John Parr

Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
1984 was a terrific year for music, certainly the best of the decade, so it was easy for somebody like John Parr to sort of slip in underneath the radar with a record that was teasingly, tastefully raunchy -- a strip anthem for civilized bachelor parties, a perfect compliment to the Reagan era. This turned out to be a pretty good touchstone for the album, which was a far bigger hit than anybody that views Parr as just a man in motion would expect. It didn't just reach the Top 50, spending half a year on the Billboard charts, but spawned three Hot 100 hits -- with "Love Grammar" and "Magical" hitting the lower regions after "Naughty Naughty" peaked at 23. These ...
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Editorial Reviews

All Music Guide - Stephen Thomas Erlewine
1984 was a terrific year for music, certainly the best of the decade, so it was easy for somebody like John Parr to sort of slip in underneath the radar with a record that was teasingly, tastefully raunchy -- a strip anthem for civilized bachelor parties, a perfect compliment to the Reagan era. This turned out to be a pretty good touchstone for the album, which was a far bigger hit than anybody that views Parr as just a man in motion would expect. It didn't just reach the Top 50, spending half a year on the Billboard charts, but spawned three Hot 100 hits -- with "Love Grammar" and "Magical" hitting the lower regions after "Naughty Naughty" peaked at 23. These two songs don't have the thematic hook of "Naughty Naughty" -- which, let's face it, has the kind of attitude that results in a classic one-hit wonder -- but they're both good mainstream-oriented album rockers that try to come to terms with the synth-saturated style of the new wave. That would be a reasonable assessment of this self-titled album, actually, since it's immaculately produced, filled with cavernous drums, pristine synthesizers, sequenced rhythms, slick surfaces, and big hooks that don't really catch -- everything that would fit both pop and album rock radio in the mid-'80s. And that's really what is the most interesting thing about the album, years after its initial release. This is what the mainstream of rock sounded like, as it desperately attempted to assimilate the advances or at least quirk and style of new wave, relying as much on synths and slickness as hard rock. Looking back, it's easy to see why the producers of St. Elmo's Fire picked Parr to deliver their theme for a quintessentially '80s movie. This record proves that even if Parr didn't stand out from the pack, he certainly captured the times.
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Product Details

  • Release Date: 6/12/2001
  • Label: One Way Records Inc
  • UPC: 046633517621
  • Catalog Number: 35176

Album Credits

Performance Credits
John Parr Primary Artist, Guitar, Vocals
Simon Phillips Drums
Graham Broad Percussion, Drums
John Cook Keyboards
Richard Cottle Keyboards
Colin Farley Bass
Chuck Kirkpatrick Vocals, Background Vocals
The Kick Horns Horn
Johnathon J. Jeczalik Keyboards
Bruce Laing Bass
Brad Lang Bass
Christopher Marra Guitar
John Sambataro Vocals, Background Vocals
Peter Solley Keyboards, Hammond Organ
Technical Credits
John Parr Producer
John Verity Engineer
Mark Dodson Engineer
Geoff Lyth Engineer
Peter Solley Producer
Jimmy Starr Remastering
David Thoener Engineer
Femi Jiya Engineer
Ian Morais Engineer
Eddie Wilner Reissue Producer
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