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burning questions
GP Answers Your Questions
Part 9
posted June 17, 1999
From Larry Israelson:
Dear GP,
Thank you for so many years of thought-provoking music and lyrics. I own
20 of your releases on vinyl or CD and often profess their combined brilliance
to family, friends and sometimes complete strangers. (I hope I'm not coming
off as a fatuous brown-noser!) I have sent sampler cassettes of your stuff
to numerous radio program directors, I've convinced wedding reception DJ's
to play "Oasis" when it's time to mix in a slow one, and I'm probably personally
responsible for the majority of (sadly, limited) airplay that "The Kid With
The Butterfly Net" has received in the L.A. area. I've had the privilege
of seeing you live on stage 5 times, including a fate-smiled-on-me Figgs
gig 11/96 in Boulder on my only night in town!
Your willingness to weed through this and similar missives on a regular
basis just knocks me out! I really admire your candor and humor. Culling
through your comments on this website, however, has been a bit disquieting
for me, however. On numerous occasions you have dismissed the "Heat Treatment"
LP, while I consider it to be the most indispensable album I own, by any
artist. You've touted "Disney's America" as one of your best songs ever,
but I can name a half-dozen on 12HE alone that I like better. This is throwing
me for quite a loop. Have I been missing your point for all these years?
(Yes, finally, a question.)
One final thought. As impressed as I am by your talent, I am most pleased
by the recurrence of songs like "Anniversary," "Children And Dogs" and "Partner
For Life" in your work. I hope these songs are indicative of ongoing success
in your own family life, which is ultimately much more important and rewarding
than album sales and magazine covers.
Best wishes,
Larry I
TO LARRY ISRAELSON:
I could tell by the vast amount of performance royalties I've been receiving
that someone was working "Kid" to radio for me. Nice job, Larry.
Regarding taste in songs and albums, whatever you dig of mine is fine by
me. Most writers prefer their oddball stuff anyway, and if you like lots
of "Episodes" songs, we at least agree on something.
Thanks for the gushing compliments — I've got nothing against that.
From Wes Scott:
What have been your greatest musical influences? Obviously soul music but
what about Van Morrison & Bob Dylan? Or any other particular musicians,
songwriters?
TO WES SCOTT:
I immersed myself in Van during the early 70's, particularly those lesser,
but fascinating records like "Hardnose The Highway" and "Saint Dominic's
Preview." And "Astral Weeks" transcends the medium. I dug into Bowie in
the 70's too, but obviously Van's vocal style won out (sounding like a homosexual
schoolboy carrying a roll of carpet, I felt, would not be the right direction
for me.) I missed or avoided Dylan for years, finally catching up with him
for "Blood On The Tracks", still, I reckon, one of the greatest records
ever made. Going back into his work affected my lyrics, of course. Someone
once described me as "A funky Bob Dylan." No problem with that description.
The Stones were, and still are, (at least my memory of what the Stones
used to be) hugely influential. Plus, they appeared when I was 13, and along
with The Beatles and all the rest of the British upheaval, basically wrote
the book. Much Stones detritus still riddles my compositions.
All the phases I've been through (too many to get into here), some of which,
like 60's ska, have left a mark, and definitely American soul is a very
enduring presence. If you're really sharp, you should be able to hear Gladys
Knight's vocal inflections, especially in more recent stuff and live solo
work. The great Levi Stubbs, too. (Gladys is still probably the greatest
female singer on earth.)
From Dan Murray:
GP
Great to be able to ask you questions. You're my all-time favorite. Even
though you deserve more and may wish it were not the case, it's fantastic
to be able to see you in small clubs with a few hundred(?) other fans --
it's like someone else being able to see the Beatles or Stones in a small,
intimate setting. I really enjoy it and have seen every Pittsburgh (and
some Cleveland) appearance since the mid-80's. Well, enough blather; on
to the questions.
1) A few years ago, it seemed that every time an album came out you would
make an appearance on David Letterman. Now, that doesn't seem the case.
Is there a reason? Do you enjoy appearing on a TV show like that, or is
it more of a pain than anything? What's the experience like?
2) The Stones were just in Pittsburgh. Any thoughts or comments about the
band and how they've done things over these (many) years? Are you a fan?
3) Have you ever heard of Joe Grushecky (from Pittsburgh)? Any thoughts
on his music?
I was listening to Struck By Lightning and Human Soul last night on the
way home from work and had a few questions about creativity and ideas and
songwriting:
4) Do you remember how you came up with "They Murdered the Clowns?" Do you
sit down and think, 'I'll write a metaphorical song about the circus...Where
should I start' or does it just develop from snippets of ideas knocking
around in your head over time and sort of develop into the finished product
on its own? Any comments or thoughts on how that happens? It reminds me
of a movie like Blue Velvet or Pleasantville (with the dark underside of
life under a seemingly pleasant, happy exterior). It reminds me of when
I was a kid and the traveling gypsies would come to town for a local fair.
They would be mixed with the local (normal?) folks running the fair in a
strange, almost surreal setting.
5) A comment: "The Kid With The Butterfly Net" is one of the most moving,
beautiful songs I have ever heard. My kids are all little (7 or younger)
and that song is a gorgeous representation of a child's life. It really
touches me every time I hear it. Any thoughts about the song? Thank you.
6) The "surreal" side of Human Soul: Did you initially set out to write
a suite of songs like you did, or did the concept develop over the course
of the writing? I think of it as your Abbey Road. Are you a Beatles fan?
7) This web site is great for your fans. Do you enjoy the experience, or
is it something of a chore? I hope you keep it up. Hope you and your family
are well. See you next time you're in Pittsburgh.
TO DAN MURRAY:
I have answered the first part of this question in some detail in a previous
Q & A. It's fascinating stuff, and I hope you can be bothered to plow through
them to find it. As for the experience of doing TV, I find it very stressful.
Nerve-wracking to the point of ruining my performance almost every time.
The only time when I've been any good and represented myself in a way I
did not consider ruinous to my career was in my last Letterman performance.
I was doing "Passion Is No Ordinary Word", promoting the Rhino boxed set,
and for some strange reason I just nailed that monkey. I've sucked on all the other Letterman (5 more, I think) appearances,
and my showing on Leno I consider a disaster. For one thing, I'd lost all
the good parts of my voice, and there I was, on a veritable icon of American
TV, sounding like a complete nothing. And attempting "Long Stem Rose" to
boot. Ouch.
I don't think I'll ever turn down any TV offer, just in case a fluke occurs
and a blinder like the "Passion" performance somehow struggles out of the
prison of my utter uselessness. You just can't turn this stuff down, even
though, in my case, I think it would probably increase my record sales if
I were not to appear, thus exposing to people who don't know my work that
they are right not to know it.
I can't quite fathom what it is that makes me fuck up so badly, but I theorize
that it has something to do with the fact that when I was growing up, the
people on TV were not seen by the viewing populace as real, ordinary people,
but rather as something entirely separate and totally superior, and that
vision must still survive in the primitive cortex of my brain, prodding
the child that most of us carry around inside us to say: "You shouldn't
be here. You can't do this!"
My parents, whenever they spoke of actually communicating with the Gods
of television would say: "You should write up to them — write up and tell em'!"
Notice the stress on the word "up." You were not writing to them, you were
writing up to them. They were up. They were above us. Therefore, anyone on TV is from
an elevated, idealized existence that I should have no part of.
Plus, being on a set is like being thrown into a speed-driven hyper-reality,
especially when they announce your name and lead you from behind the curtains
out into the lights and the deafening roar of the audience who you know
would just as soon be roaring for a dancing aardvark or a lip-synching poodle.
It's like waking up in Piccadilly Circus with no clothes on and realizing
that your teeth are made of wood.
Still, it pisses me off that I'm not on tonight.
Joe G. came and said Hi when I was in Pittsburgh the other day. A good-rockin'
fella, and like myself, down there in the trenches.
4) (Sorry, forgot to number my other responses.) I took my daughter to her
first circus and the next day, in the local paper, I read that two carneys
had got into an altercation that very night, as they were loading out I
believe, and one had stabbed the other to death. If you have an absurdly
sanguine imagination, it doesn't take much to transpose the carneys into
clowns and ringmasters, etc., and off goes the ball, rolling merrily down
the hill.
5) "Kid" is one of my favourites. Wish I could do it live, but it's a vocal
chord killer if sung on a regular basis. Can't remember how it came to be
— just got lucky, I guess.
6) The surreal side of "H. Soul" came about cos I had all these rather oddball
items that I really wanted out there but had no idea how to couch them,
so I cut most of them down severely (or just stopped writing them and left
them half-finished!) and formulated this fairly complex cut-and-splice plan
which I presented to Jon and Brins in the studio and just told 'em to get
on with it.
Obviously, "Abbey Road" springs to mind, but only in a technical aspect.
"Abbey Road" is astonishing and "H. Soul" is merely pretty good.
The Beatles, to get to the other part of this question, are not a group
I actually listened to a lot — too commercial for my taste. The Stones,
however, at various times of my life, I have played to death.
7) I wouldn't call this a chore, but it is taking a little time up, 'specially
when blokes like you have 7-part questions!
From Greg Turnbull:
Hi Graham, sorry if this sounds like the usual fan BS, but I just wanted
to let you know how much I enjoy your music. I've been a fan for a long
time, and was lucky enough to get you to sign a few LP covers for me outside
the City Hall Newcastle. I'm sorry to say that after the Real Macaw, etc.,
I didn't buy any LPs for a while, but after finding this great website,
and your acoustic CDS, I've been catching up quickly. My favourite now is
Struck by Lightning, a great album. I'm having trouble finding the Live
on the Test and Xmas Crackers CDs, but live in hope. I'm happy to support
your new on-line CD, which I'm just listening to now (sounds good so far).
I live in Zurich now, so was sad to hear I missed you at the Albani Club
last year, I guess these things aren't advertised too heavily. I hope one
day to be able to meet you again to say thanks in person. Keep up the good
work. Best wishes to you and your family, Greg.
TO GREG TURNBULL:
Not a question, but I just wanted to say thanks and glad you got into my
stuff again and that you discovered "Lightning."
From Bruce:
Just ordered the new CD from Razor and Tie. With shipping, $18.98!
I understand fully the realities of selling low volume, but the price is
a good reason why you'll probably not sell many. We hard-core fans will
go for it, just to have somethine "new", but casual fans who might go for
it at $12.99 plus a more reasonable $1.50 or so for US mail will probably
pass it by. These are tapes dusted off after years in a cardboard box after
all, not a grandiosely produced new album. Ok, so I'm cheap. I probably
shouldn't compalin, it'd cost me about $35 to get the new Squeeze album
to my door. (and they wonder why nobody remembers them?)
(and speaking of self-sabotaging artists, anybody wanna buy the new XTC
album, dirt cheap? Since when was loopy drivel considered "pop" ?)
TO BRUCE:
You have a point containing some validity, but not a huge amount. "Loose
Monkeys", in a way, was only intended for hardcore fans. Casual fans are
not usually buying my stuff in stores, let alone online, judging by my recent
sales. In fact sometimes, I wonder if I have any "casual" fans who would
actually do more than buy the occasional ticket for a gig, and only then
if it were extremely convenient for them to do so.
Also, it's a strange phenomenon of human nature, but selling an item as
personal as a record for a much cheaper price than the market place dictates
does not encourage sales. Rather (and there has been research on this),
people feel they're getting something less valuable when they pay less money.
Ah, capitalism is such a beautiful thing!
I've done free gigs (or low ticket price ones) that would have done better
if people had had to pay, I'm convinced. And look at it this way: 20 songs
for under a buck apiece? Hullo?! You can play those monkeys forever, tape
them for your dear old granny (a casual fan, no doubt), your pals.....whatever.
And (judging by the minuscule amount internet sales account for) if this
were in fact a regular album with a typical arm-and-a-leg budget sold on
the Net only, I'd have serious financial problems by about now.
Yes, know what you mean about XTC. I bought the one with "Peter Pumkinhead"
on it only to find the rest of the album thoroughly moribund. A great non-hit-single
making group, but slavishly overrated.
From Mark Burge:
Hi Graham-
Not to dwell on The Rumour or anything, but here are my questions: Are you
familiar with any of Steve Goulding's post-Rumour work with the Mekons
and all of their prodigious offshoots (Waco Bros, Jon Langford, Sally Timms,
Pine Valley Cosmonauts et al)? It seems to me that aside from yourself,
he's the only Rumour-alum who is still making a go of the music biz. Plus,
his career parallels yours in that his bands make worthwhile music but attract
very little commercial interest. Still, the bands tour relentlessly and
seem to keep doing it just because they enjoy it. I think their approach
of releasing 4 or 5 records a year and selling them to the same 2000 people
is pretty savvy. Anyway, kudos to both of you. And while we're on the subject
of ersatz- quasi- or alt- country, what's your opinion of the whole genre?
I guess it just sounds like rock and roll (NOT DEAD YET) to me. Last question:
Have you ever written a country song? (Back to Schooldays doesn't count).
I bet you could write a killer if you you were in the mood. If you decide
go for it, throw in some steel guitar or mandolin, but not both.
Respectfully, Mark Burge
TO MARK BURGE:
Jon Langford recently opened for me at the double door in Chicago. We were
sold to the rafters — most gratifying. Maybe his cred in the area had something
to do with it. He gave me a copy of his latest. I'll get around to listening
to it one of these years. Steve G. gave me some
tapes of the various artists he works with — all credible stuff, and I agree
with you that these people just get the heck on with it without any mainstream
recognition. Inspiring, really.
As for your query about country, I got into country via Neil Young ("Harvest"),
The Stones ("Dead Flowers" "Sweet Virginia" "Girl With Faraway Eyes", etc.),
and one hit single — "Stand By Your Man" by you know who.
I consider "I'm Gonna Use It Now" (my first b-side) strongly country flavoured,
"Children And Dogs" and "Guardian Angels" from "Struck By Lightning" also
have a few hayseeds afloat in them, and "Short Memories" from "Burning Questions"
is just sitting there fat as a hog for Bug Music, my publishing administrators
(who are still missing out left, right and fucking center [witness recent
"Homicide: Life On The Streets" debacle] ) to thrust under Johnny Cash's
flared and shoveled nostrils before the old bugger pops it. And what about
"Cruel Stage" for Chrissakes? Getting to your question of the genre, "Cruel
Stage" is how it should sound, but doesn't. (I forgot "3 Martini Lunch." Hello!!)
From Mitch Weinstein:
Hey Graham,
Whatever happened to the live chat supposed to take place on March 16th
at 8:00 P.M.? We were waiting with baited breath!
Mitch
TO MITCH WEINSTEIN:
I was right there on the blower ready to go. The fella at the other end
said there were no takers. No one had turned up! He insisted that all he'd
got in the chat room were "a couple of freaks" talking about something else.
Call back in half an hour, he advised. I did. Still, according to our intrepid
cybermedium, no takers. Try again in another half hour. Same thing. We gave
up and had an early night.
I talked to my web connection at R&T the next day and she said the guy was
talking bollocks. What can I tell you?
From Rod Lockwood:
Graham:
I've been listening to your music since 1979 when Squeezing Out Sparks came
barreling into my middle-America life. I was 18 and looking for something
other than Journey, Foghat and all that other crap the corporate folks were
ramming down our throats. Your music mad a difference for me, helped me
not fit in. Thanks for the relief from the stupefaction. It's been interesting
over the years to watch the critics, rock writers, etc. misrepresent your
music. Interesting and sad. The desire and need to pigeonhole artists has
never quite made any sense to me. I guess they need something to sum everything
up in 15 inches. Shit like, "Oh, he's so angry," or "He's gone acoustic"
seem so trite and inevitably they miss the point that you, and others of
your ilk, are working musicians exploring issues, sounds and themes that
are not part of the cultural mainstream. Popularity and trends don't matter
so why bring 'em up? Anyhoos, I wondered if you could talk (or write) a
little about the inspiration or whatever it is that keeps you keeping on
in the face of rejection. Not to sound like a dorky teen, but it takes a
lot of perserverance and courage to follow your muse, especially when you're
being told your work is essentially worthless. As a person who writes fiction,
and has the rejection letters to prove it, sometimes it seems a bit overwhelming
to sit back down at the damn computer and have at it again. Or, as I have
experienced, you get a little recognition, win an award or whatever, and
then the various people who would actually PAY for your work, smile and
say, "This is good, but try again." Makes me want to use my computer to
hit 'em. As you no doubt know, your music has made a difference in a lot
of people's lives, mine included. And I think that's what art is all about.
But how do you push through the bullshit?
TO ROD LOCKWOOD:
Well, I think you are lumping someone else's problems onto me when you
say that people say "your work is essentially worthless." Do you know anyone
intimately who has had this comment thrust upon them, by any chance? This
statement, fortunately, has never been leveled at me. And after 23 years
of a privileged lifestyle, earned through making music, I can't really claim
that "the face of rejection" is any more than a nostril, or perhaps a largish
follicle. The faces of ignorance and ambivalence are, however, slightly
larger. Still, to answer the last part of your question, I wouldn't be able
to "push through the bullshit" if I hadn't made a damn good living and,
in fact, life, out of it. That's why it's worth it. What else is there?
From Kempez:
Dear Graham. I've been singing "Heat in Harlem" in the showers for so long
now even my wife sings along.About 5 years ago you were pencilled in to
play a rather unusual date in the grounds of Lincoln Castle, Lincolnshire
( a few miles from yours truly ).Even before it was cancelled I knew that
the locals around here would never buy tickets; unless you're screwing your
cousin or listening to Enya, life beyond this flat and flatulent rural farmyard
is unimaginable.
Here's the question; I know a promoter here in Grimsby. How many gigs do
you have to have in place before you can viably visit northern England ?
Anyhow,sorry to miss your London Date,maybe see you soon.Your music genuinely
hits my soul and feet.
love Simon
TO KEMPEZ:
Whose cousin has something to do with this? Are porcupines involved? Sheep?
Wait a minute, did you say Grimsby? Damn it, I've gotta get up there...........
From Chris Sigetti:
I suppose I deserved my response to my last question, but I was swept up
in the idea of mailing you. I was listening to "Live Discovering Japan"
again, this time after I read "Steppenwolf". I've seen some very educated
type folks write about their responses to the book, but "Just Like Hermann
Hesse" may well be the best reaction, and one of the closest to my own,
of the book. Well, I hope I'm a little more on the mark this time. Cheers
TO CHRIS SIGETTI:
Can't remember your last question, but thanks for the deep appreciation
of "Just Like Herman Hesse." I always thought it was a corker, that one.
(And quite "country" too, will the bloke a couple of questions up please
note.)
From Thom:
Mr. Parker:
I must confess to never having heard your music prior to 1996 when, at the
age of 22, I became acquainted with your music through Buy or Die's compilation
"Piss and Vinegar." The collection of covers served its purpose; I was consequently
prompted to buy, in almost sequential order, every album currently in print
from your back catalogue. I actually bought "Piss and Vinegar" because of
Frank Black's contribution to "Local Girls." As an ardent follower of his
music, I could not help but also notice that he appears on Adios Amigo,
the Arthur Alexander tribute, to which you also make a contribution. Did
his appearance there have anything to do with his inclusion on Buy or Die's
compilation? If so, do you have any familiarity with or appreciation for
his music? I ask only because you both are two of my favorite singer-songwriters,
but I cannot for the life of me imagine two artists---although sharing certain
stylistic similarities---more essentially different. I guess I am predisposed
to thinking that just because I admire two dissimilar artists, those same
two songwriters might be inclined to appreciate one another. A ridiculous
assumption, maybe, and I am aware that this might be a manifestation of
some kind of dementia.
My primary reason for writing, however, is to question about your lyrical
and literary influences. I am working now on a p.h.d. in literature, and
as a result noticed your literary inclinations and aspirations, evidenced
not only in your lyrics and liner notes (enjoyed the Loose Monkey notes
tremendously), but your own fiction. You make a reference to Hermann Hesse---and
an allusion to Steppenwolf, I believe---on Burning Questions. What other
writers lend inspiration to your musical and literary efforts?
Lastly, I just want to thank you for the great enjoyment you've given us
with your songs. They're really something special, and I would just like
to express my gratitude and admiration, for what it's worth. Thank you.
Thom
TO THOM:
I've never met Mr. Black and have heard very little of his work. There
was a time in the 80's when MTV were featuring a great tune by the Pixies
and I did hear a song from a solo album of his exactly once on the radio,
which sounded very good. That's it, I'm afraid. Someone at Buy or Die must
know him.
As for the literary question, I don't consider myself particularly well-read,
but lots of books have affected me and perhaps informed my work in various
ways. Let's see now........"Tarka The Otter" by Henry Williamson is a masterpiece
and one I still read and will read again. "Lonesome Traveler" by Kerouac,
although overshadowed by "On The Road," is a deeply evocative little book.
Pynchon's "Gravity's Rainbow" literally changed my physical vision of the
world. There's so many more that have effected me in some way.........I
could go on.
Good luck with p.h.d.
From M. Levine:
Actually, I have several questions:
1. How is it that there is a double cd "greatest hits" on Vertigo which
actually includes the entire "Live at the Marble Arch" lp and has seemingly
been no appearance of "Marble Arch" on American shores? I know that you
have released a lot fo live product over the last several years (including
"Live at the Test", "Live at the BBC", the Figgs cd and, of course, the
NYC concert album), but Marble Arch is perhaps the best "documentation" of
the earliest "pub rock" period. Are there any plans to bring out "Marble
Arch" as a separate release at any time in the foreseeable future?
2. A number of years ago, you had Carlos Alomar in your touring band. Did
you ever record any tracks with him? If so, how did his "approach" in the
studio differ from Brinsley S.?
3. Was there any reason why "Bricks & Mortar" (which critic Richard Tucker
termed one of the rare B-side gems that deserved a separate release) never
found its way either onto the Rhino box set or Loose Monkeys?
4. Has anyone tried to option "Three Martini Lunch" for use in one of those
Indy films about Hollywood that seem to be springing up all over the place?
5. I remember your using John Hiatt as the opening act at one gig at the
Greek Theater. What are your opinions of Hiatt as a writer? Reading the
question about why VH1 never would deign to have a "Storytellers" with just
your humble self, wouldn't a "jam session" involving Hiatt, yourself, Lucinda
Williams and...say....John Doe fit a nice demographic niche?
Sorry for the difuse nature of the questions. I just stumbled onto this
web site and, given the many questions I have had over the years about your
ouvre, I just thought I'd type a few off the top of my head.
TO M. LEVINE:
1) Presumably, Mercury, Phonogram/Vertigo's USA counterpart, were not interested
(or aware) in releasing this CD in the States. Right now, I'm not even sure
if Mercury exists. There's been some tremendous upheavals recently in the
business, particularly with the Polygram (I think) conglomerate, stuff I
find too dull to attempt to follow.
2) No recordings were made with Carlos.
3) I don't think "Bricks" qualifies for "Monkeys" because it has already
been released and I had no alternate version of it (as was the case with
"Durban Poison"). At least I think it was released on something. Presumably,
if you know about it, it was. I can't remember specifically, but it rings
a bell. Maybe Rhino weren't aware of it, and I wouldn't have thought of
it.
4) Nope.
5) Sounds like a great concert to me (but why would John or Lucinda need
me?), although I don't know who Mr. Doe is. I like John well enough. He's
one of the good ones.
Thanks. Your questions were fine, glad you found the site.
From Mike Moreau:
Regarding your question about the Edmonton Fest: not familiar with it; anyway,
for me its about 2500 miles away and of little interest. You would stand
a better chance of filling the hall by coming to Montreal. Passports aside,
an appearance here would surely be appreciated! cheers, as usual, mike
TO MIKE MOREAU:
Yo, Mike.
From Steve Vansak:
Graham,
Home studios seem to be a preferred method for many artist these days. Are
you going the same route now? What do you consider the pros and cons of
each?
Later,
Steve
TO STEVE VANSAK:
I don't have a home studio. I have two Sony Walkmen but I think they're
both buggered. Things electrical seem to become confused in my hands. I'm
always hitting light switches and blowing the bulbs. Studios often inexplicably
break down or at least develop unusual problems when I step through the
door. I try to get out of studios quickly, not just because they bore me
to tears, but because I'm afraid of the damage that may ensue, merely due
to me touching things.
From Robert Lanzarotta:
Does Jolie Parker have any photo exhibitions planned or are there any books
of her work released. I really love her stuff and would love to see more.
The cover photo on the new cd is phenomenal.
PS.The Cd is excellent also! Thanx Graham
TO STEVE LANZAROTTA:
Nope, but it's an idea and I'll pass the sentiments along. Glad you dig
her photos. Yeah, the "Loose" cover is a work of art. Thanks for seeing
that.
From Thos. Miller:
G.P. -
I am a glass artist in the middle part of the USA. I have come up with an
etched glass reproduction of G.P. album art that I would like to give you.
To let you know that this isn't a note from the lunatic fringe, I have done
similar work for John Hiatt, Brian Setzer and guitar whiz Junior Brown,
which have all been well received. Your piece is not too bulky, and would
mail easily, do you have an address where I could send it?
TO THOS. MILLER:
Jeez, our webmeister, just asked me if I wanted stuff that people were
offering. I told him no, I've got enough possessions for two or three lifetimes!
I just don't need anything. This, however, sounds too juicy to blow off
out of hand. Um......Okay, e-mail this site your e-mail address and perhaps
he'll be good enough to contact you and give you my PO box which is located
in a hole in a tree (a box tree, natch) in the middle of a dark, evil forest
(enchanted to boot) cause this thing sounds too intriguing to ignore. (To
the rest of you: no, I don't want it! Thanks for the thought though.)
From Bix:
After finding this website, I was compelled to listen to the entire GP catalog
again. It makes a nice pile in my collection between Oingo Boingo and Police,
but dwarfs any other stack. (20 cd's!) During my listen-through, I was once
again amazed by this body of work. I was Particularly pleased by, well,
each song on each album I guess, with no exceptions whatsoever. Some are
stronger than others, of course, but any song, selected at random, is a
precious gem. Many, many of them are so strong that they either split your
heart or clamp you by the balls. That's my compliment. I like a lot of stuff,
but well - thanks for the effort. I'd donate money or something, but I guess
I have, in a way, since I bought all your stuff two or three times. (Are
your old vinyl albums worth anything, like Stick To Me? (With stickers,
of course.) (Probably not, they're worn out.)
Man, I must say it, this GP Answers Your Questions thing is the best thing
on the net, imo.
?'s: If you ever pass through Salt Lake City on your way to a California
gig, I'll put you up at our place, sure, I know you won't mind sharing a
room with the baby... Seriously, consider having your planner (yourself?)
call the Zephyr Club here-fits maybe 200 on a packed night. I'll bring enough
old fans/guys to fill a couple tables. Warren Zevon and Adrian Belew seemed
to enjoy playing this place. Ever played in Utah?
Do you think the Figgs could use a keyboardist? Any frustration in making
those rearrangements? I love the stripped-down, high-energy sound, but miss
the keys.
Also: Everyone seems to compare your music to Dylan, Springsteen, etc. But
it strikes me as a unique style, - especially since SOS. And no music I
can find is of the same style/comparability, at least not with as much originality.
Is this an effort on your part, to find or make your own niche? Or do you
just put forth your best, then see how it flies?
Ugh. One more, I'm genuinely curious. Do you still have all your old sunglasses?
Must be quite a collection.
-Bix
TO BIX:
You just made my night. I think I'll hit the sack now......quit while I'm
ahead. Nite all.
Yawnnn......Ah, I slept like a top. What? Oh, yeah, I see you also have
some questions.
Can't remember ever playing Utah, no.
The Figgs with keyboards? It'd work fine.
Yes, you're right, my style is unique. I just steal more than is healthy
and it comes out sounding original.
I think I went through the sunglasses bit in the last Q&A.
From Julie Weisenberg:
Dear Graham Parker:
Hello! You may remember me as the one who asked you about your harmonica
holder after seeing you at the Fez (Q&A past). Anyway, I just received your
Loose Monkeys CD by mail and was thrilled to hear some of the tunes I had
enjoyed at the Bottom Line show in February! My husband and I loved it when
you sang Cupid. That's one of our favorites. Being a relatively new fan,
I am happy to have seen you perform three times already in New York. Whenever
Spring rolls around my husband gets out your Haunted Episodes album and
plays First Day of Spring. Any chance I'll hear you play that live sometime?
From the new CD I especially like Burnin On A Higher Flame, Natalie, Hormone
of Love, and I'm In Love With You . I hope to see you play these live at
your next NYC show! Some of the music of Wherever You Are echoes a song
from the Human Soul album. Cant quite remember the title right now, but
I'm hoping you'll know which song Im referring to. I think I hear aspects
of Glass Jaw in I'm In Love With You too. Am I right?
One last thought - I see that many fans are interested in your choice of
residence in upstate NY. Who wouldn't like that area? We periodically escape
to Phoenicia or Mt. Tremper to find some peace and hike the mountains. It's
very therapeutic. Glad to hear you enjoy wildlife as well. Friends of ours
once spotted you a few years back at La Duchesse Anne having dinner with
your family. You've got taste! We often dine there too. Ever check out New
World Home Cooking? Love it!
Keep up the good work! Your CDs never gather dust on our shelf. Best wishes
to you.
Julie Weisenberg
TO JULIE WEISENBERG:
I hope you caught me in May -- I was doing "Spring."
Aha. Well spotted. I actually stole the bridge chords from "Wherever" and
used them on "You Got The World" from "H. Soul." No, don't think there's
any "Glass Jaw" in "I'm In Love With You."
Yep, New World Home Cooking (or "Third World Cooking" as I call it) is really
good.
From Drew Eckmann:
Graham, I live about 90 minutes south of you in Ringwood, N.J. Over the
past year and a half, we've had three concerts at our house (Darden Smith,
Alvin Youngblood Hart and Peppino D'Agostino). We charge $15-$20 at the
door and the performer gets all of the money. We can fit 45-50 people. Then
we have a party afterward. Would you be interested in playing one of these
shows. They're usually on a Sunday evening. If you would like to play, you
can reach me at deckma@newsweek.com. I work for Newsweek Magazine, and there
are usually a few press people who come to the shows. Looking foward to
hearing from you./Drew
TO DREW ECKMANN:
You have shows at your house. Are you insane, man?
Thanks for the intriguing offer -- I'll keep your e-mail address and think
about it.
From Tom Thornton:
Just wanted to say I got the "Loose Monkeys" and found it very good. "Wherever
You Are" and "Don't Kid Yourself" striking me in particular at the moment.
Whatever happened to the Rolling Stone live chat scheduled for 3/16/99?
I was there at 1600 EST, but all I could get was bio information. Are there
any transcripts?
TO TOM THORNTON:
Check Mitch Weinstein above for your answer to the RS online blunder.
Dixon Hudgins:
I'm gonna be visiting your country soon and was wondering if you were gonna
be playing somewhere? I missed you ATL and hope to hear you. Will you be
in the area around the 10th of May?
TO DIXON HUDGINS:
What?
From Richard:
Various thoughts for the Chairman:
You should appear on that PBS show hosted by David Byrne--
I'm sorry I missed you when you appeared in Rochester recently. I didn't
know about it until the night of the event. I saw you the time you were
here previously and was struck by how funny you can be.
I have noticed for quite some time that when I am playing your stuff in
the car, and there are women present, they comment on how good you sound
(when you are singing love songs)-- Have you ever thought of compiling love
songs from various albums onto one disc? -- Kind of like "Graham Parker
Sings Songs of Love for Young Lovers In Love"-- Not with a title that stupid
maybe but something that would serve as an introduction to your work for
women.
Anyway, those are my two suggestions: Do the PBS show (whatever it's called)
and release "Graham Parker's Valentine's Present To Women That Have To Be
spoonfed The Genius Of Chairman Parker". That's it. --And Oh Yeah-- I bought
the new collection over the Internet and really like it.
TO RICHARD:
Tell me about it.
Good idea, that love song collection thing.
If Captain Beefheart has a website, you should get on there and make the
same suggestion. There isn't a woman in the entire history of the world
who could dig Beefheart. In fact, that must be the ultimate losers line:
"Hey, wanna come up to my place and listen to some Beefheart?"
From W. Hanson:
Graham:
Any interest in coming to Ann Arbor, Michigan, this spring/summer to do
a benefit for a local environmental group trying to save a unique urban
forest along the banks of the scenic Huron River from destruction by an
out-of-town developer who wants to build 200 luxury condos? Thanks for your
consideration.
--A longtime fan
TO W. HANSON:
Shoot, I was really looking forward to moving in to one of those condos.
Kidding!
Sounds like a good cause, but my year is gone.
From Kevin:
Graham,
How much was your early music influenced by R&B & people like Springsteen.
Also how did the shift happen to more of a punk sound. What's your favourite
book.
TO KEVIN:
My influences were all locked in way before the emergence of The Boss.
My live performances with the Rumour preceded (at least in the UK) and paved
the way for the attitude of punk which arose one year after our launching.
I was just pissed off, I guess. But I did adopt that style of singing somewhat
for "Stick To Me" (1977) cos we were in danger of looking out of date with
the r&b shtick.
So many favourite books........didn't I do a top ten somewhere back there?
From Steve Kelleher:
Dear Graham: I have been a fan of yours for 20 years or so and it was quite
a thrill to meet you at the Telling Stories tour stop in Woodbridge N.J.
in Oct.98. You took a pic with me...even though i had a slight 'Hennessey"
glow...You were great..I was wondering about the song Platinum Blonde...What
was your inspiration/thoughts about that song..from Burning Questions....I
think that it is one of your best...Love the live version as well..I always
find it interesting when you give the "skinny" on what was happening in
your life at these times.Thank you.P.S. Kudos too for telling me about your
website (after the show). Really enjoy being on the "List"...Steve
TO STEVE KELLEHER:
Hey there, glad you found the site. As for P. Blond, I seem to recall a
detailed, if surreal, description, or decipheration (should be a word) of
the song in an earlier Q&A. Probably number one. Go hunt.
From Steve Taylor:
I've listened to your music for over 20 years now. In fact, GP and the Rumour
were the very first live band I ever saw - at Blackbushe Airport with Bob
Dylan and Eric Clapton in July '78. Since then, I saw you at Birmingham
Odeon in Feb '79 (where, as a callow youth of 16, I met you and Brinsley
backstage) and Hammersmith Odeon three years later. Now, I live in Tokyo
and have one question for you - when are going to tour Japan again?
TO STEVE TAYLOR:
I've toured Japan a couple of times in recent years. In '95 I was there
with my band of the moment, The Episodes. The agency that book me there
are called "Smash." They haven't called lately. Cash flow in Japan, like
everywhere else, is severely compromised and my last tour didn't exactly
set any records. Give Smash a call and request a GP sighting.
From Sandra J Hunt:
Hey GP! First of all, why does this 'questions' page ask for my email address?
Yeah, like you're really going to write me back personally. But the reason
I'm writing is to impart a bit of useless info. "Don't It Make My Brown
Eyes Blue" was performed by Crystal Gayle. Sad to admit, but at one time
I had that on an 8-track tape. Yup, gotta admit, if it comes on, I sing.
Anyhow, thanks for keeping me entertained. You are providing a vital service
by doing so. You're great, man.
Later,
Sandra
TO SANDRA J. HUNT:
I guess J. Howells has his own sick and mysterious reasons for requesting
your e-mail address, but you know, most artists down there in the trenches
like myself usually have a mailing list so that they can inform the punters
when they are touring or have a new record out, etc. So maybe one day I'll
ask him and he'll hand it over to me. (Yeah, like I need yet another thing
to do.)
Anyway, I'll see ya at City Stages in Alabama on the 20th. Hope you know
I'm on there in time.
Later........
NOTE FROM THE CHAIRMAN
I'm well behind on this I know, and another batch is piled up ready to
go, but I am my own tour manager (it's like being your own Grandpa) and
that coupled with the actual gigging are really dragging me down. The
last tour (May), by the way, bar a couple of stiffs (where the fuck were
you New York?), was actually better attended overall than both the tour
with The Episodes and The Figgs. Go figure. Get to these shows in June.
I'm doing some interesting stuff (we're talking "Hold Back The Night" here
for Chrissakes!).
My soccer games are being brutally decimated by this touring nonsense, too.
Damn it. But it's all worthwhile when there's a good house out there. Get
to 'em.
Later.............
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