Remember to Remember: Robert Palmer

Alan Robinson writes for SDE on the late, great Robert Palmer

Blimey. Has it really been fifteen years since Robert Palmer passed away? Indeed so. He died on September 26th 2003 in a Paris hotel, succumbing to a heart attack at the savagely young age of only fifty-four. He seems to have largely faded from view with each year that passes; yet he enjoyed a lengthy and rewarding musical career, and for a while, managed to skilfully negotiate that difficult tightrope walk between critical acclaim and commercial success.

Yorkshire-born Robert Palmer’s career began in the mid-sixties, playing in groups such as The Mandrakes when he was still at school in Scarborough. His first band of real note was the Alan Bown Set, whom he joined as replacement for vocalist Jess Roden. In 1970, he enlisted in the musically ambitious Dada, a twelve-piece Jazz-Rock fusion combo that also featured Elkie Brooks and Peter Gage. They would only last a year, before Brooks, Gage and Palmer would convene the rather more conventionally hard rocking Vinegar Joe. After recording three albums for Island Records, the band split, but Chris Blackwell, the label owner, clearly liked the cut of Palmer’s jib, and signed him to a solo deal – Island would remain Palmer’s recorded home for ten years, recording eight studio albums for the imprint. Blackwell was sufficiently old school to allow Palmer time to evolve a style and grow artistically over successive releases, rather than looking for instant hits. Debuting in 1974 with Sneaking Sally Through The Alley, recorded with the New Orleans masters of funk The Meters and Allen Toussaint, and featuring Lowell George of Little Feat (who co-produced the album with Palmer), the album was a great critical success whilst selling modestly, but each successive release built on his fan base incrementally.

Palmer was an artist who always had a certain sartorial style, and it follows that his album covers should be commensurately elegantly-tailored. The cover of his second album, Pressure Drop, featured a naked model standing at a window, with her long hair tapering down her back – whilst the smartly-suited Palmer held a TV remote control in his hand – the album title being featured on the TV screen. It portrayed Palmer as a kind of international playboy roué, even if it was done rather tongue-in-cheek

Robert Palmer seemed to show little regard for what was musically ‘trendy’; one of his album titles was Some People Can Do What They Like, and that could act as a theme for his career. He changed musical style as often as most people change their underwear, and yet he always sounded like no-one other than himself. He rejoiced in contradictions; a down-to-earth Yorkshireman togged up in suave, exquisitely cut designer suits, recording in exotic locales like Compass Point in Nassau, and all the while smiling to himself when he considered his luck. One thing’s for sure, though – he was never cavalier about his music. It was fun, but it was serious fun, and he never lost an enquiring mind and a desire to push his musical parameters.

Palmer always seemed to be a geezer at home in his own skin, and he invested his music with a playfulness and a genuine love of life. With every album, he took a different approach, and was clearly an individual who liked exploring new music and mixing up the genres with real abandon. On his 1980 album, Clues, he covered songs by Gary Numan (‘I Dream of Wires’) and The Beatles. He didn’t care; it was all music to him, and all up for grabs. If he could bring something to it, put his own thumbprint on it, he’d give it his all. Spooling forward, he was one of the first mainstream rockers to embrace The Great American Songbook with 1992’s Ridin’ High, years before Rod Stewart or Robbie Williams thought it was a smart career move.

Palmer always enjoyed a good old rocking musical workout, though. His brief hook-up in The Power Station in 1985 with John and Andy Taylor of Duran Duran allowed him to flex his vocal muscles with a particularly lubricious take on the T Rex chestnut, ‘Get It On’.

Of course, Robert Palmer will always be synonymous with that video – I am referring to ‘Addicted To Love’, his 1985 US number one / UK top five hit single. It was directed by the British photographer Terence Donovan, and featured Palmer straight-facedly performing the song, fronting a band of identically-dressed, identically made-up (and very beautiful) female models (as Malcolm McLaren later commented “Terry Donovan knew how to dress a woman”). The video was as controversial as it was popular, exciting the opprobrium of feminist commentators as well as being an MTV ever-present. Palmer seemed to revel in the fuss that was kicked up; it didn’t do sales of the parent album, Riptide, any harm at all, and the promo video is rightfully regarded as a classic. He reprised the idea for ‘I Didn’t Mean To Turn You On’ and ‘Simply Irresistible’, and Shania Twain turned the tables in her video promo for ‘Man (I Feel Like A Woman)’.

Like any successful artist, Palmer was as susceptible to the vagaries of pop’s ever-shifting landscape. The 1990s saw some indifferent album releases, such as Honey (1994) and Rhythm and Blues (1999), good, rather than great. His final album, 2003’s Drive, was one of the most raw of his career, yet for all his description of it being a “gut-buckety kinda thing”, he still took the eclectic approach, covering songs by artists as varied as ZZ Top, Redbone, and Little Willie John. It was a gem, and if anyone was resting on their considerable musical laurels, it wasn’t RP. However, his untimely death robbed the world of music of one its most charming and engaging of characters, and had he lived, I have no doubts that Palmer would have again achieved success, and confounded those who may have had him labelled as a spent force, or ‘that bloke in the video with the foxy chicks’.

RIP RP – you were one of the very best.
Alan Robinson

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Curious if anyone can verify using dates or previously available info the Universal fire of 2008, that destroyed untold existing masters in their care that had been lost forever; did they have hold of his master at that time? Which if they did, would work on credible reissues or boxed sets moot as to what the best sources would be, from which to work.

link to article from Summer 2019: https://www.nytimes.com/2019/06/25/magazine/universal-music-fire-bands-list-umg.html

As with so many of his fans and admirers, I miss the potential of any new works. My first awareness of Pamler was back in the golden days of Rolling Stone, Circus and Creem magazines. that reported on his exciting vocal work w/Vinegar Joe and just about then his departure to go solo.

Of his collected work I’ve only the “Addictions”, 1 & 2, mostly due his taking the opportunity then to bring to the tracks what he’d wanted originally and didn’t get or subsequent to those sessions. The only other artists I recall doing something similar was America when they re-recorded their Greatest Hits utilizing Sir George Martin’s studio prowess to bring out their best efforts via the new recordings. Whether it was Palmer or America, they kept it interesting at the perfect point of gifting their loyal fans.


one minor quibble. RP did not “cover” a Gary Numan song on Clues. Numan co-wrote a couple songs with RP and played on the album. I Dream of Wires is on both Clues and Numan’s Telekon album (different versions, though)


I don’t know if I’m opening myself up to criticism regarding these releases, but I have all the Edsel/Universal reissues on CD from 2012/2013. I enjoy them thoroughly and pleased to have the additional bonus tracks. 6 separate CD packages containing two albums each with bonus tracks.


proud to share the same birthday (Jan19) as the great Robert Palmer along with Janis Joplin and Johnny O’Keefe. Agree with Robert L that Clues was perfect


Very nice article. I always was aware of him, from the early 80’s on, and later in life even had compiled my own compilation of his work, from all the cd-compilations out there, trying to avoid those remixed versions that popped up on most of them (didn’t like those), instead going for the original ones. A few years ago, I started to collect some of his work on vinyl. RP was a great, versatile artist. Boxset / remasters, or not, I have 5 albums now from his early period, all original pressings, and I’m very happy with them. I’ll probably get a few more in the future.

David Robinson

all shame . So innovative in the 70’s and early 80’s.

Lenny Wells

I saw him about 8 times all in New Orleans.


There should be an accompanying compilation under this title (as on initial glance, I thought it was an exciting box set, collecting the A,s, B,s, unreleased rarities and key Robert Palmer album tracks etc! But it’s a fitting tribute to the man himself nonetheless!


What a great comment Neil, lots of people on here question why box sets have missing tracks etc without considering the monumental work put into them….you have to release them at some point…you can search for obscure track master tapes for an age !

Melville Farr

I spent a few hours in the early 90s talking to RP at the Virgin offices in Beverly Hills for an interview. Having been a longtime fan all the way from the release in the UK of Sneakin’ Sally and even from Vinegar Joe previously, it was illuminating to say the least. Robert readily admitted that his first three or four albums — with of course members of the Meters, Little Feat, the Atlantic session band and Kokomo — were his best work and what followed esssentially was done for the shekels although he enjoyed some of the material. He talked about the Sally sessions and working with Lowell and his early years on the London gig circuit. He was marvelous and funny. We also talked about the remarkably hideous drum sound of the then-current metal band Pantera. I said that I had to (grudgingly) see them in Santa Monica that very night for a review — and was extremely surprised to run into him at the gig. He also was curious if they could duplicate what we agreed was a really awful, obnoxious noise. Robert, let it be said, had an evolved sense of humor! I would dearly love to see those first four albums remastered and wish there was some live material available from any of the gigs he might have done with any of the above-mentioned musicians — but I just don’t think there is any.

Kevin Brown

Thanks Neil for your explanation on how difficult it is putting a boxset together, I think sometimes we all don’t realise how much work goes into these projects.
Such a shame about Roberts boxset been stopped, if it was going to be as well put together as the Jess Roden box you did a few years back then it would surely have been superb.
I look forward to the Island Book of Records (all volumes), and yes i agree Island Records for me was the greatest record label ever, too many great names on one label to even begin listing them…….it would take too long.
I guess we will just have to live in hope that we may one day get a superb Robert Palmer boxset.


Always wondered what Power Station could have done if they’d took it more seriously and egos and drugs were kept under better control. The talent was undoubtedly there: with a superb vocalist and frontman in Robert and three fine musicians in John, Andy and Tony Thompson. But Robert (perhaps understandably) saw what a joke it was becoming (a rock band with screaming teenage Duranies at gigs!) and Michael Des Barres was brought in and things became almost like a scene from the Comic Strip’s Bad News. With Live Aid being particularly gruesome.


Saw Robert Palmer live twice (my first two concerts) in 1981 (Manchester) and 1983 (Nottingham). Excellent live experience, especially 1983’s searchlight introduction and two (two!) drummers. I have all his CD’s but would welcome a full catalogue release with B sides etc, hope it happens.

Neil Storey

Well… hello again…

For reasons that I find (border on the) bizarre, my / HiddenMasters name has been mentioned a few times on this thread. I’ll try and answer as best I can.

First, however, to Andrea… “I wonder if the label still operating at all…” which ended a couple of paragraphs of conjecture above. Short answer – yes, we are.

You’re quite right, *that* Chris Wood set did take years (it could be said, it took years off me too). A limited edition of 1000 copies – everyone being very wise and saying… you’ll be lucky to get rid of 500. As of tonight, we have 4 left. Sure, it not only took a time to produce (honestly… have you or anyone who posts on here any real, genuine knowledge of what it takes to pull something like that together?) and yes, it has taken a while to sell out – however, a few more weeks and they’ll all be gone. I’ve no way of knowing if that means we’ve done something right or wrong… what we did was for Woodage. And his family. No more, no less. Yet, what it says to me is… we believed in a project 110%… and… amazingly, others believed in what we believed in. How effin’ incredible is that! Please don’t take this the wrong way – it’s unbelievably humbling when that happens and nothing we’d ever take for granted.

As of present, we have a number of other projects at various stages of development – many easy enough to find on our site such as The Distractions or Heads Hands & Feet – plus some we’ve not announced.

ALL… right now… are on hold. Why? Well, for three main reasons.

First – as much ass HM is a label, we also act as a consultancy and that has gradually been taking more and more time to the extent that project A or B (no matter how developed it may already be) isn’t able to be given enough time to make it as wonderful and lovely as we’d like. Sad but true.

Two – pure finances are against us. We’re a tiny operation and do not have the resources other, larger, labels do. So – just as one example – when the royalty we (contractually) have to pay to the master’s rights holder is hiked by Y%, that has an impact across the board which, in the end, leads to difficult questions. Can we physically afford to keep working on project C or D? IF the answer is no… our, margin has dissipated to such an extent that project C or D is financially compromised, we have to call a halt.

Three – there has been one project that’s been evolving in the background for as near as dammit 10 years. Of late (by which I mean the last year or so – and for a variety of reasons), that background has become the foreground; it has become our main focus.

Its not anything I’ve wanted to announce just yet… but… in the last 48 hours certain things have solidified – as much as we’re more normally based in France, I’ve been in London tying up loose ends to the extent that what we’ve been calling Project X will become very real at the end of this year / start of next when it’ll start to pre-sale.

Consequently… I’m now untying the drawstring (is that an apt phrase? Comments please!). Ok… so…

Project X is The Island Book of Records.

It entails 3 approx. LP sized volumes, each at approx. 300 pages + illustrated to the nth degree + with the stories behind those LPs told only by those involved at the time either via curated interviews or by more recent, direct conversations. In other words, no journalistic waffle however well intentioned. In short, the IBoR will detail the analogue age of (what I believe to be) the most important label on the planet . Others may disagree – I’ll just disagree back. So… that’s what is taking our time.

To Robert P.

Yes… via Universal (the rights holders) and via the Estate, HM was authorised to put together a full-scale RP retrospective. We spent approx. 18 months working on it – small fry in the greater scheme of HM things as this would have been the most ambitious project to date. It was probably a 5-year project.

It was very gradually taking shape; much of the tape research had been completed, we were gradually getting to the interviewing process (in short, talking to everyone still alive who’d worked with RP) and we were building a database of those no longer with us and compiling interviews there as well. Radio interviews we had (within our archive) or from elsewhere were transcribed…. Robert was photographed a vast amount – dammit, I commissioned enough of those sessions myself… so that was another database being filled in. In short, it was all building. We were reporting back to the good people at Universal… Robert’s Estate… and then…

Completely out of the blue, one Friday evening approx. 6.30pm and with no reasons attached an email landed. In brief it said (while this isn’t a direct quote, it paraphrases exactly) RP’s Estate didn’t want to work with us on this project any further. At which point, we – immediately – backed away. My instant return e-note stated we were calling an immediate halt as we believed it was pointless working on something that would not be collaborative.

I suppose the immediate question is… why? The answer to that is, I’ve absolutely no idea. And, in hindsight, nor does that matter – it was the decision of the RP Estate… and, so far as I’m concerned, that is and has to be respected. End of.

Obviously – a great pity; RP and I worked together for as long as we did – he wasn’t easy…. but, hey – c’est la vie. I don’t know of one single ‘great artist’ who was or is ‘simple’ to work with.

Nonetheless, Robert’s music and his legacy should be respected much more than it has been over the years so, moving forward, lets collectively hope it is given the respect its due.



Hello again Neil.

What happened to you Bumper project ??


@Neil Storey
Thanks for the insight… I guess.
Even if it just confirmed what I feared (and wrote), both about Hidden Masters’ activity and the RP box being held back by problems with the ownership/leasing of the tapes.
I’m just sad and sorry to hear that, precisely because I enourmously appreciated your work on the Chris Wood and the Jess Roden set.

That said, the fact you would consider “bordering on the bizzarre” that your name, or Hidden Masters, would be mentioned on a thread dedicated to an artist on which it is well known that you and Hidden Masters have worked at lenght (as you confirm), well I find *that* bordering on the bizarre… ;-)


The first side of “Sally” has to be one of the most sublime suites of its age

Garry Allen

Side A of Sally… wonderful, wonderful stuff. RP’s early albums deserve a decent vinyl re-release for sure.

Garry. A

Geoff Tanner

Good article… RP was a rare artist, able to constantly invent, reinvent and re group without EVER losing his or the musics identity. Great live, great in the studio, a truly intuitive musician. Sadly missed. I too would love there to be a ‘box set’ release of all the albums, plus all the studio/live never used material that must be gathering dust somewhere?


How nice to see RP getting some respect! One can’t help but wonder where his music would have currently taken him.
All our 70’s college daze parties in Mississippi were soundtracked by Little Feat, Robert Palmer, Roxy Music, reggae, etc. His campus concert one spring (oddly) felt almost like he was coming home….


Excellent read. I always felt Palmer was under-appreciated even when he was at his commercial peak. There seemed to be this perception that he was just some vocalist with a schtick, and no one seemed aware of how talented he really was.

I will confess a bit of disappointment, though, as when the page first opened and I saw the photo, I thought we were getting the collected box set that we all hope for. A “Complete albums” with collected rarities and remixes would be amazing, even if it only focused on the solo output. If you could get the Power Station and other work included as well–heaven.

Michael Leek

Saw RP in Leeds pre-Power Station, great gig.
His version of Mercy, Mercy Me was sublime.
Time to pay my respects – 12 inch version of ‘bang a gong’ coming-up.
Great, respectful article…


I wish I’d written a song as perfect as ‘Johnny and Mary’. Just wonderful. He left us way too young.

Carl Smukall

Hyperactive and I Didn’t Mean To Turn You On are such underrated songs!!


The second of those is a cover of a Cherrelle track. Tis a great version, though…

Mister Stick

Really fun read, thanks so much. Can’t count how many times I have tried to convince people that a great career preceded (and followed) “Addicted To Love”, and I am sure I’m not alone on that one. Anybody who ever saw Palmer play live learned that the mid-80s hits were not the full measure of his work. It would be great to see his “half-live” album properly expanded to include the whole 1980 show used as source.

A question for the author: What do you know about the plan in the 1980s for Palmer to actually join Little Feat? When that band resumed work in ’88 or so, it was reported that Robert would take the place of the late great Lowell George. Of course, Craig Fuller from Pure Prairie League was given the job. Obviously, Palmer knew the Feat well, and one listen to Sneaking Sally Through The Alley or the terrific late-period Drive makes a great case for him to have fronted one of our greatest bands.

Thanks again.

Kevin Brown

I’ve asked Universal loads of time that they NEED to do a massive Robert Palmer boxset similar to the John Martyn/ Sandy Denny box sets. It amazes me that Roberts back catalouge has NOT even been remastered for normal individual CD releases let alone boxset releases. This artist would have had huge sales for Island and I really just don’t understand how he has been ignored like this. Neil Storey was indeed going to releases a massive boxset on Robert but I think sadly in the end he has had to give up the project because of unknown problems getting it off the ground. I know Neil writes on here so he will be the Best person to maybe tell us why Robert has not been given the just dues that he deserves. I wish someone at Universal would do something about the lack of a boxset and get on producing one………oh and with ORIGINAL takes not those dreadful remixes.

John Orr

Met him once after his show at the Edinburgh Playhouse in Feb. or March of 1991, and asked him for a photo. He of course, had just come off stage, climbed into a black taxi, was probably feeling tired, but posed for a couple of shots. I still have them. Lovely man, love his music, and his songs definitely need some form of deluxe treatment. Excellent read!


Nice write-up, he was pretty unique and left us some classics, “Johnny and Mary” was absolutely HUGE in France, it was used for an add. The Power Station’s “Some Like It Hot” is a killer track too.

It’s probably because it goes without saying that you didn’t mention his voice in your article, but what a soulful effortless voice he had !

Gary Shaw

I was a fan of most of Robert Palmer’s work over the years. His premature death was a great loss to the music world. He was never afraid to experiment or fuse different styles
I remember seeing him with the Power Station, he refused to tour the first album, as he had to work on Riptide, but agreed to play some dates when the second album came out 11 years later. Sadly, it wasn’t as good a record as the first, but I did get to see him front them at the Hanover Grand nightclub in the West End of London. A tiny little place. They were brilliant. I think there was talk about a full tour, but that never materialised.

A. Vogt

Great article! Palmer’s always been one of my very favorites, in fact he was the first concert I saw, Heavy Nova tour ’88 in Omaha! Saw him again 11 years later at a small theatre in Boulder, his last tour, so I appreciate both memories. His website is awful and badly designed, needs a major overhaul. Also, why do you think it is that Ridin’ High essentially bombed (charted for a week at #173 in the US, with no subsequent album charting), yet Rod Stewart ended up with 3 million-selling albums of the same type of material a couple years later?

SDE Hall of Fame

To answer your last question, there’s no justice! I absolutely LOVE “Ridin’ High”. His own “Aeroplane” is a bit of a lost classic. Saw him do this album at the Royal Albert Hall with full orchestra… amazing.

Chris Squires


The road to obscurity is paved with artists / bands who were 5, 10 or 15 years ahead of their time.
If the Lilac Time had started in 2002 instead of 1987 some people might know who they were.


I think marketing can also be an issue. I don’t feel like his label through themselves behind promoting the album at the time, and just a few TV spots on the talk shows and a little push at radio can make a huge difference (especially in that time) behind something that sells a million copies and something that’s remaindered six months after it comes out.


Wow, great article Paul! Thanks for paying attention to one of my favorite artists. Palmer was an exceptional talent who left us an amazing catalogue. The way he effortlessly moved between pop, rock, jazz and blues was testimony he was more than “the guy from the video”. He also worked with artists I loved, like Bernard Edwards (Chic), Duran Duran (who worked with the other half of Chic, Nile Rodgers), Teo Macero, etc. He was real treasure who obviously left us way too soon. Thanks for this proper tribute!


The man was so cool the time I saw him in concert, he never even unbuttoned his jacket until the encore.


Such an under appreciated artist! Definitely deserves a big commercial push of his back catalogue and maybe a documentary – he deserves for the wider public to remember him


The scary part is that he was only 54. I am 42 now and suddenly 54 doesn’t seem that old…

Martin Stacey

I have been a fan for many years. I like this, remembering, a good idea. I don’t usually like artists re-recording their material but his ‘Addictions’ re-recordings were excellent, and his notes in the albums were enlightening, fascinating and entertaining. ‘A great loss’ or ‘a tremendous catalog to explore’…half empty or half full? I am never really sure. As Alan says, he seems largely forgotten. I have read in the past about problems with this estate, I assume that means family squabbles but I don’t know. Last time I looked, a few years ago, the official website was awful, almost pointless. Hopefully one day someone can resurrect his work and we can see releases like we do with Dylan, Hendrix and Lennon. That would be Simply Irresistible.

Scott G

Would love all his catalogue properly re-mastered from the original master tapes including hi-res option especially “Double Fun”.


Saw him once live in Amsterdam with Vinegar Joe at the Paradiso.
Love those first 2 solo albums, especially the songs arrainged by Gene Page from the second one.


Wow 15 years. I agree, there was more left of Robert Palmer. Definitely a much deeper artist than simply the man in the suit with the foxy chicks. Not afraid to reinvent or give people what they want, Simply Irresistable was probably his critical undoing, however, had he followed Riptide with some avant garde recording his reputation would have been cemented in the great halls of pop. Going through his back catalogue, I was surprised that he worked with Lee Scratch Perry, as well as cover Todd Rundgren, and Kid By The Pretenders… his sound was all over the place, and drew from a lot of unlikely sources…. mind you few could have pulled off what he did in the Power Station, well, perhaps Bowie.

Chris Squires

Double Fun – late 1978

As a 11 year old rapidly devouring music…. with as many cassettes, from my local lending library, as my 20p a week pocket money would stretch to. One week I picked up Double Fun and fell in love with it. The album before would have been Ommadawn and after would have been Tom Lehrer or The Goon Show. When you have access to only one album a fortnight you utterly devour it.

I can’t believe it’s 15 years, it’ll be 10 for Michael Jackson soon. Time absolutely flies.
Robert is not forgotten here. The white double Vinyl Collected set from last year ago still finds a regular place on the turntable.

Marcus Palmer

If somebody deserves a comprehensive box set, it’s the sublime Robert Palmer. What a voice! One of my favourite solo artists, and not because of my surname!


I love that he was such a fan of the Comsat Angels that he pulled some strings to get them signed to Island Records. He recorded a couple of their songs (not released) because he wanted to see how they worked, clearly a real music fan at heart and by all accounts a very nice chap.


He did some backing vocals on the Chasing Shadows LP. Very nice job he did too.

Michael Khalsa

Thank you. Listened briefly to Riding High sounded very nice. My sister lent me her Riptide tape when it came out liked the title track. Also enjoy the Tina Turner cover of Johnny & Mary.

Le Baron

I’m not a Robert Palmer fan but yesterday evening, for I don’t know which reason, I’ve had an irresistible desire to listen again to his RIDIN’ HIGH album* (on vinyl, of course) which I love.
Today I discover it’s his death birthday.

(*) I remember a VHS/Laserdisc version of this album was made available at the time of its release, back in 1992. Time for a CD/DVD reissue? :)

Stan Butler

A lovely tribute. Robert Palmer passed me by in my younger years but I’ve grown to appreciate his work over the years. His cover of “Not A Second Time” is great and “Johnny and Mary” is just an all time classic. I’m a big fan of Rod, but Robert outdid him on “Some Guys Have All The Luck”. Funny to think that the actually quite subtle “Addicted To Love” video was seen as controversial back then, when you compare it with the right in your face modern pop videos.


The 3CD Collected UK price has now nearly doubled. Which is a shame for me, but nice to see your article is clearly driving some sales for RP.


nice article. for some reason I always though he was American.


Great stuff, love him, but where’s the vinyl? Or the box set?

SDE Hall of Fame

There isn’t one, yet, but Hidden Masters are working on one, I believe.


Well, Hidden Masters was supposed to be working on a comprehensive box, but it’s been years now…. it was once rumoured/listed as one of their major projects, now it’s completely off the radar, I think it’s safe to assume they’ve given up.
I understand there might be legal wranglings over the ownership/leasing of the tapes.
I’d be more than happy to be proven wrong of course, if Neil Storey or anyone in the know might want to chime in.

Actually, it’s almost two years since HM has released anything, and *that* Chris Wood project took years in the making, so I wonder if the label still operating at all…

SDE Hall of Fame

It’s not safe to assume ‘they’ve given up’. They take ages because they are a small operation and they do things right, working with artist or estate etc.


Well, one thing is to take ages (as way of saying) , and another is to literally “take ages” to do anything.
With no fresh info, or updates, for years now, assuming that they are “doing things right” is just as safe as assuming that they have “given up”.

As I said, if you Paul, or anyone else, has any actual info I’d be more than glad to stand corrected. I’ve been searching the web for info about this set “for ages”…

SDE Hall of Fame

I quite like the fact that they GO AWAY and get on with the job and don’t need to feel the need to keep giving updates. It’s not like a Pledge project where we’ve all invested our funds and are patiently (or sometimes impatiently) waiting. Why do we need to know what’s happening? When it’s done they will announce and we can then rejoice in the fact that someone has taken time over something and hopefully done an amazing job.


I inquired about it last year and they told me it was cancelled due to estate issues I believe. Was really looking forward to that one.

Tiny Smalls

…a ‘geezer!?! Really!?!

Robert Laversuch

Very good article on a very underrated artist. Personal fave will always be Clues to me a perfect effort. Maybe his problem was that he didn’t stick to a particular style but found a home in lots of different musical genres which is definitely not a bad thing however some people seemed to think so.

Steve Robertson

Hes one of my guilty pleasures.

Someone needs to start doing deluxe editions of all his stuff, hes massively under appreciated.