In radio telecommunications, effective radiated power or equivalent radiated power (ERP) is a standardized theoretical measurement of radio frequency (RF) energy^[1][2] using the SI unit watts, and is determined by subtracting system losses and adding system gains. ERP takes into consideration transmitter power output (TPO), transmission line attenuation (electrical resistance and RF radiation), RF connector insertion losses, and antenna directivity, but not height above average terrain (HAAT). ERP is typically applied to antenna systems.

For a simplified example, if an antenna system has 9 dB gain and 6 dB loss, its ERP is 3 dB more than (equal to double) the TPO. The use of circular polarization, or otherwise splitting equally between horizontal and vertical linear polarization, causes a "loss" of 3 dB, cutting the reported ERP in half. If full-wavelength spacing is used between antenna elements in an array, the ERP is increased approximately in proportion to the number of elements. When half-wave-spaced elements are used (to reduce RF radiation beneath the radio tower, or for other purposes), the increase is less. Null fill also detracts from the ERP by increasing the power in the nulls that form between side lobes. Stations with beam tilt often have two ERPs listed: one at the angle of tilt (the main lobe), and another in the standard horizontal plane. When only one ERP is listed, this is usually referring to the power in the main lobe.

FM example[link]

For example, an FM radio station which advertises that it has 100,000 watts of power actually has 100,000 watts ERP, and probably not an actual 100,000-watt transmitter. The TPO of such a station typically may be 10,000 to 20,000 watts, with a gain factor of 5 to 10 (5× to 10×, or 7 to 10 dB). In most antenna designs, gain is realized primarily by concentrating power toward the horizontal plane and suppressing it at upward and downward angles, through the use of phased arrays of antenna elements. The distribution of power versus elevation angle is known as the vertical pattern. When an antenna is also directional horizontally, gain and ERP will vary with azimuth (compass direction). Rather than the average, it is the maximum ERP in any direction that is usually quoted as a station's power. This is particularly applicable to the huge ERPs reported for shortwave broadcasting stations, which use very narrow beam widths to get their signals across continents and oceans.

United States regulatory usage[link]

ERP for FM radio in the United States is always relative to a theoretical reference half-wave dipole antenna. To deal with antenna polarization, the Federal Communications Commission (FCC) lists ERP in both the horizontal and vertical measurements for FM and TV. Horizontal is the standard for both, but if the vertical ERP is larger it will be used instead.

The maximum ERP for US FM broadcasting is usually 100,000 watts (FM Zone II) or 50,000 watts (in the generally more densely populated Zones I and I-A), though exact restrictions vary depending on the class of license. Some stations have been grandfathered in or, very infrequently, been given a waiver, and can exceed normal restrictions.

Microwave band issues[link]

For most microwave systems, a completely non-directional isotropic antenna (one which radiates equally and perfectly well in every direction – a physical impossibility) is used as a reference antenna. This includes satellite transponders, radar, and other systems which use microwave dishes and reflectors rather than dipole-style antennas.

Lower-frequency issues[link]

In the case of mediumwave (AM) stations in the United States, actual radiated power is used for an omnidirectional station; for a directional station, power is computed relative to an omnidirectional radiator with the same nominal power and an efficiency equal either to the RMS efficiency of the directional antenna under consideration, or to the minimum efficiency permitted for the class of station.

Related terms[link]

• Effective monopole radiated power (EMRP) may be used in Europe, especially in relation to mediumwave broadcasting antennas. This is the same as ERP, except that a short vertical antenna (i.e. a short monopole) is used as the reference antenna instead of a half-wave dipole.

• Equivalent isotropically radiated power (EIRP)

HAAT[link]

The height above average terrain for VHF and higher frequencies is extremely important when considering ERP, as the signal coverage (broadcast range) produced by a given ERP dramatically increases with antenna height. Because of this, it is possible for a station of only a few hundred watts ERP to cover more area than one of a few thousand, as its signal travels above obstructions on the ground.

See also[link]

• Nominal power
• List of broadcast station classes

References[link]

For the English sportsman, see Grahame Parker.

This biographical article needs additional citations for verification. Please help by adding reliable sources. Contentious material about living persons that is unsourced or poorly sourced must be removed immediately, especially if potentially libelous or harmful. (June 2010)

Graham Parker
Background information
Born	(1950-11-15) 15 November 1950 (age 61) London, England
Genres	Rock, new wave, pub rock, soul, rhythm and blues
Occupations	Singer, songwriter, musician, writer
Instruments	Guitar
Years active	1970s–present
Labels	Arista, Bloodshot, Buy or Die, Capitol, Dakota Arts, Demon, Elektra, Hannibal, Hip-O, Mercury, Razor & Tie, RCA, Rebound, Rock the House, UpYours, Vertigo Canada & UK, Windsong UK
Associated acts	The Rumour, The Figgs
Website	grahamparker.net

Graham Parker (born 15 November 1950, London, England) is a British rock singer and songwriter, who is best known as the lead singer of the popular British band Graham Parker & the Rumour.^[1]

Biography[link]

Early career (1960s–1976)[link]

In the late 1960s and early 1970s, Parker sang in small-time English bands such as the Black Rockers and Deep Cut Three while working in dead-end jobs like a glove factory and a petrol station. In 1975, he recorded a few demo tracks in London with Dave Robinson, who would shortly found Stiff Records and who connected Parker with his first backing band of note, The Rumour.^[1] Parker had one track, "Back to Schooldays", released on the compilation album, A Bunch of Stiff Records for Stiff Records.

In the summer of 1975, Parker joined forces with ex-members of three British pub-rock bands to form Graham Parker and the Rumour. The new group consisted of Parker (lead vocals, guitar) with Brinsley Schwarz (lead guitar) and Bob Andrews (keyboards) (both ex Brinsley Schwarz), Martin Belmont (rhythm guitar, ex Ducks Deluxe) and Andrew Bodnar (bass) and Steve Goulding (drums).^[1] They began in the British pub rock scene, often augmented at times by a four-man horn section known as The Rumour Horns: John "Irish" Earle (saxophone), Chris Gower (trombone), Dick Hanson (trumpet), and Ray Beavis (saxophone).

The band's first album, Howlin' Wind, was released to acclaim in April 1976 and was rapidly followed by the stylistically similar Heat Treatment.^[1] A mixture of rock, ballads, and reggae-influenced numbers, these albums reflected Parker's early influences (Motown, The Rolling Stones, Bob Dylan, Van Morrison) and contained the songs which formed the core of Parker's live shows – "White Honey", "Soul Shoes", "Lady Doctor", "Fool's Gold", and his early signature tune "Don't Ask Me Questions", which hit the Top 40 in the UK.^[2]

Parker and the Rumour built a reputation as incendiary live performers: the promotional album Live at Marble Arch was recorded at this time and shows off their raw onstage style. Like the pub rock scene he was loosely tied to, the singer's class-conscious lyrics and passionate vocals signalled a renewal of rock music as punk rock began to flower in Britain.

In terms of establishing a recording career in early 1976, Parker preceded two other new wave English singer-songwriters to whom he is often compared: Elvis Costello and Joe Jackson. (Costello's first single was released in 1977, and Jackson's first solo single was issued in late 1978).^[1]

New direction (1977)[link]

Critical acclaim for the first two albums was generally not matched with LP sales. Graham Parker and the Rumour appeared on BBC television's Top of the Pops in 1977, performing their version of The Trammps' "Hold Back the Night" from The Pink Parker EP, a Top 30 UK hit in March 1977.^[2]

At this point, Parker began to change his songwriting style, reflecting his desire to break into the American market. The first fruits of this new direction appeared on Stick To Me (1977). The album broke the Top 20 on the UK Albums Chart.^[1]

Parker and the Rumour gained a following in Australia thanks to the support of Sydney independent rock station Double Jay (2JJ) and the ABC's weekly pop TV show Countdown, which gave the group nationwide exposure in Australia. They made their first tour there in 1978, where they spotted rising Australian band The Sports, who subsequently supported Parker and the Rumour on their early 1979 UK tour.^[3] The group made a second Australian tour in late 1979, when Parker appeared on Countdown as a guest presenter.^[4]

[edit] Squeezing Out Sparks (1978–1979)

An official Graham Parker and The Rumour live album, The Parkerilla, issued in 1978, saw Parker in a creative holding pattern.^[1] Three sides were live, with no new songs and with versions of previously released songs. Side four was devoted to a "disco" remake of "Don't Ask Me Questions".

Parker had long been dissatisfied with the performance of his US record company, Mercury Records, finally issuing in 1979 as a single B-side "Mercury Poisoning".^[1]

Energized by his new label, Arista Records, and with record producer Jack Nitzsche, Parker followed with Squeezing Out Sparks, widely held to be the best album of his career.^[1] For this album, The Rumour's brass section, prominent on all previous albums, was jettisoned.

Squeezing Out Sparks (1979) was named by Rolling Stone at #335^[5] on its List of Rolling Stone's 500 Greatest Albums of All Time. In an early 1987 Rolling Stone list of their top 100 albums from 1967–1987, Squeezing Out Sparks was ranked at #45, while Howlin' Wind came in at #54.^[6] The companion live album Live Sparks, was sent to US radio stations as part of a concerted promotional campaign.

The jettisoned brass section continued to play on other people's records credited as The Irish Horns (on the album London Calling by The Clash) or The Rumour Brass, most notably on Katrina and the Waves' 1985 hit "Walking On Sunshine".

The End of The Rumour (1980)[link]

Bob Andrews left The Rumour in early 1980, and was not officially replaced. However, in studio sessions for the next album, Nicky Hopkins and Danny Federici (of The E Street Band) sat in on keyboards.

1980's The Up Escalator was Parker's highest-charting album in the UK and featured production by Jimmy Iovine and guest vocals from Bruce Springsteen. Significantly, the front cover of the album credited only Graham Parker, not "Graham Parker and The Rumour".^[1]

The Up Escalator would prove to be Parker's last album with the Rumour, although guitarist Brinsley Schwarz would reunite with Parker in 1983 and play on most of the singer's albums through the decade's end. As well, bassist Andrew Bodnar would rejoin Parker from 1988 through the mid 1990s, and drummer Steve Goulding would play on Parker's 2001 album Deepcut To Nowhere.

Commercial success (1981–1990)[link]

The 1980s were Parker's most commercially successful years, with well-financed recordings and radio and video play. His followup to The Up Escalator, 1982's Another Grey Area, featured session musicians Nicky Hopkins and Hugh McCracken. This album charted at UK #40 and US #51, and spun off a Top 40 UK single in "Temporary Beauty".^[1]

1983's The Real Macaw, featuring drumming by Gilson Lavis of Squeeze and the return of Brinsley Schwarz to the guitarist's spot did not fare as well, hitting US #59 on the album charts but missing the UK charts altogether. However, Parker's 1985 release Steady Nerves (credited to Graham Parker and The Shot) was a moderate success and included his only US Top 40 hit, "Wake Up (Next to You)". The Shot was a four-piece backing band, all of whom had played on either The Real Macaw or Another Grey Area: Brinsley Schwarz (guitar), George Small (keyboards), Kevin Jenkins (bass), and Michael Braun (drums).^[1]

Steady Nerves was recorded in New York City, and Parker began living mostly in the United States during this time.^[1]

Record label changes came quickly after the mid-1980s, partly accounting for the number of compilation albums in Graham Parker's discography. Particularly unproductive was Parker's tenure at Atlantic Records, where Parker ended the deal without releasing anything, and signed to RCA Records. He began producing his own recordings and issued The Mona Lisa's Sister. The backing band for this album included former Rumour-mates Schwarz and Bodnar ; keyboardists James Halliwell and Steve Nieve; and drummer Terry Williams (replaced on one cut by Andy Duncan, and two others by Pete Thomas who, like Nieve, was a member of Elvis Costello and the Attractions).^[1] Rolling Stone magazine ranked The Mona Lisa's Sister at #97 on its list of The 100 Greatest Albums of the 1980s.

The 1990s[link]

Parker continued to record for RCA through the early 1990s. Long-time guitarist Schwarz once again parted company with Parker after the 1990 album Human Soul. Parker's 1991 offering, Struck By Lightning, featured Bodnar and Pete Thomas in the backing band, as well as guest appearances from The Band's Garth Hudson on keyboards and John Sebastian on autoharp. However, the album's chart peak of US #131 saw Parker dropped by the label. 1992's Burning Questions was released by Capitol Records, who promptly dropped him after the album failed to sell.^[1]

A 1994 Christmas-themed EP release (Graham Parker's Christmas Cracker) was issued on Dakota Arts Records, before Parker found a more permanent home on American independent label Razor & Tie. After the movingly personal 12 Haunted Episodes, and 1996's Acid Bubblegum (featuring Jimmy Destri of Blondie on keyboards), Parker grew quiet in the late 1990s.^[1] However, he continued to play live fairly regularly, often working with backing band The Figgs (who, like The Rumour, when not backing Parker also issued records as a discrete unit).

To the present[link]

Parker began a more active period in 2001, with the UK re-release of his early Rumour work, and with his third studio album for Razor & Tie, Deepcut to Nowhere. In 2003, Parker collaborated with Kate Pierson of the B-52's and Bill Janovitz of Buffalo Tom to record an album of lesser-known John Lennon/Paul McCartney compositions that had never been recorded by The Beatles. The album, called From A Window: Lost Songs of Lennon & McCartney, was credited to "Pierson, Parker, Janovitz". Also in 2003, Parker contributed a solo acoustic version of Pink Floyd's "Comfortably Numb" to the compilation album, A Fair Forgery of Pink Floyd.

New solo work continued with 2004's Your Country, which saw Parker switch labels to Chicago-based indie Bloodshot Records and was co-produced by John Would at Stanley Recording in Venice, California. The album was recorded and mixed in two weeks.

Following in 2005 was Songs Of No Consequence, recorded with The Figgs. A show from the ensuing tour with the Figgs broadcast on FM radio and was released as an album in 2006. In March 2007, a new full-length, Don't Tell Columbus was released.

In addition to his records, Parker published an illustrated science fiction novella, The Great Trouser Mystery in 1980. He published a set of short stories, Carp Fishing on Valium, in June 2000. His third book, a novel, The Other Life of Brian, appeared in September 2003. In July 2011, he played a private party for a Pittsburgh physician who has described himself as Parker's #1 fan.

In the spring of 2011 Parker reunited with all five original members of The Rumour to record a new album. The record, tentatively titled Three Chords Good, is due to be released in 2012 in conjunction with the Judd Apatow film This Is Forty, in which Parker will have a small role.^[7]

Discography[link]

Albums[link]

Graham Parker & The Rumour

• Howlin' Wind (1976)
• Heat Treatment (1976) – UK #52, US #169
• The Pink Parker EP (1977) UK Singles Chart #24
• Stick To Me (1977) UK 19, US #125
• Squeezing Out Sparks (1979) UK #18, US #40
• The Up Escalator (1980) UK #11, US #40

Graham Parker

• Another Grey Area, 1982 UK #40, US #51
• The Real Macaw, 1983, US #59

Graham Parker & The Shot

• Steady Nerves, 1985, US #57

Graham Parker

• The Mona Lisa's Sister, 1988 US #77
• Human Soul, 1989 US #165
• Struck by Lightning, 1991 US #131
• Burning Questions, 1992
• Graham Parker's Christmas Cracker EP, 1994
• 12 Haunted Episodes, 1995
• Acid Bubblegum, 1996
• Loose Monkeys (outtakes), 1999
• That's When You Know (1976 demos + Live at Marble Arch), 2001
• Deepcut To Nowhere, 2001
• Your Country, 2004 (featuring an appearance by Lucinda Williams)
• Songs of No Consequence, 2005 (with The Figgs as his backing band)
• Don't Tell Columbus, 2007
• Imaginary Television, 2010^[2]

Live albums[link]

Graham Parker & the Rumour

• Live at Marble Arch, 1976
• At The Palladium, New York, NY, 1977
• The Parkerilla (1978) UK #14, US #149
• Live Sparks, 1979

Graham Parker

• Live! Alone in America, 1989 (Recorded live in Philadelphia, October 1988)
• Live Alone! Discovering Japan, 1993
• Live from New York, 1996
• BBC Live in Concert (compilation 1977–91), 1996
• The Last Rock and Roll Tour, 1997 (with the Figgs)
• Not If It Pleases Me (BBC sessions 1976–77), 1998
• King Biscuit Flower Hour Presents Graham Parker (live 1983), 2003
• Live Cuts From Somewhere, 2003 (with the Figgs)
• "Blue Highway", 2003 (Recorded live in Grant Park, Chicago, Illinois on 4 July 1988)
• !Live Alone: The Bastard of Belgium, 2005
• Yer Cowboy Boot, 2005
• 103 Degrees in June, 2006 (with the Figgs)
• Platinum Bastard, 2007

Compilation albums[link]

• The Best of Graham Parker and the Rumour 1980
• Look Back in Anger: Classic Performances, 1982
• Historia de la musica rock: Graham Parker and the Rumour, 1982
• It Don't Mean a Thing If It Ain't Got That Swing, 1984
• Pourin' It All Out: The Mercury Years, 1986
• The Best of Graham Parker 1988–1991, 1992
• Passion Is No Ordinary Word: The Graham Parker Anthology 1993
• No Holding Back, 1996
• Vertigo Compilation
• Temporary Beauty, 1997
• Stiffs & Demons
• Master Hits, 1999
• The Ultimate Collection
• You Can't Be Too Strong: An Introduction to Graham Parker and the Rumour, 2001
• The Official Art Vandelay Tapes, 2003
• A Fair Forgery of Pink Floyd, 2003 (song: Pink Floyd's "Comfortably Numb")
• The Official Art Vandelay Tapes Vol 2, 2005

Chart singles[link]

Quotation[link]

NME – February 1979^[8]

References[link]

External links[link]

• Official website
• Graham Parker
• Struck By Lightning: discography, gigography, bibliography, and more
• Biography at AMG website
• Don't Ask Me Questions ? Interview with Parker edited by Toni D'Angela, on La furia umana, #4, Spring 2010