Other tracks blur the line between the personal and the universal. The eight-minute epic “The Other Side of the Reservoir” is both an elegy for a drowned meadow and an unwritten letter to an ex-lover. In “Suspension Bridge,” a sinewy minor-key ballad with a vaguely Middle Eastern feel, Parker jumps from a pleasant childhood memory of standing on a bridge with his father to a meditation on mortality and our essential solitude: “Not in one world or another,” he sings. “I’ve got no sister, and I’ve got no brother.” “Bullet of Redemption,” one of several overtly Dylanesque tracks on the album, is a lovely paradox, one part curse and one part benediction. Like all the best metaphors, the titular bullet can’t be explained away; it misses its mark, ricochets, scatters signifiers like buckshot. Of course, there’s more than enough acrimony to maintain Parker’s angry-young-man credentials. The sardonic sing-along “Ambiguous” lampoons the apathetic American electorate, and the snarling blues-shuffle “Stick to the Plan” takes on everything from global-warming deniers to the war on terror. The surf-rock seether “Love or Delusion,” a kind of anti-love song, describes “a system so advanced that it runs on blood and works by chance.” But the vitriol is tempered by “Somebody Saved Me” and “All Being Well,” two unapologetically romantic songs whose sweetness squelches any lingering traces of acid. Maybe Parker deserves a more accurate title after all these years. How about “brilliantly conflicted geezer”? Contact René Spencer Saller at email@example.com.