TRIBUTE - Robert Allen Palmer 1949-2003, English singer-songwriter, Producer, Grammy Award winner. The Power Station, Vinegar Joe, Dada, Alan Bown, Mandrakes.

Joined January 2013
Welcome to @Addiction_ers #RobertPalmer "...remember what a fearless and trailblazing artist he really was. Not everything works, but you could say the same about Bowie... And judging him on that one video is akin to only remembering David Bowie for 'Let’s Dance'." ClassicPopMag
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This month @Addiction_ers is celebrating the 50th anniversary of #RobertPalmer's 1976 album, "Some People Can Do What They Like'. Recorded in Los Angeles, it became Palmer's strongest album to date on both sides of the Atlantic.
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5: 'Have Mercy", taps straight into Don Covay’s earthy, blues-soaked soul. Covay helped shape ’60s R&B, influencing Mick Jagger’s swagger and writing songs recorded by Wilson Pickett and Otis Redding. Palmer takes the lament and ratchets up the intensity.
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4: “Spanish Moon,” gives #RobertPalmer one of Little Feat’s darkest grooves to play in. He doesn’t imitate, despite three Little Feat members backing him. Instead, with bass and drums leading, he sharpens all the edges. No longer a warning, he's already lost to the Spanish Moon.
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Track 4 starts here, with a rich dose of Lowell George's writing. The 1974, track features vocals by Bill Payne, Bonnie Rait, Emmylou Harris and Fran Tate. A story retold about a bad night turned worse by the chance find of a dangerous & alluring club. youtu.be/cS2UqIB5Apo
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Sometimes online you come across absolute internet slop, and then there's this, a researched nuanced and considered historical recount of the story of the #RobertPalmer 'Addicted To Love' video (1985). Pity about the choice to focus on "Drunk". youtu.be/HtWKXxYBz_k
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3: "Man Smart, Woman Smarter", is classic Palmer having fun in a way few others could get away with. Written by Norman Span (King Radio) it's an old calypso from Trinidad, made famous by Harry Belafonte. Palmer flips it into a riotous lament, winking through the resulting chaos.
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2: “Keep in Touch”, written by Palmer leans on a sly, good humoured lyric about a love that survives distance related silence. The production is rich, but direct as though the song was a live room performance. The smooth 70's groove is punctuated by Payne's playful keyboards.
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By the way, the Robert Palmer YouTube channel keeps on offering. Get the best of both worlds by following @RobertPalmerOfficial on YT. The latest video just dropped, so don't waste time. youtu.be/U9ItCEQYLjs
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In September 1994 Palmer stated that 'One Last Look' was his least favourite song in his catalogue, because simply, the lyric content about the end of a relationship was "too negative".
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1: “One Last Look” is a song of bittersweet acceptance of the end of love. Penned by Little Feat’s keyboardist Bill Payne and his partner Fran Tate, it is typical of Payne's meloncholic reflective writing. Palmer soars across the lyric riding Richie Hayward’s loose LA groove.
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Clover Studios, LA founded in 71, was a mid tier studio & not part of the the 'LA hit factory' scene. It gave considerable space to #RobertPalmer to realise his ambition. Although, through Rainey, Hayward, Porcaro & Payne, the album likely shares DNA with much of LA’s 76 output.
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1976 was the moment #RobertPalmer took full control of his sound on an album he could say: “I like it too.” The album's band? An unassuming supergroup. Chuck Rainey on bass, Jeff Porcaro & Richie Hayward on drums, Paul Barrere & Bill Payne from Little Feat. Palmer up front.
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By 1976 #RobertPalmer had already reinvented twice. R&B with Alan Bown, jazz‑rock with Dada, and blues‑rock in Vinegar Joe. By 'Some People', he finally sounded like himself. Island said, "Make the music you actually love.” That meant American soul, funk, New Orleans grooves.
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To celebrate the 50th anniversary of #RobertPalmer's 'Some People Can Do What They Like', here's my take on the cover's risqué game beneath a Spanish Moon. Probably shot in LA during the summer, it featured Denise Michele, Hawaiian‑born Playboy cover model from April 1976.
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...Moshe Brakha's work below with Boz Scaggs on February 1976's 'Silk Segrees' probably set a reference point for the cover. They are visually similar with strong horizontal lines and the artist in profile. But for me, the lighting on Palmer's cover just dosen't quite work so...
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