Hi Graham

Saw you a few years back at the Bayou in Georgetown - all a blur now of course but I had a swell time. Curious to know if you're acquainted with Warren Zevon (no doubt he'd wince at this, but "the Werewolves of London guy")? He's written some great stuff for Linda Ronstadt ("Poor Poor Pitiful Me") and is the business live, though he hasn't toured for a while. The two of you together could do a storming show, I think... Out of interest, as I'm living in London now for the foreseeable future, can you recommend a green space somewhere in this maelstrom, preferably with large trees and the occasional moment of peace? Thanks, and hope to see you round here soonish!

-jen

p.s. I could tell you more than you probably want to know about the "goth movement" from both musical and cultural angles - I was recently angered into defending it against an onslaught of nonsense the Evening Standard was spouting (I'm not a goth, but I used to play one regularly). All ugly-ass chicks in heavy makeup? In the same way that toffs are all rich-ass chicks who carry tiny dogs as handbags...

Don't know Warren personally.
Go to Regents Park, the rose garden and the duck ponds.

Hello Graham! We met up recently in Vt. and it was a thrill to finally meet ya! I was thinking of a good question and I believe I've come up with one. When I graduated high school, I posted a quotation of a Fleetwood Mac song which today makes me want to hurl! Do you have any lyrics that today make you cringe? I always think of this when I hear artists performing songs that were recorded years ago and what goes through their minds every time. Also, what the hell are doing in Toronto? Montreal is where its at, cheers, mike

Hurlish lyrics, you ask? My own, you mean? Actually, it's the sound of my voice and/or the sound of my records that give me that queasy feeling. I can't abide the thought that there are people who may have heard of me or met me but have never heard my music who then hear something of mine and it's a recording from before 1988. Ouch!

Montreal? Don't they think they're French there? Even more so than the rest of Canada? Whew, it's a country of such immense mystery.........

Dear Graham,

Just a word of thanks for 20+ years of enjoyment! (Gawd is it that long?) - A couple of 'old' questions for you: When I was a teenager back in the seventies (when you and the boys like Elvis and Nick were 'it'!) we used to sing "Don't Bother with the Local Girls" at parties in a neighbouring ritzy area of town since the girls there were a tad snobbish - can you provide me with further background regarding the reason for that song?

After a long night of partying we'd sober up the next morning by listening to blues-ier side of your early albums, then start up again with your more angrier pieces :) Heck, there's even a picture of me in my HighSchool year book dressed up like you from the cover of S.O.S. *laugh*

Over the years you've remained a constant force in my musical tastes I just bought 4 more of your CD's a month or so ago (to replace my worn out tapes)- why is it so hard to find 'Struck by Lightning'?

I was pleasantly surprised to find you included a live verson of Squeezing out Sparks on the CD of the same name. Many years ago, I had a fight with a friend when he claimed that it was simplistic to just see 'S.O.S' as about 'abortion'. So, I ask...is there anything more to the song (besides perhaps a sense of trying to dismiss all of our mistakes as if they weren't real?)

Thanks again and I wish you well - one day perhaps I might actually get to see you in concert if and when you come to the West coast of Canada.

Jeff McLaughlin

P.S. Any chance I could get an autograph?

As I was hacking my way through the humourous spaghetti-like tangle of approach roads into Chicago recently, I was lucky enough to catch a WXRT DJ playing the aforementioned "Local Girls," followed by his enthusiastic, but inaccurate commentary. "Well, we know what Graham Parker won't be bothering with tonight!" the leather-tonsiled chappie boomed like a foghorn. Unfortunately for our weathered vocal-corded wag, "Local Girls," of course, refers to the girls in my/your hometown, not the girls in someone else's town. In "SOS," I was kind of attempting a concept album about the suburbs of England, or at least trying to capture a vague approximation of suburban life. This idea succeeds in "Saturday Nite Is Dead" and "Local Girls" particularly well. I guess I drifted off the mark there for the rest of the record because the concept turned out to be a little confining for a whole album. I'm too restless to stick with such a narrow program.
Anyway, the idea for "Local" is from remembering what it was like to be a boy at home, looking out the window, seeing a rather toothsome piece stroll by, nose in the air perhaps, down the quiet semi-detached suburban street, and knowing that she probably already (at 13/14 years of age) fancies herself as an army wife (I grew up next door to an army camp and the squaddies were always stealing the girlfolk) and is going to look upon your feeble advances with some disdain. It's a fairly typical the-object-of-ones-desire-is-always-out-of-reach-type song, just about 30 times better and more pregnant with meaning/detail than pretty much anyone else on the planet could even begin to aspire to, is all.
So, it always makes me laugh when people get its meaning so hopelessly wrong. I mean, the "look through MY window" bit should give the game away you'd think, wouldn't you? Well, who's got the time to pay that much attention to detail?

Moving on, sorry about the unavailability of "Struck." I hope Buddha pick it up and reissue it as they have done with "Mona Lisa." Stay tuned for news.

As for "Strong" (when you say "SOS" I'm presuming you refer to "You Can't Be Too Strong." If I am wrong, your friend is correct -- the whole of that album is not about abortion), well, my best stuff often conceals levels not available to the average toggle-head, but it must be said that that song does not drift too far from its subject. But obviously, my impressions of such a powerful experience are not one-dimensional, and this is apparent in the song to all but the most narrow persons who might decide to misconstrue its meaning and my standing on the subject for their own, political/moral prejudice.

Been listening to you since the first album, keep up the good work. Hope you come back to Orlando one of these days. I saw you at the Marquee in London in the 80s ('86?) and you sang an old Knight Brothers tune - I've got a couple of their 45s (I'm a big R 'n' B/soul fan (the 50s and 60s golden age when R'n'B was Rhythm and BLUES and soul HAD soul) but don't have that particular track. I know you like the good R'n'B stuff-it's in your music. Have you heard the Kelly Brothers? Great southern soul, get the cd compilation while you can, you probably have it. I'm the Foghat guy mentioned in Jason's letter, it's not obvious by our music, but you've been one of my musical inspirations, no need to apologise!!.

I did the Knight Brothers "Sinking Low" at the Reading Festival, too, and have a cassette of it somewhere. It sounds unbelievable. 1986 is about right. I first found the song on an obscure Marble Arch release called "Blues And Soul." Picked it up around 1967, probably. Marble Arch, for those of you who don't know (probably everyone reading this) was a cut-price label that put out albums, especially compilations, in England in the 60's. Often, outside record stores (actually on the street!), Marble Arch would have one of those revolving racks displaying their product for everyone stomping up and down the high street to see, and they had some very interesting stuff. There was a great Donovan collection that included a transcendent little number called "Jersey Thursday." Beautiful piece. They released some clams, too. I bought one album because It had Otis Redding plastered across the cover, and being optimistic, and because Marble Arch's prices were so low, I guess I thought I couldn't go wrong. But it was actually Otis guesting with some guy (Little Joe someone or other? Damn! Wish I had the cover in front of me) who has never been heard from since. The recording was very drab, almost demo-like, but poor quality demo, and Otis did not sound at his best and the other guy plus the songs had no distinguishing qualities.
I was attracted to "Blues And Soul" because Joe Tex's name was proudly displayed on the cover (this was not too long after Joe had a minor hit in England with the incendiary "Show Me") but it turned out that the selection by Joe, something called "Baby You're Right," was about the weakest thing on the whole record.
Everything else on there was amazing and it still to this day is one of my favourite albums of all time. (I have the original vinyl stashed away but made a cassette of it which I will pull out and play from time to time. Little Milton had a couple of cuts on it. Someone named Mitty Collier. Some people calling themselves Spooner's Crowd....(they do a fabulous Booker T groove thing that starts off like this guy is walking down the street to a nightclub and the sound of the band is drifting through the warm night air and he's whistling the tune he can hear and then suddenly the guy goes through the door and Bang! -- the music just hits you. It ends with the guy leaving the joint still whistling the tune with a girl giggling at his side. All this in about two and a half minutes! You wouldn't believe the convincingness [new word?] of the effects that create this illusion and the brilliant atmospherics of this recording. Wild stuff.)
Also, there's a track on there called "Without A Woman" by some guy named Kip Anderson. This is the only performance I've ever heard from him -- never even seen his name again -- anywhere -- and if this man had ever put a body of work together, which I somehow doubt that he did, he could have given Otis a run for his money. Not sure whether he wrote the song or not (it's a pure slow-burnin' horn section "You Don't Miss You're Water"-type tune -- pure Otis), but it sits there like a great fat soul hog -- a major classic, even if I'm the only person who's ever heard it. Do you know anything about this Kip? Let me know.
Some years back, a regular at my gigs (what happened to this guy?) gave me a tape of Knight Brothers songs. Interesting stuff, but nothing as great as "Sinking Low."
No, I've never heard the Kelly Brothers.
Cheers, Dave.

Heat Treatment is one of the best sounding albums of all time. Can you tell me anything about the recording or mixing of it. I know that Nick Lowe produced it but didn't he also produce Stick To Me which isn't even in the same ballpark soundwise. Can you tell me what your favorite vocal mike is in the studio and what guitars and amps do you use.

Thanks,
Your Fan Bob

Robert "Mutt" Lange produced "Heat T," not Nick.
It was a laborious record to make. Mutt had this idea to separate every instrument -- physically record them as far apart from each other as possible so as to eliminate bleed (Steve was in the main studio, Brinsley played in the ping pong room, Martin and I played acoustic guitars in a chalets' bedroom, etc.) -- then put them together as if a rock n' roll band had been working. I'll never forget me and Martin being told to play our acoustics on "Fool's Gold" as if we were playing drums -- no rhythmic nuances, no drifting from a rigid, regimental snare beat, etc. -- and everytime one of us drifted the most minute fraction out of time, the track would stop and we'd hear that dreaded South African voice come down our cans -- "Just a hair out there!" We spent days doing this absurd, robotic work.
Mutt also had this thing about Joe Cocker. That's how people should sing, he reckoned. So I was encouraged to sing flat out with my throat, which accounts for the lack of improvement in my vocal technique from "Howlin'" to "Heat." Shudder. Not my favourite record, by a long shot.

I found out on "Acid Bubblegum" that the best mic for my voice is a simple Shure 58, preferably with a severe dent in it. 58's are the standard, cheap stage mics you see every time you go to a show in a club. All these years producers and engineers have proudly been sticking many-thousand dollar Neumanns and what-have-you in my face and I try a 58 out on my last album and it blows all those expensive girlie mics away. Nobody, me included, thought of it before!

I'm sure I have some guitar stuff on a previous Q & A. Possibly about two back............

As for amps, I've been using a reissue Fender Bassman in the studio. Live, I get the promoter to provide an amp and I'll usually take what's available. Lately, I've been requesting a Fender Twin.

Graham,

Second time I've written, love Loose Monkeys and play it to death. The point of my message is I was in CDNow looking for Parkerilla (it wasn't posted) and saw a new release for something called Super Hits, before I get excited about it are you getting anything out of this? I have no great desire to see the record label profitting if you're not getting your cut.

Hope all is well with you, hope to see you in Colorado again soon.

If my composition(s) are on this release, I'm certainly profiting from it.

Hey GP,

Saw you at Sapphire, (not Jacksonville's Milk Bar or whatever it was), and thought, this guy is my new hero. Love your music and lyrics; whenever I'm in a big music store here I alway blast Nobody Hurts You at eleven on guitar, just to piss them off.

Read of your interest earlier in David Foster Wallace (loved Infinite Jest) and wondered if you had read Will Self's My Idea of Fun. I can also recommend I Killed Hemingway by William Henderson on Picador Press. Oh yeah, a guitar geek question, what effects did you use to get that burbling sound on the solo and outro of Sharpening Axes? I always liked that sound and have been wondering how to achieve it on my fake Tele.

Thanks for your continuing appreciation of your fans on the net,
DAN

Have not read Will Self yet. Read some interesting reviews of his work.
Funnily enough, I know Bill Henderson quite well and get together with him when I'm in North Carolina. He's the one who first put me onto this website and kicked me into getting involved, in fact.
Also recommended by him is "I, Elvis." Very funny.

As for guitar sounds on "Axes," I seem to remember borrowing the engineers' Les Paul, putting it thru my Boss pedals (compression, reverb, overdrive, and possibly a little chorus), driving my Fender Bassman quite hard, and just letting rip.

Do you miss England? Or at least some aspects of life in England? Do you think your song writing has been influenced by where you live? Your songs speak to universal themes, but I'm curious if the same theme (i.e., love grief, etc.) can have a different cultural slant affixed to it depending on if you live in the States or England.

Here's an idea: maybe to re-explore your English roots you could do a song loaded down with English slang (lido, bap, snaffle, jumble sale, too clever by half, boot and bonnet of a car)-- just joking.

Seriously, thanks for all the years of great songs and beautiful music.

I'm in the UK enough not to really miss it, but culturally, I now understand the states more. I also write most of my songs whilst in America, so any references to the media, politics and whatever else take their slant from this side of the pond.
I like your idea of a song featuring Englishisms -- "Like a fart in a colander" would be a good one. "Running around like a blue-arsed fly" is another cracker. I think Ian Dury might have the monopoly on this kind of approach, though.

Dear Graham,
Were you aware that Joe Jackson covered "You Can't Be Too Strong" at a recent show at the "Bottom Line?" It was a beautiful version performed solo by Joe at his piano. You may want to give him a buzz, he's doing an album where he's going to use guest vocalists as characters, I'm sure he's got a part for a crusty old sod such as yourself.

I heard Joe did "Strong," yes. I'm well chuffed with that (I affix the blame for this Englishism on Rob, above).
Hey, Joe's got my number.

Dear Graham,
There is an artist by the name of Dan Bern that is also playing at the Edmonton Folk fest. You should try to check him out if you have time. There is more then a hint of yourself in his lyrics and music.

Did a "workshop" with Dan. He did salute my work quietly in my ear, and I did like his songs.

Dear Graham,

Once again, thanks for the validation and kind thoughts to my "inspired blathering" in part 10.

I only have one comment and then some ACTUAL questions this time.

In regards to Steve Earle, yes, you're correct. He indeed was heavily suffering from an acute case of assholeitis for quite a spell, but a stretch in the joint seems to have worked wonders for him. Since his release from incarceration he has put out the best music of his life and packed on about 50 pounds (sure sign he traded one vice for a more benign one!!??). Have somebody play you some of his stuff and I think you'll actually like it. I noticed another questioner asked you about him in part 11, an omen perhaps?

Besides, that wasn't a very nice crack about not hearing him on the radio, Graham. Since when is radioplay a proof of artistic validity? Hmmmm?

Now for some actual questions:

1. Obviously you really developed into the kind of artist YOU wanted to be from "Mona" on, but what period prior to that gave you the most satisfaction?

2. What album, in retrospect, are you most pleased with in regards to sound and content?

3. Likewise, what album are you LEAST pleased with?

4. One of my favorite all-time songs of yours is "My Love's Strong" from 'Human Soul'. It is SO powerful and moving both musically and lyrically. Why in the world has not some major pop artist covered it (along with many other songs of yours) and made you a mint? Maybe you should get some A&R type flack to push your material a little more?

5. Glad to read your take on rap. Personally feel that while it is an expression of culture, it hardly qualifies as art. Can't imagine busting out the old ice-t discs 20 years from now as we do the great soul music of the 60's and 70's. YOU'VE seen the future of rock and it indeed does suck, but is there ANYTHING and ANYBODY going on that bodes well for the future and might perhaps endure?

6. Along that line, obviously all of us on this site count you as one of the constants in our lives musically. What about you? What artists have stayed with you through the years, and why?

7. Finally, I know how to make you quit dodging me! Ask it in the form of a question (what is this, JEOPARDY?)! When (not IF) are you going to cut another album? You have lots of material to work with, according to your earlier comments you've been " writing like mad". What will the new disc be like? Introspective adult rock and ballads? Back to some more serious rocking ala "Acid"? Or, something completely different? Personally, I'd love to see YOU do a cover album of some of YOUR favorite R&B tracks ala Boz Scagg's great "Come Back Home" album of a couple years ago. If you haven't heard that one, pick it up, I GURANTEE you'll love it.

Well, that's all for now GP. Take care.

Regarding me not hearing Mr. Earle on the radio: it wasn't a "crack," it was a description of reality. It is obviously no proof of how good anyone is. I was merely pointing out that I don't buy records or get all excited about how good they might even be just because the press -- who often emphasize an artists' reprobate behavior rather than their music anyway -- are showering shining compliments (mostly, as I said before, based on said artists' naughtiness). Seeing as I don't hang out with people anymore comparing record collections, I get my info from radio play, and I don't listen to music radio too much anyway, but enough to know that Steve E., like tons of other acts I might have read about, who's names I have seen for fleeting instances, or whom people might have mentioned in terms of praise, high or medium-high, is not exactly setting turntables afire either on "alternative" or triple A. I was attempting to point out that I can't comment on anyone unless I hear them, and preferably lots of times, as in on the radio. And if someone gave me a Steve Earle album, I probably wouldn't get around to taking the plastic wrap off, as is the case with all the free albums I get.
I need to be on a tour bus with a band -- that's when you hear stuff. But (fortunately?) most musicians when trapped on tour buses for any length of time do not bring new music with them but rather tapes containing ancient ska music because the musicianship on those records is awesome and cannot be touched by modern day musicians. (OK, last tour bus I was on ["Tellin' Stories" tour] we did go mad and get heavily into Marilyn Manson -- a blip in the continuum, I guess.)
I may, in fact, go the rest of my life without hearing the bugger (Steve Earle, that is); an amusing thought.
So dear B.J.E., don't "hmmmm" me. You are not reading what I have to say but reading into what I have to say.

(Note: The only time I listen to music on the radio is when I am driving; I'll be listening to public radio and one of those excruciating "Moneyline" [you know the kind of thing: the host(ess) and some alleged "expert" are giving interminable advice to some old dear who needs to know if she should invest her meager savings online, offline, or just throw the useless, devalued shit out the window] or whatever they're called shows come on and I just have to change the channel, so I first go to my nearest Triple A format which will doubtless feature three lesbian folk singers in a row, then having been educated quite enough for one day, I'll switch to my local "Modern Rock" station [a cop out pansy name for "Alternative" just to hedge their bets, natch, so that they can still feature healthy doses of Sting, etc.] which will bludgeon me with five songs in a row by bands that sound a little bit like REM, a little bit like Oasis, a little bit like Pearl Jam and all five have no worthwhile or distinguishing features whatsoever, so then and all I'll snap over in disgust to my local "Classic Rock" hangout hoping for a "workforce block" of the Stones only to find, as suspected, said station are playing "Crazy On You" by Heart of some grinding, brown-coloured dirge by the Doors or even, if I get really lucky, the horrific "Stairway To Heaven" might be on and so it's back to "Moneyline.")

1) The albums which hold up before "Mona Lisa" are "Howlin' Wind" and "Sparks." I suppose if we have to get down to periods before "Mona," '76 to '79 would be it.

2) (Said this before) "12 Haunted Episodes."

3) Toss up between "Another Grey Area" and "Steady Nerves."

4) Now, at last, you're interesting me. Yes, it is criminal that this song has not been covered......by anyone, let alone a commercially successful artist. Well, Rod did "Chambermaid," so there's hope. But seeing as his covers album which featured the song was probably the worst selling album (in the states) in the history of his career, I don't think he'll repeat the concept any time soon -- so he might not be looking my way. But he could just kill that tune. And imagine Bonnie Raitt doing it.........but if she was going to do one of my tunes, she would have done so already.......Paul Young? Absolutely. It's exactly the tune to get him halfway up the charts again. That lead singer from the Neville Bros.? Damn fucking right.
But think about it for a moment.......think about the Lyrics...........
Think about the phrase "You got a real human soul," for instance. Even if these people I mention (and the many more you might think of) had this song pushed their way, those very words, which may seem rather innocuous to non-hit makers like yourself and myself, would ring alarm bells in anyone who has actually seen real chart success, instinctively, intuitively, something would warn them that this very profound concept of a Human Soul is going to be, on the deepest level, registering on the subconscious mind of the tiny-headed listener who is going to almost imperceptibly wince at the reincarnatory implications which they cannot even begin to formulate into conscious thought or words and it is going to put the dullass monkey audience right off without them even knowing why, hence, a serious non-hit situation hits our coveree right upside the head and when people have had hits, they, their wives and husbands, gloating self-satisfied parents, Uncles and Aunts and God forbid, their record companies who all, to a man, have become rather lightheaded on the helium-filled and gold-crusted world of Hitness, will become a tad bummed out. And that's before we get to the bridge/middle eight! Think about those words for a minute............
Now, as stated elsewhere before, I do have a company, Bug Music, that administer my catalogue and it is their job and in fact forte to get stuff by artists on their roster covered. I've been into the film industry aspect of this and why I'm not getting anything on soundtracks a few Q & A's back, so you'll have to delve if you've missed that one, and it is worth delving for, too. But as for getting other artists to consider my stuff......well, I think Bug started out with good intentions but have probably all but given up due to lack of interest. I know someone in said company were having a little go with a song or two around Nashville but you can imagine the conservatism of those artists/producers. So that didn't get anywhere. And you can't just keep calling these people up and ranting about "My Love's Strong" and what the heck are they doing about it cos people who have no hope from results so far are not going to get hope from results that might be, but probably will not be, if you follow my drift. And you just become a pain in the neck for bothering them when they have better options available, i.e., other artists' songs that do not have subtle or otherwise concepts that scare the pants off people or go right over their pinish heads.
It's a fascinating business, and I must say, I love the whole psychology of it, whichever way it swings (which is obviously not in my favour).

(The above, for the concept-impaired, is a description of reality. )

5) Yes, but not that many and my brain hurts now.

6) Been through this before. Basically dead or near-dead black people from America or Jamaica.

7) My new album? Well, it's just now coming together. Ringo and I have been discussing doing a concept album about hair salons for some while now. Finally, Interscope (who are not some kind of dental service as many people think) have agreed to front the money for this rather ahead-of-its-time project (around half a million dollars) and I'm flying to the coast (any coast) to meet with the olde sod (Mr. Starr) in a few days time to "write material" with a view to "recording" in "the near future." This will fly, of that I can "assure you."

Hi Graham,

I must confess, I fell away from you for two albums, after The Mona Lisa's Sister. In retrospect, I've found that I missed some great songs. "Mighty Rivers" is a great piece of writing; in the hands of someone less able it could have sounded forced, or hollow. Instead, it comes off as being breathtakingly heartfelt! Tell us about the writing process on that song.......

Can't remember much about writing "Mighty." It was kind of light and airy -- more acoustic than the final recorded version. I've been doing it on stage though in a version different from both recorded and the original style -- very r&b, bluesy almost. Sorry I can't be any more descriptive. It just popped out, I guess.

Unbelievable! Graham Parker on the internet. How great is that? My 17 year old golden retriever Graham is named after guess who? Saw you at the Greek theater in LA during the Another Grey Area tour (you ended with "Nobody Hurts You" before the encore . . . it doesn't get any better!) Are your songs about relationships autobiographical or is there a little fiction thrown in too? Where do you look for inspiration these days? I hope everything is well with you. Thanks so much for everything and keep it coming, Mike

Basically, writing is taking a speck of reality and blowing it up out of all proportion. It doesn't have to be my reality, though. I can borrow someone else's and often do. Frequently someone from a TV show or a movie or a book. I bullshit all the time. It's the way you do it...........
I look for inspiration in articles of clothing these days.

Dear Chairman Parker,
Enjoyed your show earlier this summer at the Birchmere (Alex., VA) and ran right home to order Loose Monkeys. I pretended that it was a birthday present for my husband, but it was really for me. I wonder why "Ghost in my House" was never (as far as I know) recorded by any major Motown artist. It's a cool little song. And my actual question is, have you ever or would you ever consider writing/producing music for commercials or public service messages? Have any of your songs been licensed for such uses?

None of my songs have been used in commercials, they tend to play safe and only use established hits, you might notice. I think they have some sales ceiling rule -- you wouldn't want to confuse anyone with something unfamiliar now, would you (not a question). Or they use mood pieces with no lyrics (there's a car commercial on the USA network right now with one such moody and rather effective piece. I keep it hearing cos I'm watching the US Open Tennis tournament. Some other bastards are using that hideous "Get Happy" thing and changing it to "Drive Happy." I think it's a rent-a-car company. Ugh.
No one has asked me to compose for a commercial and they never will. The dice are loaded. Same goes for public service messages, whatever they might be.

Hey Graham, I'm the guy in Delaware that was at the front table that gave you a card and offered you a room and a home cooked meal any time you're in the area. (I could also fix broken guitars) My wife and I greatly enjoyed the personal setting of the East End and hanging out with you after the show for a pint was a treat. My question is, you mentioned a web site, is this the web site or is there another one? I look forward to hearing from you.

I also wanted to add that seeing someone who can do such an amazing solo gig is truly an artist of great talent. I have had you songs playing in my brain ever since the show. It's nice to get back to them. I'd say your marketing plan is wirking on me, as soon as I catch up on my vacation bills I'll be back for the new disk.

Thanks, Andy

There are 10 other sites and I answer questions on all 10. I've given up songwriting and performing so that I can devote myself to this most urgent task. I will shortly be acquiring an agent, a new breed of agent, I might add, a species known in the biz as a "Question Mother," and he/she will be regulating these many Q & A's and charging people for the privilege of asking me questions. The future looks bright, and my annuity assured. Thankyou.

Hi GP

I am a huge fan of yours....I recently bought a compilation CD called "VERTIGO"..some sort of best of..it also contains all the songs from "live at Marble Arch"..I'm a bit of a collector of your stuff..Do you know if there's any chance of tracking down a copy of that record on vinyl anywhere?.. How many copies exist?

What is "Howling Wind" actually about??

Your voice has changed quiet a lot over the years..there's a big difference between "That's what they all say" and "oasis". Is that deliberate or did it just happen?

Keep up the excellent work!!

Take care

T.K. Sorensen
Denmark

There are copies of "Marble" that still change hands, I believe, but I don't know how much money people want for them or how many there are out there. Also, there was a bootleg of the bootleg and I don't know how one would tell one from the other. Good luck.

"Howlin' Wind" is about having one's life transformed by LSD.

As for the voice, thanks for noticing. You'd be surprised at how many reviewers still describe me as "gruff voiced" or some such tossy catch phrase. After years of singing, I finally started to hear myself and naturally (!) had to change radically. You got to remember, when I started with the Rumour, I was basically a complete amateur -- I didn't even know how to hear myself through the stage monitors, or even what monitors actually were (I thought they were a type of large lizard). So it took me a while to learn to sing with my body and not just my throat. I am self-improved; I haven't taken lessons.

Hey Graham! I was on the Stiff Little Fingers (remember them '78-"82 Irish and angry?) site recently and Jake Burns lists you as an influence. Have you ever met him? What did you think of SLF. They were huge back in the day. Also, I was in Paris a couple months ago and found a pristine copy of "Stick to Me" on cd released by Vertigo (w/out stickers, just kidding). My research tells me that this was deleated long ago. I love this record (I own the vinyl w/ stickers). Who sang backing vocals on "Problem Child" and "Heat in Harlem." No females were credited. I also found a 7" copy of the "Pink Parker." Brian Robertson from Thin Lizzy was credited as playing on the studio side. How did this come about? I know you opened for Thin Lizzy. Any good stories? Finally I just purchased the "Stiffs and Demons" compilation and am now nearing about 30 GP cds in my collection more than anyone else! Is that OK or am I getting carried away? Take care Graham. Keep writing new songs! Can't wait to hear a new album! Fan for Life!

DJ

I have to say, I somehow missed Stiff little Fingers' career, but I know that Jake was kind enough to admit to being a fan of mine, so I guess they couldn't have been all bad.

The people from the band Kokomo sang backing vocals on the tracks you speak of; there were two guys and a girl, I think, but they're names escape me. In those days, I didn't have much control over my album covers and they didn't get a credit -- I always felt bad about that. Well spotted, and thanks for finally bringing their contribution out into the open -- they were really good.

GP and the R were scheduled to tour Holland when Brins got sick with something or other, and seeing as we'd recently toured with Lizzy, we pulled Brian in for the job. Due to a timing thing, we needed to get the EP done whilst we were on the road, and so Brian ended up playing on it. You'll notice the harmony guitar work on those tracks -- a Thin Lizzy trademark.
Sorry, no stories that can be related in public..............

Thanks for owning all those CDs.

Hey Graham:

From your "SHARPIE" man,

Wanted to thank you for such and entertaining show out on LI at THE STEPHEN TALKHOUSE. Your music and sound amazes me. It was truly a thrill to meet you and Steve Goulding that night especially since I've been a big fan for 20 plus years. Now a few questions./comments..

1) Would you mind expanding on what you were playing with the Black Rockers and the Deep Cut Three? Also who were the band members and is there any recorded material from that era....?...Now that would be really be MONKEYS ON THE LOOSE,,Eh? !!!

2) How long did you have the songs from Howlin Wind before you recorded them with the Rumour.

3) Did you get a kick out of that PINK PARKER that I showed the audience right before you went into Hold Back the Night?

4) During the show you eluded to a soccer team you play for upstate. I was captain of my high school soccer and led the team to a 0-10 losing record. Since you mentioned your team but failed to discuss its success, I was wondering wether youre going to the World Cup soon? Also, are you soliciting any sponsors?

5) Thanks so much for signing my PINK PARKER and other GP stuff....Saving that PINK PARKER for over 20 years ( and without warping) and finally have you sign it was really cool..Thanks..

6) Just curious if that Monster Sharpie I gave you lasted longer this time on the tour??

You're the best !!!!

1) I was about thirteen when me and my village lout friends grew Beatle cuts and posed with guitars against brick walls, etc. We didn't even know how to play, truth be told. We did hold concerts, though, and charged kids threepence to see us! We held them in a back room at the local garage/gas station. Paul (there's always a Paul), one of the band members, had access to said establishment cos his Dad owned the joint. We pretended to play Beatles and Dave Clark Five songs, etc. We didn't mime, we actually bashed our guitars (the guy posing as the bass player used a plastic job with a pic of Elvis Presley on it!) and leapt around in what we believed was a very convincing manner. What little prats we must have looked. Paul is still a mate of mine and I usually sink a few jars with him when on the Oulde Sod. Steve, the would-be bass player, is still a friend, but I haven't seen him in a few years now. Chris, the "drummer," has a family and is doing very well, I hear. No, tapes do not exist, thankfully. I think we started as the Black Rockers (we all wore black jeans and black polo necks, natch) and thinned down to the Deepcut Three. Who got kicked out I don't recall. (Maybe it was the other way around.)

2) I was writing some of the "Howlin'" songs in 1974 and by '75 had met the guys who would become the Rumour; we rehearsed in the summer of '75 after I had secured my deal with Phonogram. I guess I was still writing the rest of the songs about that time. I seem to remember it being rather cold when we recorded that first LP so I presume it was about the winter of '75.

3) I've seen it before, but you're timing was pretty snappy.

4) We won the league this year. World cup looms large for us, I feel.
We sponsor ourselves.

5)..........

6) The huge beast is on my writing desk awaiting further instructions. Ta.

Well I couldn't resist "updating" my copy of Mona Lisa's Sister. I have had the RCA release on CD for the longest time, but the new liner notes, "Remastering" and extra track were enough to have me put down some cash for the Buddha Release.

I read the liner notes while sitting in the car. I have always felt that MLS had a geat sound, so was amused by your discussion of the merits of the approach you took. All was well until I put the CD in the player. Then I was greated to some unfamiliar opening notes of "Don't Let It Bring You Down." Wow, remastered is right! The bass has been brought higher in the mix, and the do I detect a little more reverb on the vocal? Then I thought about the liner notes and I sensed some irony. I'd be interested to know what you think of the remastering job that has been done, and whether you had any part of it.

For my part - it took some getting used to - but at the end of the day added value to my purchase. At least it is not the same old rehash - it's actually different! Was that the intention? By the way - thanks for the great music, Burning Questions is my current favorite, it's a wonderful record!

Yep, remastering is indeed the proverbial double-edged sword. In the wrong hands, what with the digital technology now available, it can turn a warm, fuzzy thing into a shiny, pointy iceball. I happened to be at the mastering studio doing "Loose Monkeys" when the engineer Buddha had awarded the job to was working, or had just finished, the new "Mona Lisa's." He stuck the new model on and A/B'ed it with the original. I couldn't argue with the difference -- the old one sounded dead and tame by comparison. But when I'd originally recorded "Mona Lisa's," I was actually going for a lo-fi sound in rebellion against the extreme slickorama of typical '80's production, so I did indeed feel a slight twinge of something on hearing the remastering; not guilt, perhaps, and not apprehension -- but certainly something. But then I remembered how the original's original sounded.............

As we were making the record, at each stage of the recording process, I would take home cassettes and play them in the car, on a little boom box, or on the serious stereo gear that I have in my London flat. Those cassettes always sounded great to me -- bright, but not 80's bright, clean, but not squeaky, big, but not artificially humongously so. I was pleased, no doubt about it. The cassettes sounded exactly like the 24 track did in the studio. Then the day came to master it, and when the mastering engineer at Abbey road put the 1/4 inch master tape up and I heard it outside the recording studio for the first time, I almost shit a brick. It was dull, like a blanket had been thrown over the mix. It was devoid of sparkle, bereft of sonic vibrancy. I couldn't believe what I was hearing. With pounding palms and a clammy bloodstream I pulled the cassette of the final mix out of my pocket and asked the engineer to play it. Bam! There it was, humming like a beauty! Just like it had sounded all along both in the studio and on cassette. OK, I told our trusty mastering man, make it sound like that! And so, the poor fellow began to crank those fat, arcane Abbey Road (this board looked so out-of-date the Beatles probably sneezed on it) EQ knobs all around the houses until finally, he converted the actual sound that was on that 1/4 inch tape to the sound that had somehow been artificially glommed onto all those cassettes I'd been taking home for the entire sessions. Strange? Mysterious? Damn straight. Welcome to the wacky world of recording where the mysteries of the dinosaurs and the planets are a mere bag of shells in comparison (at least with respect to big-ass 24 track analog tape as opposed to digital tape where about the strangest anomaly you might run into is the occasional drop-out which can be magically stitched together with a few tweaks of the computer).
And so, my sonically quizzical friend, remembering the nightmare of those few early Abbey Road minutes, I was not going to argue with the more in-your-face remastering job, but just be thankful that even more life had been squeezed out of the old bastard; besides, I'm not gonna listen to it again in either form, thanks. It's yours now -- I just created the thing.
So, it seems the shock wore off and you actually seem to be digging it now. Whew. I'll never be quite sure of the pros and cons of this remastering business, but progress marches on and I'm not a stickler, especially regarding stuff that was made years ago.
Thanks for the insightful question.

Hi Graham! Greetings from Uruguay.

I'm enjoying Loose Monkeys now. It's an amazing collection. Thank you a lot for letting us listen to those jewels. I hope it sells a lot just to make all your effort worthwile. If not, please accept our infinite gratitude for this labour of love. A question about Loose Monkeys: I thought that Three martini lunch was going to appear on it. Have you ever recorded this one in the studio? It's one of my favorites from Live alone in America and I would like to hear as many versions of it as possible!!! Another one from LM: You used to include the lyrics in your records since Mona Lisa. How come there's not lyrics in the liner notes of Loose Monkeys? Maybe you can reconsider this and put them in the Website. Another topic. You wrote somewhere that you like amphibians and reptiles. I also love them, especially amphibians. How old is this interest you have? Do you watch them in the field? Do you read herpetology books? Have you got herps as pets? Another couple: Do you like Warren Zevon's songs? Have you ever read something from Vladimir Nabokov?

Thanks.
Hasta la próxima
Francisco

Nice work on your question, Francisco.
"3 Martini Lunch" was recorded on the "Live Alone" sessions only. Never got to do it in the studio, so there's no other version unless a tape of me playing it at the Borderline club in London exists where I performed it with a peddle steel player. This would have been at the end of the '80's, beginning of the '90's. I've never heard of a tape from this show so I'd presume none were made.
Sorry about the lack of lyrics on "Loose." 20 songs just seemed too much to bother with and I was trying to save materials on packaging. The cover actually cost more money than your usual jewel box affair because I went for the digipak format. (Those jewel boxes are quite atrocious but they cost less because the industry insists that we use them. Bah.) I suppose I could type the lyrics out and post them on the site but......I'm a busy man; got to move on.

Herps:
I spend much of my time at my residence in the Catskill mountains in upstate New York and am lucky enough to be able to observe snakes and amphibians in the field on a regular basis. Fairly common inhabitants on my land are: garter snakes, green snakes, water snakes, milk snakes, red bellied snakes, and ring neck snakes. There are many species of frogs and salamanders, plenty of toads, and also newts, either in the water or on the forest floor in the eft stage. There are timber rattlers and copperheads in the area but I haven't found any around here yet. I'm waiting on a nice seven foot black rat snake, but so far the only specimen of this species that I have seen was about three feet long and looking lost and scared by the swing doors of the local mall!
I don't keep any as pets. The last time I did that the snake in question (a gorgeous big green) laid eggs and I filmed them hatching! Wild stuff. This was happening as Andrew, Pete and I were rehearsing the "Struck By Lightning" material. Quite a diversion, I must say.
To get to the other part of your question, I've been into herps for as long as I can remember and as a kid growing up in the country in England I was always after them. Not many species there, of course, but all are fascinating. I occasionally go into phases where I devour books on this subject. You must have some wild stuff in Uruguay. Tell me about it.
Lately, though, I'm more into birds; there's a lot of action up here and I've had good luck with bluebird boxes -- always satisfying to see a successful brooding that you've had a hand in creating.

As for Warren, I've heard his radio hits which are a lot of fun. Nabokov? Can't recall anything.

Hey Graham,

Just wanted to drop a note and say hello. I've been a fan for a long time and you once gave me an autograph after taping "Soundstage" for PBS in Chicago lo those many years ago. Anyway, just a couple of random thoughts.

If I'm not mistaken, there was a Rolling Stone from around 1989-90 that had a bit where they asked some artists their 10 favorite albums from that year and I seem to remember you were one of the questioned and you mentioned Camper Van Beethoven's "Key Lime Pie" and Pixies' "Doolittle". Was that you? Am I remembering this right? Because all I remember is that I hadn't heard either but I thought if gp likes 'em they gotta be okay and I bought both. And subsequently they became two of my favorite bands, so if it was you, thanks.

Also very cool to see you praise David Foster Wallace's "Infinite Jest". Probably my favorite book of all time. Perhaps you could write a song about Joelle. Somehow "The Prettiest Girl Of All Time" just seems to have that Parkeresque ring about it.

Lastly, wondering if you've ever heard Sparklehorse's "Good Morning Spider"? Simply phenomenal IMHO...

toodles,

john r
chicago

Judging by the time period, the choices of bands sounds about right.
Haven't heard Sparklehorse, but with a name like that, they must be good.

Hi Graham,

Since everyone else is telling you how long they've been "around", I'd better do the same. 1979. So now you know. In fact, we've been in contact before. In 1981 (before Internet), I sent you a letter through Stiff Records, which you had the courtesy to answer. Your letter is now hanging on my wall, framed. We also met after your concert in Stockholm in 1982. I've seen at least one of your concerts on every tour you've done in Sweden since then, and I'm just wondering if you're planning to come here soon, but I guess I already know the answer, you're not planning to do anything, right? By the way, Loose Monkeys is great, especially the 90s material. This makes me wanna hear some new stuff. Don't make us wait.

Not much questions in there, but I´ll be coming back.

Best regards,

Dan Hammarstedt, Stockholm

Actually, I've been "around" since 1976.

(NOTE FROM THE CHAIRMAN: If those of you who are regulars (meaning multi-repeat questioners [offenders?]) in the Q&A can give it a break for awhile so that more newcomers may have a chance, it might be a good thing. We don't want this to get like a pen-pals section now, do we (not a question). No big deal.......just a thought. (If you wish to ignore this statement cos you've got nothing better to do with yourself carry on regardless.)
Also, I'd like to apologize to Donna Englund who dropped a comment in Q&A part 11 and was awarded a rather terse, abrupt response. Obviously, Donna, you worked for organizations that at one point handled my career, but I don't remember your name and I was probably tired and the old blood sugar was sliding when I wrote my response so.........hope you're doing well, etc. (Sounds like another terse and abrupt response to me.)
Cheers everyone.