GRAHAM PARKER

Some people are in charge of pens who shouldn't be in charge of brooms.

My dad isn't sure how I make a living because I'm not in the newspapers or on music shows any more. The world is bigger than England, however, but for the large part, yes, people don't know who I am. What are you gonna do? Unless you're a superstar act that attracts young people because it might be their last chance to see you before you die, then it's fairly typical. I'm astonished that I have any audience at all, to be honest.

When I was a kid in the mid-'60s, I was what's known as a moddie boy, a prototype skinhead. You all had your hair like a crew cut, cropped, with suits or Levis with red suspenders, sometimes Doc Martens. It was a thriving soul music, Motown and ska scene; we used to dance to Prince Buster and the Skatalites.

Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.

I started to work up in my old bedroom, playing, writing songs, and it somehow came to me that I could introduce soul music. Nobody seemed to be doing that.

In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.

I never learned music. I'm quite uneducated, and usually I sat in front of the TV, with soap operas on, in England. It was very inspiring for me, I'd done all this traveling around, I came back living with my parents, everyone around me was like they're living in a soap opera.

I went to Morocco, joined a band called Pegasus, ran out of money, went to Gibraltar and worked on the docks, writing songs about the sun and the morning and the birds.

I do not wanna write a song like 'Coathanger' so Andrew Breitbart can rage against me on his web site. It's not my idea of fun.

Oh, man, pop singers are terrible actors. We're all bad.

Mostly I've never let record companies become involved with my music, which was a very smart thing that my first manager Dave Robinson did, to keep them out of it.

I started to work up in my old bedroom, playing, writing songs, and it somehow came to me that I could introduce soul music. Nobody seemed to be doing that.

When I was a kid in the mid-'60s, I was what's known as a moddie boy, a prototype skinhead. You all had your hair like a crew cut, cropped, with suits or Levis with red suspenders, sometimes Doc Martens. It was a thriving soul music, Motown and ska scene; we used to dance to Prince Buster and the Skatalites.

I do not wanna write a song like 'Coathanger' so Andrew Breitbart can rage against me on his web site. It's not my idea of fun.

I never learned music. I'm quite uneducated, and usually I sat in front of the TV, with soap operas on, in England. It was very inspiring for me, I'd done all this traveling around, I came back living with my parents, everyone around me was like they're living in a soap opera.

In the early days, I had very little idea about arrangements, and I wrote songs a little flat, as it were, just on an acoustic guitar. They didn't really have quite enough nuance.

I went to Morocco, joined a band called Pegasus, ran out of money, went to Gibraltar and worked on the docks, writing songs about the sun and the morning and the birds.

Oh, man, pop singers are terrible actors. We're all bad.

Some people are in charge of pens who shouldn't be in charge of brooms.

My dad isn't sure how I make a living because I'm not in the newspapers or on music shows any more. The world is bigger than England, however, but for the large part, yes, people don't know who I am. What are you gonna do? Unless you're a superstar act that attracts young people because it might be their last chance to see you before you die, then it's fairly typical. I'm astonished that I have any audience at all, to be honest.