Robert Palmer

This is one of the greatest examples of Musical Theater. The songs in this Film couldn't haven't been done any better than besides the greats; Fred Ebb and John Kander. Its sad that it took about thirty years after the Broadway Production for it to be made into a movie. But I guess it was worth it to get such great stars as Catherine Zeta-Jones, and newly introduced to Musical Theater, Queen Latifah.

I sadly would have to say that from what I have heard of Liza Minnelli's performances of songs in Chicago, are not as great as Zellweger's were in this film. Although Liza does a great "All That Jazz", Renee shows Liza how to get the number "Roxie" done.

One thing I really like about this soundtrack is that is olden type of music, and its not remastered old songs, but it old songs performed by Modern artists, and presented in Modern, "High Definition" audio quality. Its like Michael Buble, he does the old standards, but manages to share them with the old standards to us with great, new, modern, quality. And thats exactly what this film does, It still presents the great old classics; But does it in a great modern, and perfect audio quality way.

One part I think that could have been done better by someone else is the part John C. Reiley. From what I Heard he is a singer, but from what I have seen in this movie, he isn't the greatest one. "Mr. Cellophane" is one of my favorite songs from this film, and I think John C. Reilly makes the song look like a joke. It's supposed to be a very touching song, and I don't think his vocals met those requirements. And also, I think the whole vagabond outfit for his character was completely dumb. I think the whole lonely stage setup was great, but the whole, homeless, vagabond thing, just made the song look like a joke. When it really is a very touching song.

Besides that, the film and soundtrack where great. And I loved the two extra tracks on the soundtrack by Queen Latifah, and Anastasia are great.This album completely deserved the Grammy Nomination it got, and I would recommend this album to any Musical Theater fan.

The soundtrack arrived within about a week. (I never opt for faster delivery.) It was exactly what I wanted and, as far as I can tell, plays flawlessly.

This music is so faithfully performed by the very talented ensemble that it brings back the 1920's vividly. Each song reflects a specific style of the music popular at the time. After listening to this CD I had to see the movie (which was also terrific) and then I had to buy the sheet music. Usually I simply enjoy a CD and move on. This one reached me.

The cd is very good. There are only songs, no speaking parts really, even ones that precede certain songs. There are a couple of songs that are not in the movie or that were inspired by the movie. The first time you listen to it if you haven't read the fine print it kind of throws you for a loop. I highly recommend it for all who love the movie!

I truly loved the music with the movie is excellent. I was very impressed of the singing of the movie stars.

This CD was even better than anticipated. I bought one for myself and one for my Sister. She loved it too.

Arrived in good time and in excellent condition. Love his music and it keeps me company with my other mix in my car when travelling.

Robert Palmer is one of those artists that you enjoy more as you grow older. I guess with age you just understand his talent and the richness of his voice a lot more.
I have enjoyed this Cd very much and recommend it to others.

I bought this CD on a whim after hearing a couple of old Robert Palmer hits. The remixes ruin what should be a fine summation of his life's work. Robert Palmer had style this collection does not.

This is a very good CD and I bought it for the compilation song "Mercy Mercy Me/What's Going On?". I LOVE ALL OF IT!!

I have very mixed feelings about this CD. The musical support provided by Lowell George, other membrs of Little Feat and the Meters are simply stunning. The keyboard parts stand out very much and the drumming is very funky. The best song by far is the title track. What a cool groove.

Outside is another strong track. Whereas I like Sailing Shoes, it just does not compare to the Little Feat version. It all starts with the vocals. Robert Palmer just can not compare to Lowell George on this track.

AS a matter of fact, Robert Palmers vocals are erratic on this CD. He's very good on the title track, Outside and decent on a couple of others. However, that last song, Throught It All With You, Mr.Palmer just sounds like he is grunting and does not rise above the solid backing unit.

Also many of the songs do not have solid hooks. Robert Palmer would go on to record more solid hook driven songs later in his career. On this CD, it is very hit and miss.

Basically the style is good but the substance is not there full time yet.

This is a must have record. Robert Palmer is great.But add some of New Orleans best musicians and songs and it make this a must have.To bad he is no longer with us.Glad he had success with "Addicted to Love" But to me the record blows that away!

This is Robert Palmer's best album by far. It was actually made in New Orleans with the Meters and Allan Tousaint. These people are R&B Funk pioneers. Nothing he did later compared with this. This album really groovilates!

Wow! How have I not heard this music until 2007? Lucky for me one day I was listening to satellite radio when the first three song grouping caught my ear. Of course I was familiar with Robert Palmer's music but not this. It's unlike anything else I've heard from him and I love it. I bought this cd right away and then shared it with friends. If you like funky cool music buy this cd. After you're done listining to it you'll want to hear it again.

This is the debut album from Robert Palmer and its brilliant. His successful 80's albums are not a touch on this. Don't get me wrong I like Riptide, but this is in a different league.

With members of The Meters and Little Feat backing him, this album is really tight. It would have been quite something to see these guys live. The material is a mixture of originals and two classics by the great New Orleans musician and producer Allen Toussaint. These are the title track and "From a Whisper to a Scream". Palmers vocals are as smooth as you would expect and unlike much material from the early 70's this doesn't date.

This album and Pressure Drop (Palmers 2nd I believe) are both well worth getting. Robert Palmer changed styles throughout his career but never matched these two early classics.

The Dale Warland Singers "Harvest Home" is incredible. It truly brings in the essence of our American harvest. The intonation is nearly flawless, and the many details in each song make for a truly incredible CD. I haven't taken it out of my CD player since I made the purchase.

Barnett's "McKay" is one song in particular that I listen to repeatedly. Set to a poem well known throughout America, you can definitely hear the "rivers of delight" streaming through the piece.

I recommend this CD to anyone who enjoys excellence in choral music.

Most CD recordings of choral music do not attract the attention of the population at large, and "Harvest Home" is clearly an exception. Word came to me about this remarkable album through a fellow faculty member at the Boston Conservatory. He was rightly proud of having written two of the arrangements, but prouder still of the fact that it had become a red-hot bestseller through the word-of-mouth network of choristers all over the country. Needless to say, I was curious but a bit skeptical. Generally, things that become that popular have an aesthetic downside. I ordered my copy from Amazon and got it just before I left to go to a concert with a couple of musician friends. We were frankly thrilled with the quality of the singing, the beautifully shaped nuances, and the richness of the several of the arrangements. It is clear that its popularity among choral singers has to do with the musical material, as with its execution. The arrangements are based on mostly religious American folk songs and show off the delicate intonational skills of Dale Warland's legendary group. It's just the kind of thing that church choir members can really appreciate, but unfortunately cannot stand up to repeated listing -- it has to be the work of great composers for me to hear recordings over and over again. Nevertheless, I played it for my choral group, and they jumped all over it. That's the market audience. Bravo, Mr. Warland.

I've been a fan of the Dale Warland Singers for a long time, and attended many of their concerts. This recording displays perfectly what the choir was capable of. I listen to it constantly. Many of these arrangements are the best I've heard of these songs. "Deep River" is better than that of Chanticleer or Cantus. "She'll be Comin Round the Mountain" is really fun. I got the chance to sing it a few years ago and will never forget it. You NEED to buy this CD. It's well worth the money.

Buy this album! This is the finest recording I have purchased this year. The exquisite tonality and the arrangements have kept me listening every day. The audio quality is outstanding - balanced, finely nuanced, lovely soundstage. If you enjoy choral music, purchase this album - NOW.

I purchased this on a whim and it is been in my 5-disc player ever since. I have always loved choral settings of folk songs and hymns (with one exception - "The Water is Wide" should never ever ever be sung by a chorus - it doesn't work, but it is the only track I skip on this disc). The selections are all old favorites in often harmonically lush arrangements. Hawley's arrangement of "Not One Sparrow" is transcendent and has become my morning prayer, "Lay Me Low" my evening meditation. The singing is as near perfect as can be, musicality is stunning, and technical merits are high. I cannot recommend this disc enough.

As a Boston regular and a non-fan of Ozawa's, I'm surprised to report that this gorgeously played Nutcracker from 1990 is among his real successes on disc. He led a bloodless and bland Swan Lake, but here is one of the more committed readings of the socre I'vve heard. DG provides full, warm side if rather lacking in inner detail, and the BSO is in top form -- I doubt the score has ever been better played on disc. The approach is definitely symphonic -- it lacks the dancing rhythms of Zinman's 1993 version with the NY City Ballet Orch. -- but I reveled in the plushness. The filler is the usual Suite of five numbers from Sleeping Beauty. Recommended even to Ozawa skeptics.

This recording came as an extremely pleasant surprise to me. The collaboration of Ozawa and Boston has been variable on disc, with probably more misses than hits over the years, but these Tchaikovsky recordings are pretty much all that one could wish for. There is charm and warmth aplenty, aided and abetted by an ideally warm DG recording that captures what I've heard in Symphony Hall, Boston, better than just about any other I've sampled. But charm isn't everything: here, the battle with the Mouse King and the livelier dances from Act I and the Divertissement have an energy and verve that are a joy to hear. Inclusion of the best bits from Sleeping Beauty, ravishingly played again, makes this a very fine Tchaikovsky ballet sampler, despite stiff competition on CD.

3 stars is enough.Seiji gave us no thrilling,no enthusiamus.And the sound seems too dry.No soundeffect is added,so the whole recording is flat and dull.I really regret having bought it.

These are wonderful performances captured in excellent sound by the DG label. The complete Nutcracker is perhaps Seiji Ozawa finest recorded performance of any work, and the Sleeping Beauty Suite is equally distinguished. The Boston Symphony rise to the ocassion and show what a truly great orchestra they are. The Penguin Guide inexplicably neglects this version for some unknown reason. I've rarely heard the whole score played so vividly and sensitively, with the melodies just flowing everywhere. If you are only familiar with the Nutcracker Suite, I urge you to hear the rest. Every tune becomes memorable as played on this recording. In particular the Waltz of the Flowers has rarely had such bloom, and you can clearly hear every section of the orchestra. This recording, in my opinion, rivals the Kirov Orchestra/Gergiev on the Philips label. The speeds with Ozawa are a bit slower, but the impact is equally moving. One note for the cost conscious buyer: This set is now available in Europe (although curiously not in the US) as a 2 for the price of 1 set (also includes Ozawa's San Francisco recording of Romeo and Juliet). I urge you to shop around and if you are in the habit of buying online you can probably order this from an online company based in the UK for significantly less than it is going for here, probably because the full price set is still selling so well in the States. It is my hope that Amazon will make some of these "import" versions available online too.

The Suite from The Nutcracker has become so familiar and frankly overused today, especially at Christmastime, that it is rare to hear a recording that doesn't either plod through the work with boredom from too many playings or try to compensate with false enthusiasm. This, however, is a recording that restores the true beauty to all of the most familiar numbers in The Nutcracker and gives new life into the less well-known (though equally beautiful) ones as well. The traditionally known dances "Trépak" and "Valse des Fleurs" sparkle with all the shimmer that they deserve. The lesser-known portions of the ballet, such as the Danse Groß-Vater are equally well executed. Particularly noteworthy is the exquisite harp work, especially the cadenza to the Valse and throughout the Pas de Deux. The sonority of the Boston Symphony is exploited to its full potential in the larger scenes, especially the climaxes in the Pas de Deux and the battle between the Nutcracker-Prince and the Rat King. The final Valse et Apothéose is masterfully executed.The Suite from La Belle au Bois Dormant is executed with all the flair found in the Nutcracker. The entire work is extremely attentive to detail, which is not to say that it lacks the quirky nature very much present in Le chat botté et la chatte blanche music. The ever-popular final Valse is appropriately grand as well. I am usually quick to find fault, and after listening to this recording many times, I can find very little not to reccommend.

Well - Hyperactive / Didn't Mean To Turn You On - songs I can't simply live without. I've played this CD over and over.

Robert Palmer's career in the 1970s and the early 1980s could best be described as a "talented journeyman". Many recognized his talents early on, but it did not translate into commercial success. That would all change for Palmer in 1985 when he was asked to become the lead singer for a supergroup called "The Power Station". When Power Station was formed, Palmer could have easily been considered the least known of the four members - the other members being Tony Thompson from Chic and Duran Duran's John and Andy Taylor. Some may say that the big names in Power Station helped propel them to success and made Palmer a household name. I think a more accurate statement is that Power Station provided Palmer the vehicle to promote his career. Power Station was intended to be a one time project (although they would reunite many years later). Thompson's Chic band mate - bassist and super producer Bernard Edwards was involved in the Power Station project. Spurned on by the success of the Power Station, Edwards would join forces with Robert Palmer to produce his "Riptide" album. Thompson would also come along to provide the drums on the majority of the tracks. This album proved to be the cornerstone and springboard for what would be a very successful solo career for Palmer.

When Edwards produced Power Station he successfully worked to achieve a high energy hard rock sound. In a lot of ways, the decision to bring Palmer into Power Station was an odd one. Palmer was known more for being a soul-like crooning singer, but he proved to be successful in delivering Power Station's hard rock sound. When Palmer moved over to concentrate on "Riptide", he would have a variety of music styles which would make this a very unique album. This album showcases Palmer's hard rock sound that was featured on the original Power Station album. However we also see a soulful and funk side of Palmer - and even some of his crooning style. It's Palmer's crooning style that really surprised me the most. In fact, I'm very surprised that Palmer's name isn't mentioned in the upper echelon of crooners in music history.

Here is a song by song recap of the songs on the collection:

"Riptide": I admit when I first heard this track, I didn't get into it right away. This was a 1930s track written by Gus Kahn and Walter Donaldson and Palmer's version still has very much a 1930s feel. The song has very much a tropical island feel (in sync with the title). Palmer gets a chance to showcase his crooning abilities. The more I hear Palmer's vocals, the more I like them.

"Hyperactive": This song is vintage Power Station with the hard rocking sound and ferocious drums. Palmer's vocals are spot on the money with the hard rock sound. However, like Power Station - it is very hard for Palmer to upstage the drumming of one Tony Thompson. People forget that Thompson was once in line to join Led Zeppelin to replace the late John Bonham (until a car accident would prevent that from ever happening). Thompson's drumming is in his classic ferocious style and it really pays off. I give Palmer credit - he is able to sing (in a very believable manner) about the successful and wild woman in this song.

"Addicted to Love": The video (featured those women on guitar) probably helped springboard this song. This song also features a hard rock sound. This would prove to be Palmer's most commercially successful song. This is a good song, but it pales in comparison when I hear it against "Hyperactive".

"Trick Bag": I can hear Bernard Edwards' funk influence on this song - and it is Palmer who is able to deliver the funk-like vocals flawlessly. Like the title track, this song took me a bit to get into as well - but eventually I did.

"Get it Through Your Heart": This is classic Robert Palmer crooning. Unlike "Riptide", which was a song not written by Palmer - this is a song that was written by Palmer. When I heard this song, it feel it backs up my claim of putting Palmer in the upper-echelon of crooners.

"I Didn't Mean to Turn You On": This was the second most successful track of the collection. This song has Rock feel, but it isn't the hard-rocking feel of "Hyperactive" or "Addicted to Love". This song also has a funk feel, but not as funky as "Trick Bag". This song was written by Funk/Dance songwriters Jimmy Jam and Terry Lewis. Palmer's smooth vocals shine, but the star of this track has to be the bass of Bernard Edwards. Edwards delivers some of the best bass work in his career on this song.

"Flesh Wound": This song combines some of the hard rocking vocals with the smooth styled vocals of Palmer. This wasn't a bad track, but it was the weakest track on this collection.

"Discipline of Love": Many people don't realize that this song was released before "Addicted to Love", but it wasn't nearly as commercially successful. I thought this was a very strong track - and it brought both the hard rock with the funk sound. Like "Flesh Wound", Palmer has his smooth styled vocals - but they are much more effective on this track.

"Riptide": This is a reprise of the opening track. I like how this was also included at the end - it was the perfect "wrap-up" on this album.

When I got this album, it was one of the first ones that was in the "Digipak"-style format. Overall I still prefer the jewel case as the "Digipak" style wears down easier. It is also worth noting that the lyrics are included for all of the songs - along with songwriting and musician credits. While some of the songs took me a while to get into - eventually I did. This is a very good album. Highly recommended.

Looking at the credits reveals Andy Taylor & Tony Thompson, 2 more quarters of The Power Station. The sound is similar and there's 4 or 5 strong tracks that really rock it and a few that are just OK, but I liked it when it came out on vynal and I just picked up this CD and it still sounds as fresh as it did back then.

It's summer 1986. I'm 21 years old. I get a summer job in Manhattan after junior year of college, and I buy the cassette of "Riptide" after hearing the song "Hyperactive" on the radio.

Every morning taking the LIRR to Manhattan, I have this album playing on my Walkman. Hey, I already had heard "Addicted to Love" but I really thought "Hyperactive" was a better song.

Only Peter Gabriel's "So" competed with this album for Walkman time that summer. I knew very little about Robert Palmer before this record so I can't comment about this album alongside his other material. But if you're looking for a rocking album, this guy had some really good songs on this record.

I luv the man since he been out with the classic hit "Addicted to Love". Yeah Robert Palmer always got some style. That's why he so unique and real diverse on what he sings about. This man had it all. I was shocked to see that he died from a heart attack in Paris of Sept 2003. Whoa that was a big blow for me. Anyway he lives on tho.

I'm blessed to see what he left us since he been around and how he died. But this far is one of my favorites I ever own on tape but sooner or later I'll own it on both CD and cassette.

Favorite songs are: Riptide (such a bluesy song), Hyperactive, Addicted to Love, Get it Through Your Heart (more like a standards song), and I Didn't Mean to You On.

Don't need to add every song on my list but I love 'em all, gets me crazy when I listen to this. I'm 'specially a singer and a trumpet player so whether u call it that's fine.

May your music and legacy rest in peace, Mr. Robert Palmer, we greatly miss you. Wish you was here.

A girlfriend loaned me her vinyl LP Robert Palmers' Pressure Drop around 1976. I had just started listening to Little Feats' "The Last Record Album" which I absolutely loved, so when I saw that Lowell George and Little Feat were the backing band for Pressure Drop, I had to give it a listen. I can say that I have listened to this great album (CD) about 1,000 times and still listen to it regularly. There isn't one bad song on the album. If you like Robert Palmer, you won't be sorry if you buy this CD. If you love Little Feat and haven't heard this recording, you will be getting a Little Feat album with Robert Palmer singing. Pressures gonna drop on you...

After 30 years of listening to these songs on vinyl, I finally purchased
the first 3 of Roberts LP's on Cd. My only wish is that they would
have remastered them from their original analog recordings. The first 3 lp's
Sneaking Sally, Pressure Drop, and Some People, showcase Robert at his finest funkiest best!
I also purchased along with his first recordings, his last entitled Drive.
Although I fell out with Robert during the middle of his career, as a
musician myself, I can only applaud his courage to expand and try new things, more often than not, as the harbinger of the genre!
That Robert came in like a lion and left as one with Drive, is only testimony to what a great and soulful musician he was!

I like the songs "Give Me An Inch Girl", "Work To Make It Work", "Back In My Arms", the self-titled track, "Pressure Drop", "Fine Time", and "Which Of Us Is The Fool". This is because Robert Palmer could be a good one no doubt about it.

I love this album and never get tired of listening to it. Had it on cassette for years, and last year got it on CD. As the previous reviewer correctly pointed out this is an eclectic collection but I think there is a common thread running through the songs even though there are various styles used.
I don't know whether this soul or funk or rock and frankly I don't care. Its bloody good music. Robert Palmers vocals are as always that wonderful blue-eyed soul that so perfectly fitted this early part of his career.
Little Feat are heavily involved and the influence of groups like The Meters can still be heard in the grooves that are laid down.
I don't think theres a duff track on the album. Favourites well if I had to pick two it would be 'Fine Time' and 'Back In My Arms' which which sort of sums up the album for me, but on another day I'd probably pick two others!
If you like your music with a heavy dose of funk/soul and a sprinkling of Reggae this is an essential album to get.

now if only they made some people can do what they like available.
a must for Robert Palmer fans..........
If you want to get to know how talented he was
get Sneakin Sally through the Alley, and pressure drop.
Wore out original vinyl many years ago

The movie was sensational, it seems almost impossible to capture all of it in a soundtrack, but they did a wonderful job of it. Every sngle song captured the spirit of the movie, it was almost like going to a broadway musical because of the quality of this music. Catherine Zeta- Jones did a amaizing job of singing the songs "All That Jazz", "Cell Block Tango", "I cant Do it Alone",and so many more. This music is almost magical, I would recammend this soundtrack for anyone!

If you loved the movie Chicago I'll garenty that you'll fall in love with the soundtrack. You can never get to bored of "all that jazz" with Catherine Zelta Jones singing it, you can tell that she's the real star of the soundtrack. Don't be surprised if you run across "The cell block tango remix" and all that junk, it just didn't blend in with all the other songs, I always avoid it.

the movie had great songs and great music and this soundtrack captures all of it.

I'm surprised by the enormous volume of glowing, 5-star reviews here. This soundtrack isn't THAT great. Maybe I'm biased. I was fortunate enough to see "Chicago" on Broadway in early 1997 (the matinee right before the cast walked over to Radio City for the Tonys, of which it won 3 or 4). That was a few months after it opened, with the original revival cast: Bebe Neuwirth as Velma, Ann Reinking as Roxie, James Naughton as Billy, Joel Grey as Amos, Marcia Lewis as Mama Morton, and D. Sabella as Mary Sunshine. Right afterwards I bought the CD and have listened to it many times since. So I can't help but be stuck on it. (I even have the 1975 Broadway recording, which I like though not as much as 1997.)

This soundtrack simply does not feature the vocal chops to be found on the Broadway recordings. The music itself is comparable, but certainly not an improvement. And the rap version of "Cell Block Tango" is a too-obvious attempt to take modern pop "stylings" (if you can call it that) into consideration when they are NOT at all relevant here. (Okay, more bias, since I despise rap.) Plus that last track with Anastacia, or whatever her name is, is awful. She tries so hard to sound like a modern R&B singer, but she can't do it. (And, again, I hate modern R&B, so yet another pre-disposed strike for me).

I liked the movie, but it (and the soundtrack) don't hold a candle to the Broadway "original revival" cast. I highly suggest getting that recording instead. You'll hear Bebe Neuwirth wail even better than Chita Rivera did, and James Naughton blows away Jerry Orbach (and certainly Richard Gere, by FAR).

And the DVD version isn't worth it. It really only has a 10-minute featurette that I'm willing to bet is on the DVD that's about to come out. And I can see that some people here have taken Richard Gere too seriously when he mentioned that Renee Z has a Billie Holiday quality to her voice. I laughed when I heard it then, and I laughed again when I see people repeat it here (as if it's their own words--yet they spell her name Billy). Not that Renee is bad (nor is Catherine ZJ), but by no means is she anywhere near the ballpark Billie Holiday is still in 45 years after her death. (And before anyone else takes Richard Gere too seriously: no, Catherine Zeta-Jones isn't really like Dusty Springfield, either).

Wonderful sound track! Anyone, who enjoyed the movie, will certainly relive the experience listening to the CD. I cannot wait for the DVD to be released in August.

Another reviewer stated the ultimate truth: It's not as good as being there.

Though that's true, that's also the reason my wife and I bought this CD. Every time I listen to it, I feel transported back to our seats in San Francisco where my mind was BLOWN by the intense, passionate performances that took place right in front of us. I've always enjoyed dancing and music, and while we were dating my wife kept telling me that I needed to see "contact".

Her exact words were: "...trust me, you just really need to see it."

So, I'll give you a suggestion as well as a review: See the live performance, and if you feel moved, buy this CD. You'll thank yourself again and again.

I found that the dances were mesmerizing and the music invigorating. While I enjoy listening to the sound track, I keep hoping for a copy of the TV show video. I welcome any suggestions on how to acquire the video.
Thanks.
KHill

If you thought you had listened to everything about Broadway tunes, wait and listen to this one: it will leave you breathless! It's such a unique, original and wonderful musical difficult to match with any other one. Variation is the word here: the music goes from classical themes (the "Did you move?" themes)to modern tunes in a most attractive manner. This is one of those CD's that you may play over and over again, and never get tired of it. I would highly recommend it to all music lovers, since the musical range is so wide that it will thrill all audiences.

Never have I seen a show as wonderful as this. I'd do almost anything for a video of it? Any possiblility?

Contact is the best musical that I have ever seen. This is defiantly one of the reasons why I bought the CD. The reason why the musical is great is because everything ties in beautifully with the music. If you have seen the play, I defiantly recommend buying the CD, after seeing it how could you not? After I saw the play I loved it, but thought that 30 buck or whatever they were selling it for in the lobby after the show was way too much. So I waited and bought it at a media store. It was one of the best investments I've made concerning music. All my memories of the play flooded back. If however you have not seen the play, the music is still superb. My best friend has never seen the play but I let her listen to my CD and her favorite song ever is now Farandole (#4). So even w/o the background of the play, the music is still very powerful. The other uniquely great thing about this play is the fact that it has so many different styles and types of music. That alone makes it a great addition to anyone's collection. It will open you up to different styles of music which you might not have been able to appreciate before. It's a mind blowing play and a mind blowing CD with eclectic, imaginative, and powerful music.

If you've just got to have some Robert Palmer music, this is what you want, right here! A 2-CD career spanning collection with 42 songs, it has something for everyone.

Disc 1 includes his early mid-seventies funky rock n' soul songs like Sailin' Shoes and Sneakin' Sally Through the Alley (both were AOR radio staples in their time). Also here is the popular Give Me an Inch, down and dirty Spanish Moon, and big hit Bad Case of Lovin' You (Doctor, Doctor). Some Guys Have All the Luck, a hit for Rod Stewart, makes an appearance. These days when Rod performs the song in concert, he pays tribute to Palmer by showing film clips of his late friend on the big screen over the stage.

Disc 2 includes Power Station's Some Like It Hot, and Palmer's MTV mega hits Addicted To Love and Simply Irresistible. If you're not convinced Palmer can sing, take a listen to his cover of The Gap Band's Early In The Morning. Case closed. This disc also includes his excellent cover of Marvin Gaye's Mercy Mercy Me (The Ecology)/I Want You medley.

Looking over the track list to this album, you may not recognize some of the titles, but listening to this anthology will trigger memories, and you'll soon realize how many of these songs dominated radio playlists from 1974-2001. Robert Palmer Best of Both Worlds: Anthology 1974-2001 will definitely satisfy your craving for the man and his music.

This is an excellent and diverse collection encompassing Palmer's entire career (with the exception of "Drive," the blues album he released just before his death in 2003). Those who know him only from his later hits may be surprised-as I admit I was-that Palmer had been recording for over a decade before Power Station, "Addicted to Love," and "Simply Irresistible." All those biggees are here, as well as early hits like "Every Kinda People" and "Bad Case of Lovin' You," but the best part for me was discovering lesser known gems like "Man Smart (Woman Smarter)," "Some Guys Have All the Luck" (bears almost no resemblance whatsoever to the Rod Stewart version), "Know By Now," and his fantastic covers of the Gap Band's "Early in the Morning" and Marvin Gaye's "Mercy Mercy Me (The Ecology)." An underappreciated artist whose range of material was far broader than his American successes would suggest. For any fan of rock, pop, blues, R&B/soul, and even a little techno, this is absolutely worth buying.

Although this is a pretty impressive collection, it is lacking. Having 'Power Station' songs on here is a big, big plus. Although the new release of 'Power Station's' collection is very good, it is nice to have it on here because of Palmer's voice. Also, the track with UB40. Kudos to those tracks present here.
However, not being a big fan of live recordings (they always seem to be lacking also) I wish his hits, like 'riptide' & 'looking for clues' would have been the studio versions.
'You are in my system' & 'Addicted to Love' remixes are good, but the originals really should have been on here as well as the remixed versions.
But any of the tracks from 'Ridin High' or 'Don't Explain' could have been here too. It seems those two wonderful song collections have been ignored. 'Hard Head', 'Witchcraft', 'Aeorplane', 'Housework', 'Goody Goody','Light Years','Your Mother Should Have Told You','Dreams To Remember', 'You're My Thrill', 'Baby It's Cold Outside', and 'Don't Explain' are all fantastic recordings and deserve some recognition. The tracks that are representative of those two cd's are the commercially successful tracks. Maybe that's what an anthology is all about.... I would have thought it was to showcase the talent of the individual.
'Sweet Lies' is a nice suprise on here, as well as 'Spanish Moon', unexpected nicities. 'Wham Bam Boogie','Honey' and/or 'Love Takes Time' would have had a place here too... but alas, in the missing also.
I guess someone as enduring and versatile as Robert Palmer deserves more than just a flashy collection labeled 'Anthology'. One would think he deserves a 'Showcase' collection to show off his non-commercial talent as well as his commercial talent.
The packaging is very nice, I like the inner flip-disc holder method as opposed to others. The booklet and liner notes are very well done... but again missing something.
I would highly recommend including this cd in your collection IF, and only if, you already have 'Addictions' both volumes 1 & 2, 'Ridin High', 'Honey', and 'Don't Explain'. Then, indeed only then would you have a true representation of this fine entertainer that would span ALL of his career.

There's a a lot of good to said for this collection. While there have been several in the past like "Addictions" Vol. 1 & 2 where he went back and remixed tracks or added new vocals, or "The Very Best Of" album, there had not been a good comprehensive collection of Palmer until this one. Perhaps that's why it's sold as a two disc set. All the hits are here. This includes a few remixed tracks from "Addictions" which may annoy purests, although I think his updated versions of "You Are In My System" is improved over the original. You can understand why he felt he could give a better performance. The new versions of "Give Me An Inch" is beautiful and soulful, and "Every Kinda People" has moving, sweet colors of Marvin Gaye. It includes Power Station tracks and soundtrack songs ("Sweet Lies"). Also the album's 24 bit remastering is top-notch. Everything here is crisp and balanced with very little analog hiss from the originals.

"Anthology" goes from "Sneaking Sally" all the way through the "R & B" albums covering three labels, so you have to tip your hat to Island Records for putting it all together. Yet the collection has some strange quirks. For example, they use the single version of "Get It On (Bang A Gong)", yet they have the album version of "Some Like It Hot". The album ends with a wimper with awful live versions of "Johhny & Mary" and "Looking For Clues" from "Live From The Apollo". His performance was weak and the recording quality is flat and thin. Just a waste where there should have had the originals. Just because it's an anthology does mean every album has to represented especially when the Apollo album is so bad.Some tracks are just lame like "Want You More". On the other hand, it would be a shame to just have "The Very Best Of" album becuase there's so much good stuff that's not on that one that is on "Anthology" like "Man Smart, Woman Smarter", "Pride", "Some Guys Have All The Luck", and more. It's a quality anthology but also misses its potential.

I very much enjoyed this anthology, I've liked Robert Palmer, for a long time. All great songs are on here and if I were to have one complaint about this compilation, it would be that one of his 80's songs wasn't included - I don't even know the name of it, but I would recognize it if I heard it. I was sorry to not see it on there, but oh well.Anyway, I would recommend this anthology to any pop/rock fan and pop/rock that is soul-flovored. Also a must if you like Robert Palmer!