Not a record of innovation, rather, consolidation and refinement. By 1976, these kinds of classic rock moves had been perfected (by Springsteen, Segar, et. al) and there was enough history for self-conscious, artful capitulation (American Graffiti, Quadrophenia, etc., etc.). So, having paid their dues, GP and his band made an album to stir the hearts of cynics who still believed in rock & roll as some sort of living, breathing salvation.
For some reason, it makes me think of Cleveland, Ohio.
Everything is in its place: Hammond filigrees dance, guitar fills sting, stop-time drums and horns punctuate with defiance and an everyman lead singer snarls and rails. Everything, indeed, that would grow stale and tired over the next few years in the hands of lesser songwriters, as well as Parker himself. Handling itself with an assurance borne of years on the road, the Rumour surpass the energy and focus of former employers, notably Brisley Shwartz. Only the Nick Lowe-produced “Back Door Love” succumbs to oldies pandering.A £1 treat yesterday from Ashford bootfair for someone who’s habitually dismissed Parker after not falling for the charms of his supposed masterpiece Squeezing Out Sparks.