed that had somebody pushed them for you. You were born to write songs and play music. I am glad you continue to do what comes naturally to you.

I guess I don't have a question. How's the weather?

The weather's fine -- a little humid, but bearable (fascinating stuff so far, right ladies?).

Seeing as "Wake Up" was indeed my only chart stab in the States, I suppose I am a one hit wonder. What a fabulous realization!

When are you coming to San Francisco again.. Last time at the Great American Music Hall was great... Please come again. In the past I have helped several bands with selling their merchandise at venues here in SF... Jerry Jeff Walker. Anyway if you would like someone to help you sell your stuff at any shows out here, I would be very happy to help.. Free... I am very responsible and don't need the money... I have enough money, so it is not a factor to me... Keep it in mind... I have references....

You have enough money already and would hawk my records free at a gig for me? What a mensh.

As for the West Coast, possibly later this year. We'll see what the offers are like. Watch the tour page.

Still recovering from the Double Door gig May 21st (CHGO). I must agree that 11:15 p.m. was a little late to go on! (I guess I'm getting old.) Picked up a copy of Loose Monkeys at the show - great stuff (especially like Guillotine of Guadeloupe). And while listening to the CD I found this great web site, which was listed inside!

I must say I found the concert by accident. I was searching Ticketmaster for "Phantom Menace" Star Wars tickets for my kids when I saw Parker!!! Thank God (or the Force) that I saw the listing. It seemed that there was a good crowd at the Double Door, but I hadn't seen any concert listings in the Chicago paper. I woulda been really upset to have missed the show. (Though my friend said WXRT radio was plugging the concert all the time. I'll have to start listening to that station!) I really enjoyed the show. Thanks for coming to Chicago. There's not many artists I go to see, but your is always a must!

Now I can't wait until your next show in Chicago. I've seen you a few times at the Park West and been lucky enough to have enjoyed your music for the last 20 years.

It does piss me off after reading your answers that your songs don't get on soundtracks, etc. because of record execs. (Hey "Romy & Michelle's High School Reunion" was a good movie) Whatta those goofs know about anyways.

A question? I know I've rambled on ... but to make this official: who were/are your favorite live acts? (Sounds like a 16 Magazine interview!) I've been typing this while watching the Soundstage (PBS) Chicago concert I recorded on video in 1978. Great concert - Hey how long are videos supposed to last for anyways? (I've had this for 20 years and it still looks good!) The only problem I have is getting a couple more of your 45s to stick on my Seeburg 200 jukebox!!! When you do your next release be sure to talk them into doing a 45 rpm - so I can stick some new Parker on the box!!!

Yes, as I was driving into Chicago, day of show, I heard "Local Girls" on XRT, followed by the DJ who assured the listeners that I'd have a great band with me!
As it happens, over 500 were stuffed into that joint, which is so bizarre when you think that I played in Park West not too long ago with the stunning, hard rocking Figgs and only pulled about 280. I don't get it, but I'm grateful for the fantastic turnout.

Favourite live acts? That's a good one.
Let's see now..........Ok, about 1979, I witnessed the B52's at the Roxy in LA. Too much fun.

In 1969 I saw Peter Green's Fleetwood Mac at the Gin Mill club in Godalming, Surrey, just after they'd hit number one with "Albatross," if memory serves. Awesome. One of my favourite bands of all time. And I even got some of my mates in free by forging a few tickets. I kid you not. The Gin Mill was a minute place (probably held about 100) and I was lucky enough to grab a ticket for this show as soon as they went on sale (cost about five bob I think), but some of my pals weren't so lucky and, of course, it must have sold out in seconds because the band were well on their way to leaving the tiny clubs behind. So I took a good gander at the ticket I had purchased and figured that with a few pieces of stiff white card and a red ink pen I could do a few good deeds and have a bit off a lark, too. I think I knocked off 3 or 4, and they all worked too! Good days. Good days.

Jellyfish at The Chance in Poughkeepsie sometime in the 80's (twice) were sublime; bang-on harmonies, every tune a hit (in a more intelligent era -- i.e. the sixties), and stunning musicianship.

Duster Bennet at the aforementioned Gin Mill club around the same time as P. Green. (Duster was a one-man-band blues singer who was always playing the circuit in the days of the white blues explosion in England. That's around '68, '69.) Serious energy and feel, had Duster.

The Hollies, Dave Berry and The Cruisers, The Nashville Teens, and (probably) Lulu. Saw this show in the early sixties, natch, at the Odeon cinema in Aldershot, Hampshire (the Home Of The British Army). The Small Faces were scheduled but didn't appear.
One of the most exciting moments of my life was when Graham Nash introduced a song that the Hollies had just learned, a song by an American group. I had recently, for the first time, heard "Reach Out I'll Be There" by the Four Tops on the radio, and for some strange, telepathic reason, I knew that he was talking about this song. When I'd heard "Reach Out" on the radio, it was so incredible, I was shaking for hours after. Sure enough, young Graham announced: "This is a song by The Four Tops! It's called "Reach Out I'll Be There"! Again, I began shaking so much, I thought I was going to pass out. I don't really know how well The Hollies performed the number, but it seemed amazing beyond belief to me.

Eddie Cochran at The Hope And Anchor. I never actually saw this show (probably occurred well before I knew what rock n' roll was), and maybe it wasn't even at The Hope And Anchor, but my first manager, Dave Robinson, once told me that Fred (?), the guy who booked gigs at The Hope, had told Dave that he once had Cochran play there solo, and it was the loudest show he'd ever heard! Can you imagine it? Shit, I can.

The Four Tops at the Albert Hall, London. Again, I never actually saw this show. Me and my mate Tommy must have been all of thirteen at the time, and I guess we got our days mixed up. We trained it up to The Smoke, tubed to the Albert, only to find that the Tops weren't on that day. Anyway, there was one of those recording booths just outside this venerable establishment, so me and Tommy went in and made a recording (my first vinyl appearance as it happens [okay, I've probably told you this one before, but it's a beaut' and worth repeating]). We said lot's of stupid, thirteen-year-old stuff, the highlight of which was me ranting about how Tommy had recently "lost his dinner" -- a vivid description of him throwing up.
Ah, good days. Good days.
But damn it, we never got to see the Tops.

What else..........Right...........George Melly and the Footwarmers at some pub on the A30 in Camberley, Surrey, sometime around......um.....1973/74? This, I attended. Many times, in fact. And they were stupendous. Melly was the Mick Jagger of jazz (or more accurately, Jagger is the George Melly of rock).

Bob Marley and The Wailers at The Rainbow in Finsbury Park, London.
Now I knew this gig was a blinder (I believe it was the one that became that amazing live album that contains the transcendent live version of "No Woman No Cry," so you can figure the year out for yourself), but I was there, and I wasn't there, so it was kind of hard to tell. About an hour before I reached the theater, this Irish stoner that I was hanging with at the time, had pulled out a packet of some gorgeous mauve powder that a pal of his had mailed over from the States. It was purportedly pure THC, and, not being sure of the dosage, my Irish crony chopped out two lines at least five inches long and half an inch thick! In for a penny, in for a pound, I figured. So we snorted them and within a very short time became almost physically paralyzed, not to mention mentally fucking zombied out! Luckily, some other, merely hash-stoned people accompanied us to the show (or did I imagine them?), and they steered us around like corpses, somehow placing us in our seats and removing our still-rubbery bodies out of there when the gig finished. I tried the mauve shit again one afternoon, but took much less this time (for experimental purposes, y'understand -- I just had to figure out the correct dosage for scientific reasons) and the same extraordinary paralysis occurred (I remember not being able to hold a cigarette in my hand -- the bugger just kept falling out! I nearly set a bed on fire!). I can't imagine this stuff was really THC. Via the Golden Triangle, maybe. Whatever, I know that Bob and The Wailers must have been a great gig; I just wish I'd been a little more "there."

Otis Redding at the Big C club (formerly the Carousel) in Farnborough, Hants.
Damned if I didn't miss this one as well. A mate of mine told me he just found out that Otis was on about a week after it happened (this dump was about five miles from where I grew up). Pissed off, we both were, well and truly. Me and the same mate once lined up at the Big C for Martha and The Vandelas but they didn't even show. Otis, in my dreams, was sensational. And M and the V's were too.

Mister Parker,

Who is that young person on the cover of the Loose Monkeys disc ? Is it a young Parker ?

Tis A Parker alright.

Doctor Parker,

can you please tell me why I always want to masturbate when I listen to Burning Questions. Maybe you have some pills for it?

Thankyou, my dear, for paying me the highest compliment. Forget the pills (which if they do exist should not), and enjoy yourself.

Any plans to re-release your book? How about a limited edition internet only release like your latest album, Loose Monkeys. I'm sure alot of us fans would buy it right up. I'm hoping you come back to San Fran or Santa Cruz soon, we miss you. Cheers

Presumably you mean "The Great Trouser Mystery." Yes? Really haven't the energy to look into it. But I am about to sign a deal with the venerable ST. Martin's press for my collection of short stories. (Yes, it's finally coming together, and all due to an editor at ST. M's getting in touch with me through this website. Thankyou, J. Howells, a free copy will wing it's way to you when it's done [12 months time, if we're lucky]. I suppose I shouldn't be speaking this soon, but a contract sits, right at this minute, fat as a hog on the mahogany chevalier in the spare room, so optimism might well be in order. I'll keep you'all posted.)

Graham --

Hello, I am a big fan, and I was wondering if you were in northern Ohio, close to Lake Erie around mid-May 1999. My grandparents own a little carry-out in Port Clinton, which is right on Lake Erie, and I have been working up there lately. I could have sworn that you came in on May 19 and bought 2 bottles of locally brewed beer and a bag of chips. Was this you, or an imposter?

Jeremy

Un-bloody-real! It was me! Why didn't you say something? (Probably because I also purchased a couple of hunting magazines, a box of ammo, two dozen assorted prophylactics, a copy of "Gay Boys In Bondage," and the latest "People" magazine. Thankyou for not mentioning these items.)
I had a few days off to get from Pittsburgh to Chicago and basically stuck pins in the map, and Port Clinton came up. It looked like it was by the sea, but it just turned out to be a bloody huge lake. I checked into a Best Western ($49+tax with a coupon from a tourist center) on the shore and drove into the funky part of Port Clinton. Failing to spot any decent looking restaurants, I headed out into the sticks and followed a sign for somewhere called "The Crow's Nest." Before I reached this dangerous sounding establishment, I noticed a sign for your store (I believe the word "Beer" was featured heavily) and hooked a left turn into "Deliverance"-style country to grab a couple of brews. The store is on a corner, I seem to remember, but I can't quite recall your face. Whatever, after I left, I swung back on to the main road, found the Crow's Nest, and had a very acceptable meal of Lake Erie perch with green beans and rice. Whoever owns the joint has the prerequisite nautical bent, judging by the yo ho ho decor, but someone knew how to cook a bit of fresh fish, thankfully.
What a laugh that you spotted me! Great stuff.

Graham'

Have been a big fan ever since I saw you and the Rumour play a now defunct club called Brothers in Birmingham, Alabama, on the Squeezing Out Sparks tour. I immediately went out and bought all of your albums and have continued to do so ever since. Just out of curiosity, given your comments about the music industry and your declining career, what are the domestic and international sales figures for each of your albums? Ever had a gold or platinum album? Most recently saw you at the Bottom Line (early show). Good, as always, though some of the tunes were a bit obscure. How do you decide what you're going to play at any given show?

I consider it bad form to discuss album sales figures. It's private. It's like telling someone how much money you make (remember, I am English). Suffice to say, that with the sales figures I used to achieve (late 70's thru late 80's), in comparison with the high chart positions moderate but quickly selling records achieve nowadays (mine used to do 90% of their business in the first three weeks of release), I would be a top ten artist in America these days.
Since about "Struck By Lightning," however, my records sell Jack shit.
I have a gold album from Canada, of all places, but I believe it is phony (I think one of my managers demanded a gold record from somewhere and the record company just cooked the books and pushed 50,000 sales from North America up to Canada. These things can be done, just like payola.

I decide what to play at gigs from a mix of resolutions: what combination will save my voice in the intensity of a serious tour; how many second-string songs can I get away with versus the number of "hits" I can get away with leaving out; how many jokes can be sucked out of a particular song as intro or outro; what would I actually enjoy singing the most -- stuff like that.

Graham,

Who are your musical idols growing up in England? Are there any of your contemparies which you draw inspiration from? Do you really believe that the future of rock sucks? When are you coming to Boston?
Your songs have had a big influence on my life. I hope to hear some new material from you soon.

Thank You For Your Time,
Mike

To simplify things drastically, because I've been over it before, I suppose that the Beatles and the Stones were the musical phenomenon's that kicked me and every other kid I knew into the power of pop music, and everything fell together after them.
The extraordinary explosion of musical variety that became available and transformed the sixties is still the backbone of my compositions, from the Stones to the Supremes, the Skatalites to Dylan. Can't think of anything contemporary that has any meaning equivalent to this.

I'll come to Boston again when a promoter offers my agent a sum that is worthy of my status. This has not happened lately due to the fact that the good people of Boston have not come out in force, to put it mildly, for my shows there in recent years. Pity, Boston used to be a GP stronghold and it's a drag to have to see it missing from my recent itinerary. But the people have spoken, and the promoters pay attention. You're only as good as your last ticket sales.
Do I believe the future of rock sucks, you ask? If I can't get a decent gig in Boston again, yes.

What is OK HIERONYMUS about? I really like the song and I am interested in the story behind it. Thanks. P.S. I attended your show recently in Chicago and really enjoyed it.

Hieronymus Bosch was a Flemish artist from the whatever century whose most famous work (a triptych), "The Garden Of Earthly Delights," is on display at the Prado museum in Madrid. I've always been in awe of his work and not long after visiting the Prado and witnessing his paintings up close, I composed the song. I was merely attempting to capture some of the rather bestial, carnal and quite frankly out to lunch atmospheres that the painting portrays so vividly, setting my vision of immoral chaos to more modern times without being either pedantic or literal. It is a fun little number, I must say.

Graham -Any surprises on the road this time? I hope the rest of your midwestern sojourn went well...we are still talking about your show here in Sioux Falls....I hope you noticed you have some new (younger) fans out there...not all old geezers like me (I'm the guy with the store downtown -who you were kind enough to have tea with). Both my daughters are big fans...(they're as likely to hate stuff I like)...and for once I got to make them envious about I show I saw (they live in major metros). Come back anytime ...regards, Jeff Danz.

Hey, Jeff.
Thanks for the hospitality you showed me in Sioux Falls. I do hope you received the CD that I recently mailed to Todd at the brewery. I sent four off to him and one of them was for you.
You have possibly the greatest store in the world. I wear the T-shirt often. Cheers.

Graham:

I saw your show in St. Louis a few weeks ago and enjoyed it immensely. I also bought the Loose Monkeys disc on sale at the show and was blown away by how great it is. I have always admired and respected your songwriting and once again you did not disappoint me with this collection of songs.

I do have a question about one song on the Loose Monkeys disc. The song "Natalie" is perhaps one of the most beautiful songs I've ever heard and I was wondering if that was written for your (or someone's) daughter. The lyrics just struck me as being written to a newborn child. At any rate, it's an amazing piece of work as is the rest of the album.

Thanks for putting on such a great show and thanks for sharing your music with the rest of us. The world is very fortunate you decided to write it all down and record it.

Best Regards,

Wade Paschall
St. Louis, Missouri

Please check the liner notes which are on display at this site somewhere for an admittedly brief segment about the song in question. So glad you dig the record. Ta.

GP, First of all, "thanks" for all the great music. I have a question about the Mona Lisa CD, which is my personal favorite. Why "Cupid" as the last song? I mean, I love your version, it's every bit as good as Sam Cooke's version, but was there a reason for the choice? Secondly, is there an answer to the statement: "I don't know why its not enough to feel moments of mighty love?" I feel like I've been searching for the answer to that one for a while myself. Mona Lisa was a classic, and I never tire of hearing it. Anyways, Graham, Keep making them, I'll keep listening.

Basically, "Cupid" was one of those tunes that for some obscure reason popped into my head just as I happened to be recording an album. I'd find myself in the studio during the "Mona Lisa" sessions, warming my voice up to the strains of "Cupid." At some point in the proceedings I simply said to the band, "Let's record this," or some such dully-phrased demand, and we did, I think, in one take. No heavy reasoning behind it; these things generally happen in such banal ways, it's hard for me to understand why people (as in the case of some of the reviews) attach any importance to it. I dunno....it seemed to fit fine at the end.

As for the line from "I Don't Know" that you quote so accurately, I'm glad it keeps you thinking...........

Hi Graham. It was a pleasure meeting you for a few moments after your fine perfomance in Atlanta last night. (6/16/99). And I was happy to see that there were several people purchasing the "Loose Monkeys" cd from you. I think you should also use the shows to sell "Twelve Haunted Episodes" which is just a phenomenal piece of work that more people need to hear.

The Atlanta show was actually the first time I've seen you perform since March of 1979 at the Paladium in New York City. I'll be 39 in 2 months and I've been a fan of yours since 1977. Since that time, your music has been on my turnbable and in my cd player more than any other artist with the possible exception of Bruce Springsteen.

Actually, back in 1977 I went out and bought the "Heat Treatment" and "Howlin Wind" albums on the same day after reading an interview with Bruce Springsteen where he said that you were the only artist he would pay money to see.

I've noticed from reading many of these Q & As that you tend to avoid any substantive opining about Springsteen and his music beyond the trivial comment here and there. And it's made me wonder if you feel any resentment about Springsteen because he went on to incredible commercial success, while that massive success has eluded you, even though you deserve to have had far more mainstream acceptance than you've had. I happen to find your music very catchy and very accessible so I don't think it's a matter of there not being enough intelligent people out there who are capable of "getting" what you do. It's been a matter of missed opportunities in my view as to why you did not achieve massive success.

I've tired to promote you as much as possible to the people on the Springsteen newsgroup. And I've mentioned that your "Twelve Haunted Episodes" album is an excellent companion piece to Springsteen's "Tunnel of Love" album in that they both partially chronicle marital relationships in a mature and substantive way, though from a different angle.

Springsteen's angle was a man and woman growing apart in marriage to the point where it disintegrates -- while your angle seemed to be how marriage can lead to a man and woman growing even closer while still going through the trials and tribulations. I was curious if you thought there was any intellectual validity in my considering "Tunnel of Love" and "Twelve Haunted Episodes" to be companion pieces to each other.

And I'd also be very interested in your take on Springsteen's wide body of work. And I'm curious if you've listened to Springsteen's box set "Tracks" which contains many of his un-released recordings from the past 25 years. With the exception of you, I don't think there has been another artist over the past 25 years whose officially released catalogue could match the unreleased catalogue of Bruce Springsteen's.

Wow, what a heavyweight bundle of brain teasers you've put together here, Steve. By the way, you're not the Steve Burn from "Blue's Clues," are you? If you are, I'm a big fan. But hell, I just don't think I've got the energy to get into your question, stimulating though it is (almost overly so, you intellectual devil, you!). Also, the bit about "resentment" is, quite frankly, offensive, and implies that I am a lesser person with a good deal less class than is the case. If anyone deserves to be a superstar, it's Bruce. Suffice to say, for the moment at least, that I feel my quirky, twisted lyrics, often highly inventive chord structures have a lot more in common with Camper Van Beethoven than The Boss. Definitely not a recipe for the big time, that's for sure. And would I rather talk about soccer technique -- or natural history perhaps? Probably.
I'll see how I feel tomorrow........
(If I don't get back to this, I've passed.)

Graham--

I'm a regular visitor to London, and while I realize you probably spend most of your time stateside these days, I was wondering if you had any favorite musical haunts. I'm always looking for new venues during my visits and figured I'd ask a gentleman of discerning taste and experience.

One other question, and I hope this isn't insulting: would you ever consider allowing any of your work to be used in commercials? I'm a copywriter and have run across some interesting lyrical opportunities for which your songs would be perfect. Just a thought; if it strikes you as heinous or crass, I apologize in advance.

I'm sorry to say I'll miss your next appearance in my neck of the woods (Dallas, TX) so I hope you won't wait so long to schedule another visit.

Thanks for this rare opportunity to trade thoughts with a musical genius. And if that sounds like a brown-nose, well, what can I say? You've earned it.

I don't go out to gigs much in any country, so I don't have any tips, although the last two times I've played London, it's been in the Jazz Cafe, located in Camden Town, just opposite the tube station. From what I can gather, they have a lot of good acts on there, although it's really just a glorified pub. Check it out.
As for commercials, I don't have any objection to my material going to work for me, but if you notice, it's either super-familiar hits that are used, or they get some hack to rip something off. They're not gonna use my obscure, gnarly stuff, even if there are lots of catchy bits.

GP - I first saw you on a PBS tv show from Chicago. You were doing "Hey Lord ...," with horns I think, and I was hooked. Been working my way through your catalog ever since. "A Brand New Book" from SBL is a favorite. Also, "Break Them Down," from SN. (My daughter recites it to her religious friends.) OK, here are the questions.

1. Given your previous employment in the petrol industry - what are you driving? Do you have favorite makes? You mentioned a Honda in some notes. Someone also claimed to have seen you in an Infinit M30 black convertible. Are you partial to Jags? How about Alfa Romeos? Just curious.
2. There is a women's lingerie shop in the Bellevue (Washington) Mall called "Jolie Jolie." Any connection to your spouse or the song?
3. I enjoy "The First Day Of Spring" and "The Sun Is Going To Shine Again" and other "gentler" ballads, however the first four tracks of the live Figgs CD are classic. You've addressed this before, but what will it take to get you with a band? (I know, $$$) Is it just to cost prohibitive?
4. Finally, I'm over 50 but my 18 year old daughter likes your stuff - particulary the live Sparks and the live Figgs. So there is hope for the younger generation.

Thanks again for keeping on.
- Craig L. Smith

I do indeed drive a black Infinity G30, but it's not a convertible.
I've also got a Subaru Legacy with all-wheel drive which comes in handy in the snow. I had a Honda Accord once, but gave it to my cousin. Jags and Alfa's look fine enough, but you can't beat the Japanese.

Never heard of this store. Sounds intriguing.

To get me out with a band again will probably take a new record and tour support from the record company. It's just too much hard slog for no reward otherwise.

Hi Graham

I just celebrated my 45th birthday on the 55th anniversary of D-Day, and in spite of the fact that I am fairly well educated and have always considered myself a sophisticated music fan, I can't honestly say I have ever heard a single one of your songs. And this seriously pisses me off! Just last year, I was riding along in my car wondering why my teenage son thinks I'm such an asshole all of a sudden, when through the mindless chatter and static of 50 mega-million commercial on-air enterprises tirelessly competing for my soul, came an incredible little number by Tommy Womack and the Geniuses called "Skinny and Small" on WNCW 88.7 NPR out of Spindale, NC. I have met Tommy since, and so it is kind of embarrassing to say, but hearing this song has been, for me, an epiphany-type experience similar to watching The Beatles on Ed Sullivan for the first time or buying my first Tom Waits album, or realizing that when I drank too much and acted like an asshole that people would avoid me. And since that time I have made it my mission to understand why the "music bid'ness" works the way it does, a journey that is now leading me (no joke) into a more careful study of economics, philosophy, and the politics of oppression. I got to this website through an interview you had done where you had waxed the angry poet about the sorry state of the mega-dome music mentality, but when asked if you had any ideas for a solution, you bailed out with a casual "Nope". Very cool but not very helpful, I think, to you - in the long run - or to the other oppressed artists like you, and to the people like me who wonder why they've never heard the music of people like you. And so the question is: How and when do we start the Revolution, and who is going to have the courage to lead us?

Tommy recently opened for me in Nashville and kindly gave me a copy of his book "The Cheese Chronicles," a very entertaining description of the rise and fall of a band in the 80's. I'll get around to hearing a copy of his latest CD one of these years.

Rock n' Roll is merely a business now and it is impossible that any revolutions can spring from it. Even the great Nirvana exploding upon the musically mistreated youth of America was a business decision concocted by MTV when they realized that the heavy metal-lite in the shape of Warrant, Aerosmith, Cinderella, Def leppard, Loverboy and Winger et al, was gradually losing its ratings. They could just as easily have suppressed "alternative" if it did not become viable to expose it. After all, suppression is what they had been practicing for years at the expense of musical progression and a stupefied, directionless, and wildly out-of-date youth (non)culture.
The business archetypes that are now locked into place will not allow any form of upheaval that threatens them or that cannot be controlled, filtered, and effectively defanged.
Also, the very (shut him up someone, puleeese!) blue prints of rock music are now all neatly categorized and to a large extent fully exposed to the public, amounting to a sort of creativity-by-numbers that even a ten year old can pick up on. Simply put: we've heard it all before. And we now know what we're doing and we're merely attempting to make a living at it.
Any revolutions have to come from someplace else, some other medium, or we'll just have to make do with small, private ones.
It is possible, might I add, BD, that you will go through the rest of your entire life without once hearing my music. An amusing thought.
But it begs the question: Where the fuck have you been?
To be fair to the much-maligned media, I've had much more exposure than many an act, including our Tommy's Government Cheese! My records did at some point (late seventies, early eighties) get reasonable airplay, not for long, sure, but that's because people presumably heard them and plain didn't like them! Fair enough. And I've been on Letterman 6 fucking times for Chrissakes! And Leno, and even Regis and Cathy Lee Goddamnit! Tons of other media exposure, too.
Anyway, great letter, pal. Thanks.

I recently dusted off my copy of Another Grey Area, and was reminded why the record was a favorite for so many years. It has lost nothing, and -- particularly from a writing standpoint -- seems to me a high-water mark of your achievements. I don't know if this makes a particle of difference to you at this point in your life/career, but for what it's worth I just wanted you to know the album still packs quite a punch all these years later, and is one I'm damned happy to have.

Well thanks. "Grey" is not one of my favourites, but this does not matter a whit. Glad you're still getting lots out of it.

Hey Graham! Just saw you do two Fantastic shows in the south (Atlanta, 6-16-99, and City Stages in Birmingham, AL, 6-20-99), and I gotta say, you blew me away! You should do the south more -- the folks down here seem to dig you. So, my question comes after listening to 'Natalie' on Monkeys. What does your kid think about her old man writing songs about her? Is she impressed, or is it more like, 'Stop it, Dad, you're embarrassing me'?
Just wondering.

Not a question, just a comment. I notice that in response to a recent question, you cited Gladys Knight as the greatest female singer of all time. I said to myself, 'YES! Finally, someone who understands!' See, I have long been of the same opinion (for years!). Several times over, I have been branded a heretic for making the statement that in MY reality, Gladys Knight is the queen of soul. Have caused an argument or two with that statement. Even people who have little or no knowledge of r&b suddenly become Aretha Experts. They start spouting what they've been fed all these years, that Ms. Franklin is the greatest, yada, yada, yada...hey, the girl just got some great press is all, okay? She's good, you know, I'll give her that, but she's got nothing on Gladys, because Gladys Knight is The One! Okay, I'll hop down off my soapbox now....

Later,
Sandra from Tuscaloosa, AL

Embarrassment all round, really.
Yeah, I did enjoy playing down there. Maybe we're on to something here.

Moving down to your other comment. Yeah, Gladys is Queen.

1. will there be a visit to the bay area this year? i haven't been able to see you on your last couple of visits after catching you pretty much every time--including the dreadful opening for eric clapton at the concord pavilion where the fucking hippies there to see this guitar legend(gag) basically ignored you. i stood and applauded after every tune and got dirty looks. cunts--i'm up for some of my old heroes--i'm out to see joe strummer in july.

2. after reading your last post in march i e-mailed the toads at vh1 and admonished them for not putting you on storytellers. i guess if you don't put out platinum crap--dave matthews--or are a lovable cult figure--tom waits, who i love--you don't exist in vh1 land. i mean why do we get tony orlando on "behind the music"--which is a decent show--but no pistols or clash, infinitely much more interesting stories.

3. what do you think of mp3 sites? would you apporve of having some of your stuff out there to download for free as a way of getting over to more people. i've introduced myself to artists that i've only heard one song on the radio and i won't buy until i know there's more that i'd like. i still buy but this way i get to window shop, if you will, first.

Keep an eye on the tour page, is all I can say about where I'll be playing this year.
Thanks for having a go at VHI. Worth a shot.
Have no objection to MP3. Have no interest either.

GP,

The show in Atlanta this month was fantastic! I have seen you many times and you never disappoint. I usually drag some friends and they always become fast fans. It's been my experience that there are two types of rock n' roll fans...ones that have never listened to you and ones that are huge fans.

I was turned on to you by a friend in school who made me listen to "The Mona Lisa's Sister" because he knew I would appreciate the Sam Cooke cover (I am a huge fan). It takes big balls and true taste too cover Sam. I freaked over it and soon owned the entire GP catalog and have enjoyed every bit of it over the years.

Two years back I had the task of entertaining a professional associate from Sweden, it sucked because he hardly spoke English. The funny thing is, when he was at my house he took one look at my CD collection and grabbed my copy of Sqeezing Out Sparks and yelled with delight 6 perfect English words "PASSION IS NO ORDINARY WORD!" I got the feeling he was a fan too. You transcend.

I have no question for you although I have enjoyed perusing your website and all the Q and A. All the discussion over commercial viability, media and the like make my head spin. I dig you because you are one of the best @#$king songwriters ever and and you continue to create amazing stuff without compromising. I get just as turned on by your new stuff as I did discovering your work 12 long years ago and I thought I would just say thanks and rock on.

Sincerely,
Emily "my head hurts" Vardaman

I know you didn't have a question, but I just had to say thanks for the lovely communiqué. My head hurts, too, but only slightly. All the best.

GP,

I just got back from your show in Nashville, and wanted to tell you again how much I enjoyed it. I hope you can turn this solo Summer tour into a yearly event.

It was great to see you do a whole show alone, as I had previously only caught your Tellin' Stories tour. It was also great to see the appearance of the J-200 and Telecaster. Maybe the Guild will see the light of the road someday.

One last comment; your singing was just dead on that night. In particular, the version of "Obsessed With Aretha", was even better than the one on Acid Bubblegum (don't get me wrong, I LOVE AB). This makes me think that a new chapter in the "Live Alone" series should be considered. What do you think?

One last question that I wanted to ask after the show, but was too stupefied. Is there a chance that Stick To Me will be reissued by Buddah or possibly some one else?

Thanks,

Bryan from Huntsville

No plans for more live albums, but you never know when the mood will strike.
No idea of the status of "Stick."

Heya GP -- love all your music that I know, which is a good chunk, and especially love trying to play it. Thanks for some nice melodies. So my question is, what do you prefer on the pitch, flats or cleats or those strange turf shoes with the mini-stubbs?

Jeez, I'm just glad the hobnailed monsters I used to have to wear as a kid are long gone. I basically gave up on the game when I was 13 or 14 (with the arrival of the Beatles and the Stones, natch) and started again when I was 44, so it was a great relief to find boot technology had changed so much in the intervening years -- not to mention ball technology. That awful gear of the past must have ruined many a talented kid's chances of playing really good football.
I have two pairs of boots, one with deep, screw-in studs for severely wet pitches, and another pair with lots of small studs. The later are the ones I usually favor, even if there is a bit of slosh on the ground. They are only cheapo cleats. Nothing special.
By the way, my team, the Roundout Knights, won our league this year. I missed quite a lot of games due to touring behind "Loose Monkeys," but we won all but one of the games I played in. So I had a good time. Don't know how long I can keep this up for, though. It gets more serious every year and I get older every year. If I only I didn't spend the last 30 years lying on my back watching the ceiling change shape. What an idiot.

Graham, in the song "Soul Corruption", you have a line that goes "French letters instead of French kisses, or else you'll end up sleepin' with the fishes. I love the song and think its brilliant, however I am not. Maybe its my ignorance from being cast in this world as an American, but I do not know what French letters pertain to. If you could clarify for me?!

I wrote that song, I guess, when the AIDS panic was kicking in big time. (Good to see that nobody gives a shit anymore and that wild, unprotected sex is once again rampant!) "French Letters," of course, is an old nickname for prophylactics.

Graham,

This is Carrie of Carrie and Alicia in Fort Worth, Texas. We were the 2 waitresses that hung out with you after your show at Caravan of Dreams. I just wanted to thank you for the evening. We had a wonderful time hanging out with you. I hope all things are going well. Keep in touch if you'd like. Thanks again.

Hey, you people are alright. And keep drinkin' that bizarre pear cider!

No question. I just wanted to thank you for not "pulling" the show at the Caravan of Dreams in Ft. Worth on June 24. That was one of the most enjoyable shows I've seen in many years. Once again, thanks.
- Glenn

It was one of the best performances of my career. I just rocked like a monkey.......thanks for being there.

GP, I have 4 music heroes: yourself, Joe Strummer, Paul Kelly and Brooce. One of my most cherished tapes is of you joining Paul Kelly on Idiot's Delight in NYC. You sang Long Black Veil with him. Have you ever listened to PK'w work with The Messengers or his more recent stuff? Thanks for all the great music.

I sang what with whom? Wow. I don't doubt you for a minute, but that one's gone through the head shredder.
I heard some of PK's stuff on the radio years ago. Liked it too, as I remember. Long time back now, though.

Graham:

It was great to see you at City Stages in Birmingham. And it was my pleasure to be your chauffeur for the evening. I enjoyed your show a lot -- especially "Temporary Beauty." (I WAS NOT the rube who kept shouting for it backstage, however.) My 7-year-old son Graham is still talking about meeting you, and he has his autographed Graham Parker stage sign on display in his room, along with his Matchbox cars and baseball caps. You've made a fan for life. I trust you had a good time, as well, and will come back to our little downtown festival again. Bubba says "Hey!"

Bob Carlton

Hey, Bob and Graham.
Thanks for everything. I was well looked after and the event was excellent; one of the best run festivals around, I'm sure.
Good luck,
GP

Too late the smart bomb!
Did you happen to catch Billy Joel enthralling Garth Brooks before an adoring sea o' humanity in Central Park? YIKES! I play "Durbin Poison" everyday to work to inspire me for the cube-day ahead. Perhaps you could supply me with a bit of back story. Thanks for the many happy ear tingles through the years.

I guess I wrote "Durban" at one of the heights of Apartheid awareness. In England, we were well aware of Apartheid long ago cos there was always controversy about sporting event problems (rugby and cricket) because of it. Either our teams wouldn't go to South Africa or their teams couldn't come to us....not much memory for the details, but you get my drift.
I remember being in the States when apartheid news was in the forefront -- I suppose around the mid to late 80's -- and the idea of the song came to me. It was funny, because it appeared that Americans, by and large, were unaware that this shit had been going on for years!
Anyway, the song operates on a couple of levels: "Durban Poison" was the name given to some fairly wicked marijuana that was all over England in the 70's. I thought it was a nice motif to hang a few anti-white-ass-bastard sentiments on. Whatever I'm getting at is elusive, but that's the beauty of it. You get the feeling -- it doesn't need spelling out...........
Garth and Billy, eh? Talking of white-ass..................

Just saw you live at the Birchmere in Virginia. Of the several times I've caught your performances going back to Rumour in the 80's, I couldn't remember your singing accapella before. I thought "Cupid" sans musical "support" was wonderful and that your voice (and soulfulness) transcended the concert and took it (and me) to another level. I've always felt your voice has been overlooked and underappreciated by the typically clueless critics. Was that moment a rare occurrance equivalent to a UFO siting or had I just been hitting the head when you took solo flight in previous tours?? In any case, keep clearing out those pipes when the spirit moves you and next time you "swing" through Virginia, I'll be the clown at stage front pleading (and bleeding) for Cupid to once more draw back his bow.

Dave
(stuck in the neighborhood of Disney's other America)

I've been doing "Cupid" accapella for a couple of years now. Actually, I started the accappela thing shortly before that with "Someone To Watch Over Me." One night I got the idea to break into "Cupid" and I was quite pleased with the way it turned out and the reaction I got. Glad it buzzed you.

Dear Graham:

Thanks again for playing at the Caravan of Dreams in Fort Worth, Texas. I appreciate your willingness to do the show, considering the low turnout. I hope the enthusiasm of those present made up for it. It was a GREAT CONCERT.

I first saw you in concert in 1972 at Blackbushe. You were the reason I went to that show. Since then, I have caught your performances wherever I lived -- NYC, Portland, Dallas, etc. I enjoy your new material just as much as the old. Keep sqeezing out sparks of your creative genius. We need it!

At the show someone asked who you listen to these days. You mentioned Lucinda Williams (a fine choice) and someone else I can't remember. Who?

I've introduced you to my family and friends. At my daughter's bat mitzvah (age 13), we created a video montage and set it to music -- Kid with the Butterfly Net, of course. Everyone loved it.

Finally, when can we expect more recordings. Something with It Takes a Village Idiot, the acapella Cupid, and more new stuff? Thank you for many years of fine music.

Jeff

God knows when I'll ever get a new album out -- haven't got a deal, not lookin' for one, feel ambivalent, got tons of songs, can't see the point, why bother........as you can see, I'm filled with negativity on the whole idea. Whatever........

Can't remember what else I mentioned that I'm listening to. But lately, when I do put a record on -- which is rare -- I've been playing a British ska compilation that Crimson (formerly Demon) records sent to me. Prince Buster, The Skatalites, Roland Alphonso, Desmond Dekker -- the usual suspects. It's unbelievably good, still.

Graham,

I have been a fan for many years. 'Squeezing out Sparks, and 'Mona Lisa's Sister' are my favorite albums. I last saw you in a great show with John Wesley Harding in San Francisco. My question though is about the first time I saw you. My memory is fuzzy as my brain was much of the time back then so I might have my facts all wrong. It was 1979 I believe and the show was at the Santa Monica Civic in L.A. You guys played a Little Feat cover ('Tripe Faced Boogie', I think), which I thought was cool since I was a big fan of theirs but kind of a weird selection I thought at the time. Later that night after the concert I found out that Lowell George had died and the song must have been done as a tribute. Am I remembering this correctly from 20 years ago? Were you influenced by Lowell? A fan? A friend?

Thanks
Steve

"Thanks I'll Eat It Here" is one of the greatest albums of all time, and I was lucky enough to catch Lowell live in Chicago, at the Park West, about 2 weeks before he died. Me and the Rumour must have had a night off when Lowell was playing, because I remember being at the show with Bob Andrews. At about 5 minutes before showtime, Bob and I, who were as excited as kids at catching The Great One in concert, suddenly got it into our heads to rush the corridor leading to the stage and say high to Lowell before he went on. I guess the security guards knew who we were and let us through for we did indeed find ourselves face to face with Lowell, almost as he was about to take the stage. We heatedly introduced ourselves and quickly got out of the way, leaving a bemused but polite Lowell probably wondering who the heck these two crazy Englishmen were.
The show was fantastic, and shortly after, when we heard he'd kicked it, we whipped up "Tripe Face Boogie," not just as a tribute, but also because I'd always felt it would be a great tune for us to tackle. We did it occasionally with mixed results. I think we needed to do it every night to really do it justice, but sometimes the GP audience seemed a little lost when we performed the song, like they didn't know it, or even who Little Feat where.
Whatever, it's a fun tune to do, and quite a bitch to get right.
If you found out that Lowell had died just then, maybe this was the first time we'd ever attempted it.
As for influence, as I often point out, my influences were formed in the sixties and seventies and not a great deal has been added since, but certainly when I first heard Little Feat, it was a revelation. I guess it was around '74/'75, and I was around a friends place deep in the catacombs of Basingstoke, listening to what I thought was a new Stones album! Through my (ahem) slightly adjusted state, though, I realized that the voice I was hearing above the pounding funk ("Dixie Chicken"? "Rock 'n Roll Doctor"? I can't remember) was not Jagger's, and then my friend told me the name of the group. I'd never heard of them and was astonished at their brilliance.
Soon after, I met the guys who were to become the Rumour and turned at least some of them onto Feat's music. Brinsley was certainly entranced by Lowell's slide work and incorporated some of his style into his own.
Now there's (Little Feat) a group that you might say did not receive the recognition that they deserved, but their power, and especially Lowell's, was felt by anyone, particularly musicians, lucky enough to have discovered them.