Love GP and this album. Howling Wind will always be my favourite album of his because it came out when I “discovered“ him, but I think Squeezing Out Sparks is his most accomplished album and shows a new found maturity lacking in the three preceding albums. Spent so many great nights watching him live in London in 1976 at Dingwalls, The Nashville and The Marquee Club. Great choice, it’s got me listening to his music again.
Thanks Rick for the link, as I had the same issue as Louisa, my streaming version of the album was missing tracks 1 and 5.
Having now listened to the album a few times, these are my thoughts and comments…
I had not heard him before. I don’t think he was known much, if at all, in SA, certainly back then. I of course hear shades of Elvis Costello, and lots of similarities to the albums of the same era by Joe Jackson, (Look Sharp!, Beat Crazy etc) another of my favourite artists. He could also do the punkier/rockier stuff, but then hit you in the chest with a sincerely heartfelt slower song.
Whenever I think of or hear music from late Seventies UK, I always have this grey, bleak, cold image in my mind. I know that’s not entirely true, of course, but I can’t avoid it. From 1980 to 1982, all my closest mates in school were recently relocated from England, their parents despondent with the socio-political situation seeking greener pastures and the stories those guys told me also play a part in my mindview of that time. My best mate was named Stephen Metcalfe, who had spent the first 7 years of his life living in a council flat in Yorkshire. He thought he was in paradise here. (You have a pool in your GARDEN?!) Looking back his folks would have been early thirties, at most, and they would surely have listened to music like this back then.
I like it, I will listen again and I will investigate more of his music. I think You Can't Be Too Strong will remain a favourite from this for me.
I see there is a more recently recorded acoustic version of this record, which I have on my mental playlist.
Listening to this, and thinking about the Skids also, the 70s in Britain must have been difficult. The economic and political situation, something I know way to little about, had such an impact on the music.
You are correct in your analysis of the 70's - not an easy decade, the early 80's were no better. Much of the music I listened to then did reflect what we were living through - some absolute classics come to mind 'Going Underground' by The Jam, 'Ghost Town' by The Specials and, of course 'God Save The Queen' - angry music by angry young men.
@whispered secret has said pretty much what I was going to say @Louisa, though I'd inevitably add the 1st Clash album as a further exemplar: White Riot, Hate & War, Career Opportunities etc. '80's grim too. Remember studying for my finals wondering whether we'd all be off to the South Atlantic before 1982 was done. Rampant Thatcherism, destruction of the industrial heartland of my country (Scotland!) and beyond.
The current lot are no better, in some ways worse. 😣
@Walkerinthesun My God, it really was bleak wasn't it? Going off topic a bit, but I do remember sobbing my heart out after an episode of Boys from the Blackstuff.
I wonder what the album would have been like if Parker had stuck with his original idea of a concept album about suburban England. Most of my favorite artists and records are in the small time/small town/small moment genre and I think it's why my favorite songs on this album are the ones that hold to his original concept, like Local Girls, Saturday Nite Is Dead and You Can't Be Too Strong.
Don't misunderstand me; the album is fantastic. I'm just always thinking about the alternate possibilities of the art I love.
For the first time, and I have never heard about Graham Parker either. The reasons are, I am probably not that obsessed with music, and more importantly, not many others than the big names in the industry, who could sell many records, were imported to Yugoslavia. So mainstream was what was available, the maniacs and professionals did smuggle more obscure records from the west in the late 70s, early 80s. But it wasn't for the masses. You had to know someone, who knew someone...
I enjoyed the album very much, especially the first 4 songs, with You Can't Be Too Strong being my favorite track of the album, which is predictable, I guess. Leaving it up for her to decide, what's wrong, and consequently what's right... We need more of that attitude, even today.
I think it's a deeply emotional song but neutral, not judgemental. Wonder how this song was received back then?
Love the band throughout, the guitar especially, end especially on the chorus in Nobody Hurts You. I can also hear what has been said earlier about the vocals, he does sound sort of vicious...
The lyrics are very interesting, very into your face, raw.
That's really interesting. Back in the 70's my husband worked for a record exporter, mostly exporting to Scandinavia but also some clandestine shipments to Czechoslovakia. The packages were always addressed to different names, presumably somebody who worked at the airport was in the pay of the importers. I do remember the owner of the company my husband worked for visiting Czechoslovakia under the guise of attending an England football match to enable him to meet up with the importers. All very cloak and dagger stuff!
Back to the music though, I am pleased you enjoyed it without the benefit of nostalgia.
I saw them live several times back in the day and then saw them again a few years ago - he still had a great voice and the show, in a tiny club, was excellent.
Love GP and this album. Howling Wind will always be my favourite album of his because it came out when I “discovered“ him, but I think Squeezing Out Sparks is his most accomplished album and shows a new found maturity lacking in the three preceding albums. Spent so many great nights watching him live in London in 1976 at Dingwalls, The Nashville and The Marquee Club. Great choice, it’s got me listening to his music again.
Is it just me or does Graham, Southside and Little Steven sound very similar in their style of vocals?
I love Bruce's backing on Endless Night - that song possibly transitioned my devotion from Graham to Bruce...
Not to stray from the album at hand, but since my whole point starting this was to spark conversation and interest...
Bruce sings backing vocals on Parker's Endless Night from the follow-up to Squeezing Out Sparks and Danny also plays on the album.
Thanks Rick for the link, as I had the same issue as Louisa, my streaming version of the album was missing tracks 1 and 5.
Having now listened to the album a few times, these are my thoughts and comments…
I had not heard him before. I don’t think he was known much, if at all, in SA, certainly back then. I of course hear shades of Elvis Costello, and lots of similarities to the albums of the same era by Joe Jackson, (Look Sharp!, Beat Crazy etc) another of my favourite artists. He could also do the punkier/rockier stuff, but then hit you in the chest with a sincerely heartfelt slower song.
Whenever I think of or hear music from late Seventies UK, I always have this grey, bleak, cold image in my mind. I know that’s not entirely true, of course, but I can’t avoid it. From 1980 to 1982, all my closest mates in school were recently relocated from England, their parents despondent with the socio-political situation seeking greener pastures and the stories those guys told me also play a part in my mindview of that time. My best mate was named Stephen Metcalfe, who had spent the first 7 years of his life living in a council flat in Yorkshire. He thought he was in paradise here. (You have a pool in your GARDEN?!) Looking back his folks would have been early thirties, at most, and they would surely have listened to music like this back then.
I like it, I will listen again and I will investigate more of his music. I think You Can't Be Too Strong will remain a favourite from this for me.
I see there is a more recently recorded acoustic version of this record, which I have on my mental playlist.
Thanks Ann. Nice choice. 😊
Listening to this, and thinking about the Skids also, the 70s in Britain must have been difficult. The economic and political situation, something I know way to little about, had such an impact on the music.
I wonder what the album would have been like if Parker had stuck with his original idea of a concept album about suburban England. Most of my favorite artists and records are in the small time/small town/small moment genre and I think it's why my favorite songs on this album are the ones that hold to his original concept, like Local Girls, Saturday Nite Is Dead and You Can't Be Too Strong.
Don't misunderstand me; the album is fantastic. I'm just always thinking about the alternate possibilities of the art I love.
Yeah.
I finally got to listen to this album...
For the first time, and I have never heard about Graham Parker either. The reasons are, I am probably not that obsessed with music, and more importantly, not many others than the big names in the industry, who could sell many records, were imported to Yugoslavia. So mainstream was what was available, the maniacs and professionals did smuggle more obscure records from the west in the late 70s, early 80s. But it wasn't for the masses. You had to know someone, who knew someone...
I enjoyed the album very much, especially the first 4 songs, with You Can't Be Too Strong being my favorite track of the album, which is predictable, I guess. Leaving it up for her to decide, what's wrong, and consequently what's right... We need more of that attitude, even today.
I think it's a deeply emotional song but neutral, not judgemental. Wonder how this song was received back then?
Love the band throughout, the guitar especially, end especially on the chorus in Nobody Hurts You. I can also hear what has been said earlier about the vocals, he does sound sort of vicious...
The lyrics are very interesting, very into your face, raw.
Love his hair on the cover. Is it static?
I saw them live several times back in the day and then saw them again a few years ago - he still had a great voice and the show, in a tiny club, was excellent.