GP Answers Your Questions
Part 8
posted March 19, 1999
NOTE FROM THE CHAIRMAN:
It's gonna be tough for me to get to the Q&A for a while. I'll be immersed
in sifting through the details of the upcoming solo gigs, plus a lot of
other stuff, so either hold your horses on the queries for a while, or have
patience.
In case you don't know, I have a new record out for sale exclusively on
the Internet, available from www.razorandtie.com. HULLO!! EXCUSE ME!!! AM
I TALKING LOUD ENOUGH!!! CAN YOU HEAR ME?!! HULLO!!! Just checking. We ain't
exactly breaking any records yet, so I just thought I'd remind you.
Later.........GP
From Paul Bronstein:
Graham,
I think it's great that you will be releasing "Spare Tracks...". I'm anxiously
awaiting it having been a fan of yours since the beginning. My concern is
that I will have to order this cd on the net with a credit card. I just
don't want to put a credit card out on the net ever again, having been badly
burned another time I did so; with said credit card now cancelled, due to
the multiple uncredited charges that appeared over numerous months from
unvisited sites, companies and products !! Since I totally understand your
rationale for not going the "mass" distribution route with this release,
I ask you to please make it possible, someway, to order this disc by mail
with a check payment. I don't trust the security of any purchase on the
net anymore, but don't want to be denied your latest. Thanks for your consideration.
A loyal supporter, Paul
TO PAUL BRONSTEIN:
See the latest "Chairman Parker" for details on obtaining "Monkeys."
From Bruce Dawson:
Graham:
Just found this site, thanks ICE! And can't wait to order the new album.
Mostly I wanted to say that I was one of the 30 people who saw you on your
last visit to Boulder, Colorado. A tremendous show with the Figgs, but I
felt horrible that more people didn't show up for the concert. Although
it did feel like it was a private show! And I hope it doesn't spoil you
on coming back to Colorado!
Been a fan for years and what ever you put out I'll buy it!
TO BRUCE DAWSON:
Yes, that night was a rather creepy look into the abyss. It hasn't spoiled
me on playing in Colorado, but I think it may have spoiled the areas' promoters,
if they've any sense. Still, that night did inspire the title and liner
note for GP & The Figgs' live album, "The Last Rock 'n Roll Tour."
Hope you got your copy, and thanks for being there.
From Dave Ryan:
Mr. Chairman:
(Insert standard butt-kissing praise of your work here....)
I'm glad to hear that a new disc is on the way, even if it is of the odds
& sods variety. Keep 'em coming!!!
A question and two observations for you:
Question: Did Joe Jackson ask permission to crib two lines from "No Holding
Back" to use in his song "Human Touch" (from "Blaze of Glory")? Or was it
blatant theft?
Observation #1: No, _I_ was the one that bought the gold disc "Live in NY"
CD!!! Expensive, but it does sound good....
Obs. #2: Live Alone / America has been one of my favorite albums since it
came out. (Something about the courage it takes for a songwriter to lay
his songs out for all to see with no band, no laser light show, no overdubs,
etc.) Then I read in one of your other answers that you considered Live
Alone / Japan to be a superior album. "No way," I says to myself, "Can't
be. GP makes a rare error in judgement, perhaps?" Well, last week I finally
bought LA/Japan.
By gum, you're right.
Keep up the good work and come back to southern CA sometime soon. I've convinced
three or four people to come see you the next time around.... (Up from one
last time!)
- Dave
TO DAVE RYAN:
Wait a minute, just how many songwriters have written songs with the title
"Human Touch"? I think in protest, I'll write a song entitled "Human Smack
In The Ear." That'll larn 'em!
Whatever....Joe's welcome.
Glad you agree with me on "Live/Japan." Told yer.
From Doug Broccone:
Hello Graham;
I know it's a while ago, but I really liked your album Struck By Lightning.
It's still stuck in my head and I thought I should learn to play it to get
it out...So to speak. I wanted to get sheet music or transcription for guitar,
but, unbelievably, the last time I checked, no one prints it. Will you be
releasing any books in the future?
In any case, thanks for the great music/poetry. There's an indescribable
sense of wonder every time I listen to "They Murdered the Clown" or "Brand
New Book", I can't believe there are some people unfamiliar with your work.
Every friend I play SBL to is converted...blip "instant fan".
I guess wanted to give you some well deserved praise as well. Sorry if it's
a little late.
Doug B.
TO DOUG BROCCONE:
Sorry, sheet music is a mystery to me. Doesn't Robert Whyte's site have a lot of chords on it?
And thanks for turning people on to "Struck." It's definitely one I'm proud
of.
From John Cunningham:
graham,
saw yer note on yer writing projects. bottom line: i'm a long time fan who
is now the Associate Publisher of St. Martin's Press in NYC. send me the
book---if you're gonna get published, it's because you have an advocate
inside. trust me, no one in publishing is gonna get it at all. and we do
move like slugs. and i wanna make this happen.
john cunningham
TO JOHN CUNNINGHAM:
My agent will get in touch with your answering machine; we'll do lunch;
let's page each other; you'll get in touch with my agent's answering machine;
she'll access her messages from the road; I'll call the coast.....any coast; you can draw up an agreement; my lawyer will disagree with it, specifically
clause 1-23a; we'll sell the film rights, like, now, while the project's
still hot; my agent will be abducted by mutant tangelos whilst on the road
and have entirely no memory of your messages that she so recently accessed
from her answering machine; I'll make notes on our progress on a Dictaphone
(Question: "Do you use your Dictaphone?" Answer: "Nah, I just use me fingers
like everybody else.") I'll sue you; you'll sue me; our lawyers will attempt
to sue each other, but in a bizarre mailing room accident, end up suing
themselves; the whole, sordid episode will end in tears, but you'll get
rich from the profits from Monica's book which your house conveniently happen
to be publishing; I'll die a pauper, unpublished, forgotten, and mentally
ill.
Now you just watch how this sucker plays out -- I bet I'm not too far off
on this one.......
From Patrick Herlihy:
Hi Graham, I recently read an article about a concert you did back in 1992 in Washington,
DC. Opening for you on that night was Lucinda Williams. I was wondering
what your opinion is of her work and what you think of "Car Wheels on a
Gravel Road" if you have listened to it. Thanks
TO PATRICK HERLIHY:
Lucinda Williams is the greatest living songwriter, male or female, period.
"Car Wheels On A Gravel Road" is the best recorded work since Dylan's "Blood
On The Tracks."
From Lash LaRue:
Dear Mr. Parker,
You need to do VH1's "Storytellers". Don't give me that crap about "requires
a trip to the barn" and "the Man won't let me". You know you would love
it and besides it's needed for the video archives. I am going to VH1's web
site now to request just such a performance and I demand all netizens gazing
at this to do the same! On a lighter note, I was wondering if you've ever
considered writing about your show biz experiences. I know you have been
writing fiction, but as your responses on this site show you can definitely
swing both ways. I have all your commercial releases and a couple of boots.
In this world of sham & sell outs you are the genuine article. (Sorry if
I was too demanding in the first paragraph, I was shooting for that "tough
love" feel.)
Your #3 fan, Lash LaRue
P.S. (You would love it, wouldn't you?)
TO LASH LaRUE:
You're telling me I need to do "Story Tellers"?
It is indeed criminal that I have not been invited to appear on this show.
As I said in an interview recently, if anyone should be on it, it ought
to be Yours Truly. The factors involved with this heinous omission, though,
are probably obvious to regular readers of this site and my descriptions of reality : "Soundscan Decisions" would most likely be part of it -- there is probably
a sales ceiling you have to be above to get these kinds of gigs. The fact
that I am on Razor & Tie and not, for instance, Warner Bros. could well
come into play (clout {even $?}, in other words). And let's not forget that
good old bad egg, "Demographics." VH1's audience are conditioned to a history
of rock that I am omitted from. VH1 has, by and large, ignored my work since
its inception, therefore, if it were advertised (key word) that someone
named Graham Parker were appearing in a major feature like "Unplugged" (yes,
I know I did it years ago with The Smithereens, but it was a low-key, whole
different animal then) or "Story Tellers", the VH1 viewership would mutter
a collective, exasperated "Graham Who?" and VH1 might lose valuable advertising
receptacle-dummy's for a whole hour. Remember, people's jobs are at stake
here, much more important than getting your rock n' roll history straight
and turning people on to great music.
Good point, Lash. And thanks for bringing it up.
Hit V1I's website again (why don't you all give it a shot) and address your
suggestion (hey, let's call it a complaint -- it's surely legitimate) to
a certain Bill Flannigan. He's the honcho who does the "Story Tellers" segment
and he knows full well who the heck I am and what my achievements are.
I like your style, Lash. Go for it. (I actually had dinner with Mr. Flannigan
about 6 months ago, with 8 other people, but it was not the time or place
{nor my role, I feel} to confront him and he seems like such an intelligent,
witty man that I could not bear the thought of hearing a lot of Program
Director nonsense coming out of his mouth when he explained to me why I
have not been invited to do this show. I've heard it before from radio programmers -- often perfectly reasonable people who suddenly spout the most excruciating
bollocks when confronted with these sort of questions.)
Hey, push the point at them hard, at least they should feel someone's indignation.
As for writing about my biz experiences, you're getting them here, folks.
This information should be disseminated freely. Why should someone put it
in a book and make money from it? On second thoughts..........
From Bob Pinder:
Greetings from North Bay, Ontario, Canada. You may be surprised to know
that you have many fans in Canada, but we don't often see you here. I last
heard you were living in New York state. If that's true, you're not very
far away from Toronto. Think about coming up for a gig sometime.
P.S. I think Howling Wind was the absolute best album of the last quarter
century.
TO BOB PINDER:
Please read my response Michael Moreau's question in part 7 of the Q&A section regarding Canada. And watch the tour schedule page for
news of Edmonton in August.
From Josh Laurie:
Graham, I know you've heard it a thousand times, but you're one of the most
underappreciated songwriters of all time. I started listening to you because
I'm a huge Smithereens fan and I loved your rendition of "Behind the Wall
of Sleep." I don't know why you guys don't collaborate?! Anyways, I'm almost
22 and I've been writing songs for the last few years, although I'm having
some difficulty with lyrics. I love your approach on lyrics, could you tell
me how you begin to write them. Do you compose the music first and then
write the lyrics? I guess my main concern is the difficulty avoiding cliches,
how do you do it? I have a great sense of melody in my writing, but my lyrics
all seem to be "plain" for lack of a better word. What kind of writng excercises,
or schemes, do you use in order to let you creative juices flow. Anyways,
I think you know the kinds of questions I'm asking. I would like you to
be technical in answering, don't be too general. If you could, use examples
of stuff you've written to help demostrate a point. Maybe I can send you
a demo of a song I've recorded and you give me some suggestions? Thanks
a lot! By the way, pick up some stuff by a guy named Peter Himmelman. I
really think you'd like him. Thanks again!
Josh Laurie
TO JOSH LAURIE:
Hard to pin down what exactly it is that makes a writer transcend the ordinary,
but I think brain chemistry has more to do with it than personality, hence,
the whole idolization, lionization, enigmatization, etc., of pop people
and creative people in general is woefully overdone. You've either got it
or you don't, in other words.
But whether you've got it or not (and at 22 you might not have it, but you
might have in 1 months time, 2 years time, or 6 years time, or never; I
could barely write my own name at that age, so don't worry if you are swamped
in cliché right now, the important thing is that you recognize what you're
doing isn't good enough -- most people never do) you generally have to do
more work than you think to culture it.
Most of what I write is, at first, ordinary -- often embarrassingly so -- but
if there's a shred of an idea there, with perseverance it'll usually grow
into something, if not brilliant, at least credible. And often it starts
out as crap and remains so.
There's nothing technical I can pass on that will be of any use. I just
fiddle around with a guitar. Melody, as you observe, is far easier than
great lyrics.
When I'm finally hitting a vein of lyrical creativity that gives me the
chills, I am basically in a state that is beyond my normal senses -- a state
of transcendence, in other words (steady boy, steady) -- and stuff starts
to pop out onto the page that is obviously way beyond my normal condition
of regular jerkdom. Sometimes, I feel like a cheat taking credit for it.
I think it's more to do with electrical activity in the brain (OK, there
is a knack to harnessing it -- it's called Hard Work), activity that somehow
taps us into a greater consciousness, (someone shut him up, now!) stuff
that we know exactly zilch about. And even when it's good, or great, it's
not like you get much satisfaction from it, cos you know you've got to do
it again and again, cos it's your duty, and getting back there is hard . And most of the time you only get halfway there anyway, and you have
to settle for that. It's a pain in the ass a lot of the time, but extremely
uplifting when you make a breakthrough, one of the many things that make
life worth living, actually. As previously stated, if you are aware that
you are writing clichés, you are already way ahead of the field. Most people
have no idea.
Someone asked me my opinion on P. Himmelman in a previous Q&A, but I wormed
my way out of answering. I think I'll do so again.
From Jim Shields:
I am an Editor of a small rock publication called Da Boot. I was wondering
if I could do a brief interview with you. It wouldn't have to take up much
time. If you want, it could be an e-mail interview of 5 or 6 questions.
I think our readers would enjoy hearing from you, and with Loose Monkeys
coming up, it would be a great time to do it. Thanks for your time. Whatever
you decide, your music has always meant a lot to me and I continue to be
a big fan.
Thanks. Jim Shields
TO JIM SHIELDS:
Thanks for the interest. Anything I do at the moment, regarding interviews
etc., has to go through Razor & Tie's (my distributors) press people.
From Paul Dickson:
GP - best gig I ever saw (no exceptions..) was Squeezing out sparks at the
Gants Hill Odeon Ilford!
..where can one get that brilliant video for Temporary Beauty? why didn't
Rhino put Love Without Greed on the passion 2-Cd set? ..these are 2 my favourite
singles of yours... what are your favourite?
TO PAUL DICKSON:
Damned if I know.
"Love Without Greed"? Hmm... bit of an omission on their part. But they
only had 2 CD's to work with, so someone's got to suffer.
I gotta say, "Life Gets Better" isn't exactly the greatest thing I've ever
written, but I think it was a pretty tidy pop single. "Wake Up Next To You"
worked for me, to. And let's not forget my first, "Silly Thing." That one
sat on the grooves like a big fat funky hog.
From Alex G.:
What kind of shades do you wear?
TO ALEX G.:
Now that's the kind of question I'm looking for.
I used to pick up cheap, retina-damaging jobs from gas stations, flea markets
and Woolworth-type stores -- basically aviator shaped things, I suppose.
I've been wearing expensive Ray Ban leathers, of late, but I'm not sure
you can get them anymore, at least not easily. I lost a pair in a loaner
car a year ago (lovely red leather and rose-tinted frames, damn it) and
the pair I've been wearing to death in recent years (ultra-thin black leather
covered frames, gold-plated hardware) have just fallen apart on me. So I
guess I've got to give this subject some serious thought. Two pairs of fab,
moody Italian numbers are in my possession and I often wear them for photo
sessions, but they're too dark for me to wear all the time these days. (My
eyesight was brilliant until a few years ago, damn it again.)
I just pulled a pair of early-eighties blue and gold plastic jobs out of
the drawer and wore them at my recent Bottom Line show. I thought I'd never
don those buggers again, but suddenly they look dead trendy. The disco thing,
I guess.
From Erik Brown:
So, how did you think the Jazz Cafe (11.2.99) went down? From the balcony
it was great, and nice to see you and Martin back together again.
TO ERIC BROWN:
I was pleased with the turnout, seeing as the show was a bit last minute.
Playing with Martin was a blast. A good night, I'd say.
From Daryl Neyens:
I have a friend who says you have a recording of 96 Tears!!!! Is this true?
If so, where (What album, etc.) can I find it?
TO DARYL NEYENS:
Your friend is deeply confused.
From Roger Huxley:
Caught you at the Jazz Cafe, Feb 11. Wonderful. I've waited 20+ years. Last
opportunity was in '78? but got too drunk to drive to Cardiff. I thought
your voice better live (in the flesh) than recorded live stuff; despite
jet lag and flu. Your guitar work is a great accompanying tool, just right
for what you do. I've down-loaded a whole bucket of your songs in tab format.
It's an accolade to your song writing that most of your stuff is available.
Not sure of your views about this free for all on the www. But it's there
for our "study" and private use. We sit around listening so now we can sit
around and strum. I have questionned some of the transpositions. The beating
of another heart has been my favourite for many a long year and now I can
play it with a greater degree of confidence and competence. I bought Acid
Bubblegum in LA in november 1996 actually your birthday, I'm full of useless
shit like that. But I can't remember my bank pin number. Too much overloud
"Not if it Pleases me" or Ian Dury for my decaying ear drums and decimated
brain cells to cope with.
TO ROGER HUXLEY:
Thanks for spending the time working on my stuff. If you can play "The
Beating," that's one of my songs that you know better than I do.
Yes, pin numbers are a strain.
From Barbara Nusbaum:
Hi, Graham,
Feeling like a silly sycophant writing to you but have enjoyed your music
for the last twenty-something years. Will confess to leaving same GP cd
in player for days at time and listening to it and only it. Repetitive bugger,
aren't I?
Have truly been enjoying reading your comments and find your pencil to be
quite sharp. Your insights into the record business have taught me a great
deal and I am grateful for your candor and honesty about the innerworkings
of the industry.
Was pleased (but not surprised) to find that you are an avid reader. Somehow,
though, I thought you would be more of a non-fiction buff. Though I don't
know you one whit, I would heartily recommend Joe Queenan's Red Lobster
White Trash and the Blue Lagoon: Joe Queenan's America. Think you would
get a pretty good belly laugh. Also might suggest that if you have not read
A Shot in the Heart by Mikal Gilmore that it is worth a read.
Wish I could wordsmith like you!
Thanks for all.
Barbara
PS-When I heard you sing "Stop in the Name of Love" acoustically I thought
I would fall over it was so overwhelmingly superb.
PPS-Can you be bought to come and sing at a person's house.......just wondering..hehehehe
TO BARBARA NUSBAUM:
Thanks for the book recommendations -- never read Queenan (should call
himself Queen Anne). Spent about 3 days with M. Gilmore once, when I was
new enough to be taken seriously by higher levels of the music press.
I've just read "The Endurance" by Caroline something, about Shackleton's
legendary Antarctica expedition (great photos, too), and I recently plowed
through all of William Gibson's work, most of which I've read before.
Right, I did play "Stop" a few times. I'd forgotten that.
No, I will not play at your house.
From Todd:
Graham, it's right neighborly of you to correspond with us rabble.
First, is there any old song (I know you don't listen to much new stuff)
you have as a guilty pleasure but would NEVER sing in public?
Second, is there a song your wife loves that you just can't stand (yours
or someone else's)?
And last (seriously), you're doing a lot of NY shows and not returning to
Phila and the Tin Angel. I take that mean that for some reason you weren't
too enamoured with the place (all shows sold out, I know). Do you have any
constructive feedback I could relay, like bad sound, bum dressing room,
lousy meal, etc.? They were great shows (thought you had fun) but since
you didn't come back, I thought you might have something to say about the
place.
Thanks!!
TO TODD:
1) Well, I quite like Sting's "Fields of Gold." "Don't It Make My Brown
Eye's Blue" is just exquisite (can't remember the gal's name who sung it).
"Teddy Bears Picnic"? That's a good one. AC/DC's "Highway To Hell" is a
bit of a corker.
I would not sing any of these in public, but they do slip out in the car
now and again.
2) My mind is a blank on this one right now.
3) Any joint I fill up I am enamored with. I was surprised that Philly
promoters did not want to book me and the Figgs, but as far as I recall
-- and I recall asking my agent about this -- they just weren't interested
(I would not stand on the teeny stage of the Tin Angel with a band, by the
way, so I don't suppose my agent tried there).
But fear not, I think discussions are underway regarding that area right
now. Watch the tour section on this site in April for news of May/June engagements.
Hopefully, we'll have some luck.
From Mark Gunter:
Just wanted to find out about a book I saw or heard about one time, something
like Graham Parker's guide to London. I'm on my way there soon and would
be interested in gettting a copy. Thanks for a response.
Mark
TO MARK GUNTER:
You're pulling my pisser, right? If not, the activity in some people's
imaginations is way beyond my ken.
From Pete Law:
Graham,
I would like to send you a CD for your review. I would also like the opportunity
to warm up for you if you ever come through Denver.
Thanks Much,
Pete
TO PETE LAW:
You'll have to look back and plough through a Q&A or two to find out just
how eager I am to listen to CD's to get your response.
From Philip Gordon:
An old friend and I saw you with the Figgs a few years back at the Bottom
Line. Our jaws were soon dropping as it was like having the spirit of the
Rumour with us all the way from 1978 (or so...) Are there any further plans
to tour with them? Your best band in YEARS!
PS - Great solo gig 2/28. FAB!
TO PHILIP GORDON:
Glad you dug me and the Figgs.
My only plans are to tour solo in support of "Loose Monkeys" in May/June
and even beyond, States only.
From Jessica:
I saw you a million years ago in san diego CA and Rachael Sweet opened for
you. It was a great show. Any plans to work with Rachael again?
TO JESSICA:
Whoa! I'd forgotten that one!
(Please see above for "plans.")
From Kenny:
Dear Mr.Parker:
I am a big fan of yours since about 1978/79 when I first discovered New
Wave Music. My question to you is this. Where can I find copies of your
music video collection from the 70's,80's and to the present?
I would love to find somebody who has them off the internet and have them
make a copy for me, because I have very few, and have seen very few. And
I love your music anyway,and having a collection of your music videos to
add to my collection would just make me very happy. As it is they are very
hard to come by. I do have the following videos in my collection such as,
Wake Up (Next To You) & Temporary Beauty, but that's about it. I saw on
MTV back in the 80's videos for Local Girls, & Life Gets Better, but never
got a chance to record them onto video.
I remember the video for "Life Gets Better" too even though it was only
that one time I caught that video.You were out in a field riding around
on a motorcycle while singing to the song correct? Could you please email
me back with an answer to my questions,when you get a chance only because
I don't look in here to often,and I may not see your reply back to me? I
would really appreciate this very much, and thank you.
Sincerely, Kenny. Bye For Now, & good luck on future releases. I have every
one of your recording either on record, cassette, or Cd from day one to
the present.
I just thought I'd let you know that. Bye Now.
TO KENNY:
Sorry, but I can't help you much, other than to say there are Parker People
who have this stuff and it does change hands. Isn't there a swap room or
a chat room or a toilet or some damn kind of room where people who have
this material communicate and exchange/sell it?
I was riding an antique jeep in the "Life" video. Good luck.
From Tom:
Do you ever forsee touring with a band and horns again?
From Tom again:
1. What made you decide to cover "I'm Into Something Good?"
2. Your version of "My Girl" is second only to the Tempts.
3. Did you enjoy playing and touring with Dion? Were you a fan?
Thanks for the music.
TO TOM:
I foresee everything, and I foresee nothing, to paraphrase The Pink Panther.
(I presume you are "tom again," so I'll continue.)
1) Always liked the tune, and the piano riff is the essence of great pop.
Actually tried it with the Rumour but we were too intense to do it justice.
I have a dreamlike memory of playing it with them once on stage, perhaps
even at the Hammersmith Odeon. Could this be real? Anyone know?
2) No, the Temps version is second to Otis's version and mine comes a distant
3rd.
3) Not much of a fan, but I did enjoy touring with him, and he was great
every night. A good man.
From Dave Depraved:
Hey, Graham, just writing to tell you that you're THE MAN. I've been listening
to you forever, have about six or seven of your albums (and that's just
on cd). At 39 I like your music more than ever, "Howlin' Wind" is the best
and "Acid Bubblegum" really hits home here in the US. All I want to know
is, how have you gone on with the music while the industry takes the toll
on your heart and head? I don't know how, but I'm glad you have.
TO DAVE DEPRAVED:
The industry hasn't really taken that much of a toll of anything, in reality.
I mean, it could be worse.
Imagine working in some job where you were exposed to horrific toxins and
your employers knew the risks but continued to keep you in this highly dangerous
situation and you got sick and were not compensated properly and your children
die young of cancers and you have to spend the rest of your poor life trying
to deal with the repercussions those negligent devils have basically thrust
upon you and now you can't get a hard-on either because of the effects of
this vile stuff and food tastes like cardboard and your sense of smell is
shot and pus is oozing through skin lesions like some hideous dermetological
volcano and your hair is formaldehyde-yellow and your urine is reddish in
colour and your fucking eyeballs feel like they're going to explode and
then one of them does actually explode and hits the fucking wall with a
kind of ungodly noise that sort of sounds like "pulff!" only with more "L's"
and "K's" involved and maybe even a demented "T" and the rich smug bastards
who run this industry downsize the fucker one day or go public or sell for
huge profits and lay off all the rest of their sick rotting employees and
the fat fucks give themselves massive pay settlements and golden parachutes
and they now spend half the year prancing around the South Pacific with
chicks whose breasts look like fucking balloons and and and..................now
that might be a bit taxing.
From Ralph S.Molinario:
Graham, Do you ever do solo performances? I'm on the adult entertainment
commitee for the Chandler Music Hall in Randolph, Vt. We have had many accoustic
solo artists like Leo Kottke, Bruce Cockburn, Arlo Guthrie, Richie Havens,
Vassar Clements and many more. We are a small venue (about 600 seats) with
great accoustics. I've been a fan for many years and would be thrilled to
have you perform here. Please have your booking agent send me some information
on fees and availibity. I know your busy keeping up with your e-mails so
I'll be patient for a response. We are scheduling for the late "99" "2000"
seasons.
Thanks for your time Ralph S. Molinario
TO RALPH S. MOLINARIO:
You furnished no contact details. Sounds intriguing though.
From Kurt Dusterberg:
Graham, I enjoyed the album "The Real Macaw" in the early 80's, but critics
were mostly unkind. What is your impression of the album today? Thanks.
Kurt Dusterberg
TO KURT DUSTERBERG:
Actually, critics in the States were, by and large, not completely hostile
toward "Macaw." The British were, but after "Another Grey Area," there was
no way they were going to let me back in anyway.
I think it's an interesting, experimental album, and as Mike Gent of the
Figgs opined recently, there's nothing around that sounds quite like it
by anyone. Personally, I think the rough mixes of the record were much better,
but David Kershenbaum's production technique is to basically drain everything
of "unwanted" frequencies and organic texture, resulting in a glassy, lifeless
mix. Not my cup of tea, these days, but you've got to go through it to get
to it, as I may have said before.
From John Pierce:
I swear I won't bother you again, but I just read the 6 installments of
"Ask Graham Parker" and I haven't laughed so hard since I first saw Trent
Lott's hair for the first time-thanks!
TO JOHN PIERCE:
Tis my job to keep you amused, John.
From Rich Bailen:
Graham, Did you enjoy the movie Something About Mary? Also, did you enjoy
Jonathan Richman as the singing muse? I enjoyed both of the above. And this
leads me to ask: When will we see or hear GP on the Big Screen?
TO RICH BAILEN:
Haven't seen "Mary."
Please see my answer to Marty Woods in part 4 of "GP answers your Q's" for the horrific truth regarding movie soundtracks.
(How Richmond slipped through the sieve is almost a mystery, but I expect
it is because he is quite silly, lightweight and entertaining {I'm not putting
him down, folks, I think he's very good in his field} and not a threat in
respect to frightening people who are unfamiliar with him. Or maybe the
movies' producer for once had the guts to say "He's on," regardless of "Soundscan
Decisions," and told the record company project manager who tried to push
some younger or bigger act onto him to fuck the hell off.)
PS: Thanks to all the people who just made comments.
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