ROBERT PALMER
LIVE AT THE APOLLO | DRIVE | RHYTHM & BLUES (VINYL REISSUES)
BFD/ORCHARD RECORDS
Robert Palmer had a fascinating career. When he made his solo debut with the now classic Sneakin’ Sally Through The Alley, critics and radio listeners were not really sure what to make of the singer. The album was a cross between R&B and funk, with some pop and rock thrown in for good measure. But he did find an audience. Following this album, Palmer continued to confuse fans, DJs, and critics by easily moving from genre to genre on his albums. But he built a solid and loyal following. Although he sold enough records to keep him signed to a label, it wasn’t until 1985’s Riptide that his career exploded. The album sported numerous hits and he became a worldwide rock/pop star. By the late 1990s, things had cooled down for Palmer and by the time he released Rhythm & Blues, he was still respected, and he still had his audience.
After leaving Island records, some of his late 1990s/2000s albums were released on smaller labels and have basically disappeared over time. This is a shame, because although the albums did not have hit singles, they were still incredible albums. Palmer never disappointed. BFD/Orchard Records have very kindly re-released his last two studio albums (1999’s Rhythm & Blues and 2003’s Drive) along with his second live album, Live At The Apollo (released in 2001). Palmer passed away four months following the release of Drive, making it his final musical statement.
When it was released in 1999, Rhythm & Blues was Palmer’s first studio album of new material in five years, so anticipation and expectations were high for the album. In many ways, it was a return to form for him. The title of the album says it all. He went back to his musical roots, although the music was much slicker than his debut album. “True Love”, a song Palmer co-wrote, opens the album, which is a fantastic song and Palmer sounds great. Palmer does do a convincing cover of Marvin Gaye’s “Let’s Get It On (99)” and his cover of Lowell George’s “Twenty Million Things” is certainly a strong end to the album. It is a strong album, but Palmer was not taking any chances with it and played it rather safe. His updated version of “Work To Make It Work” has a definite Prince slant to it, but does not top the original. For this reviewer, “Mr. Wise Guy” is a highlight and brings some very fresh sounds to the album.
2001’s Live At The Apollo feels like a stop gap album. It is a recording of the last show of his 1988 tour. His band was tight and very hot. Eddie Martinez on guitar provided a great deal of the excitement (give his solo on “Some Like It Hot” a listen) and Palmer is in fine voice. It is hard to believe that this was the end of the tour, his voice showed no strain at all. “Johnny & Mary” comes off beautifully live and delivers a great deal of excitement. This album demonstrates the beauty of Palmer, his ability to move from genre to genre and style to style. His concerts were like that, and he did it with such ease. He also does some deeper cuts, such as “Flesh Wound” which goes into heavy metal territory. Again, listen for Martinez’s playing. It is quite astounding. This is a great live album and maybe released a few years too late, but nice that it made its way out to remind people of Palmer’s ability to command a stage.
Drive, released in 2003, is the lost gem among Palmer’s albums. This is a gritty blues album, and you can almost taste the Mississippi Delta water. While Rhythm & Blues is overproduced and a bit too slick, Palmer takes on these classics with determination and sparse production. Palmer digs deep into some blues classics and delivers some of his strongest vocals in his career. The album is all covers, and he tackles the songs with such reverence and depth that in many cases he makes them his own. His cover of Little Willie John’s “I Need Your Love So Bad” is inspirational. His version of “Hound Dog” may not make you forget Elvis, but he certainly tackles it with energy and power. This re-release features four previously unreleased tracks, and of the batch “Stupid Cupid” is a clear highlight.
BFD/Orchard Records have put a great deal of effort in bringing these three lost gems back into the world of music, and all three albums are welcomed back. In many ways they never got the attention they deserved (although Drive did make it to number 10 on the Billboard Blues chart), and now is the chance to catch up on an important part of Palmer’s career. The three albums offer a glimpse of different aspects of Palmer’s far too short career. Given the strength and exploration of Drive, one can only imagine the music Palmer would have continued to make. However, these three releases are here to be rediscovered and enjoyed, perhaps by a whole new generation.
SPILL FEATURE: MIGHT AS WELL FACE IT – A CONVERSATION WITH GUITARIST EDDIE MARTINEZ (ROBERT PALMER)
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