Robert Palmer -

Robert Palmer (Jan. 19, 1949 — Sept. 26, 2003) was an English soul-rock singer famed for the hits “John and Mary,” “Addicted to Love,” and “Simply Irresistible.” He charted with songs originated by Andy Fraser (“Every Kinda People”), Moon Martin (“Bad Case of Loving You”), and The System (“You Are In My System”).

He got his break in The Alan Bown!, a psychedelic soul-rock ensemble that hired him for their 1969 self-titled second album. In late 1970, Palmer joined soul-rockers Dada and prompted their name-change to Vinegar Joe, which cut three 1972–73 albums on Island Records.

Palmer cut his 1974 debut solo album, Sneakin’ Sally Through the Alley, with members of Little Feat and The Meters. He released four subsequent albums between 1975 and 1979 on Island, culminating with the breakthrough titles Double Fun and Secrets.

In 1980, he lent percussion to the album Remain In Light by Talking Heads, whose drummer, Chris Frantz, played backup on Palmer’s sixth solo release, Clues, which also features Gary Numan on a replica of the Telekon track “I Dream of Wires.” A half-live album and two further studio releases rounded out his time on Island over the ensuing lustrum, a period crowned by the popular songs and videos from his 1985 release Riptide. It directly followed his one-album stint in The Power Station, a supergroup comprised of Duran Duran and Chic alumni.

Background

He was born Robert Allen Palmer on January 19, 1949, in Batley, West Riding of Yorkshire, to a British naval intelligence officer. He grew up in Scarborough, where he joined his first band, The Mandrakes, at age fifteen.

In 1969, he replaced Jess Roden in the Alan Bown Set, singing on their single “Gypsy Girl” and on the UK version of their second album, The Alan Bown! (replacing Roden’s original vocal tracks). The following year, Palmer replaced singer Paul Korda in the twelve-piece brass-rock-soul ensemble Dada, led by singer Elkie Brooks and her guitarist husband Pete Gage.

In 1971, Palmer, Brooks, and Gage formed the soul-rock sextet Vinegar Joe, which released three albums on Island: Vinegar Joe and Rock’n’Roll Gypsies (both 1972) and Six Star General (1973). Palmer’s suave image contrasted the era’s scruffy rock archetype.

When Vinegar Joe disbanded in March 1974, Palmer resigned to Island as a solo artist.

Sneakin’ Sally Through the Alley

Robert Palmer released his debut solo album, Sneakin’ Sally Through the Alley, in September 1974 on Island.

Sally fuses blue-eyed soul with New Orleans funk and improvisational rhythms. The Meters back Palmer on four tracks, while Little Feat guitarist Lowell George appears on five.

Palmer wrote four songs. They cover Lowell George (“Sailin’ Shoes”) and Allen Toussaint (“Sneakin’ Sally Through the Alley,” “From a Whisper to a Scream”).

On Sneakin’ Sally Through the Alley, Palmer navigates tight, syncopated funk with a relaxed, almost conversational vocal style. The opening medley of “Sailin’ Shoes,” “Hey Julia,” and the title track flows with rolling rhythms, punctuated by Lowell George’s agile guitar and the Meters’ fluid, percussive patterns. “Get Outside” eases into a more spacious, mid-tempo sway, giving the horns and rhythm section room to accentuate subtle shifts. “Blackmail” ramps up intensity with jagged guitar lines and punchy drumming.

“How Much Fun” opens Side B with rollicking, buoyant interplay. From there, Palmer leans into slower, extended passages: Toussaint’s “From a Whisper to a Scream” glides over restrained, contoured instrumentation, and the twelve-minute “Through It All There’s You” expands into atmospheric layers, letting Palmer’s voice drift over swelling, dynamic textures.

A1. “Sailin’ Shoes” (2:44)
A2. “Hey Julia” (2:24)
A3. “Sneakin’ Sally Through the Alley” (4:21) — originated as a 1970 side by Lee Dorsey, written by Allen Toussaint.
A4. “Get Outside” (4:32)
A5. “Blackmail” (2:32)

B1. “How Much Fun” (3:02)
B2. “From a Whisper to a Scream” (3:32) — originated as a 1970 side by Allen Toussaint.
B3. “Through It All There’s You” (12:17)

Sessions occurred at studios in New Orleans and New York with producer Steve Smith and engineers Phill Brown, Ken Laxton, Alan Varner, and Rhett Davies.

Sneakin’ Sally Through the Alley features artwork by Graham Hughes, depicting Palmer fleeing through a tunnel with a model in a lacy slip and pearls.

Island promoted the album with “Sneakin’ Sally Through the Alley” in 1975. Ringo Starr covered “Sneakin’ Sally Through the Alley” on his 1977 album Ringo the 4th.

Pressure Drop

Robert Palmer released his second solo album, Pressure Drop, in November 1975 on Island.

The album combines New Orleans funk, reggae-inflected rhythms, and string-laden ballads. Little Feat performs on several tracks, marking their last major collaboration with Palmer.

Palmer wrote six songs and co-wrote “Here with You Tonight” with Pete Gage. Covers include Toots and the Maytals (“Pressure Drop”), Allen Toussaint (“River Boat”), and Lowell George (“Trouble”).

Musically, Pressure Drop balances energetic funk with spacious, soulful arrangements, anchored by Little Feat and New York session players. Side one opens with the taut, horn-embellished “Give Me an Inch,” moves into the stripped-back, chant-like propulsion of “Work to Make It Work,” and then the string-accented, Philadelphia-style soul of “Back in My Arms,” before closing with the breezy, lightly syncopated “River Boat.”

Side two begins with the reggae-inflected surge of the title track, “Pressure Drop,” propelled by deep bass and crisp percussion, then flows into the buoyant interplay of “Here With You Tonight.” “Trouble” glides through supple guitar riffs and textured keys, while “Fine Time” stretches over extended sections, alternating scrappy, almost raw vocal runs with layered harmonies to build dynamic tension. The album closes with “Which of Us Is the Fool,” a gently swelling, contemplative track that melds horns, piano, and bass around Palmer’s expressive vocals, producing a lively yet nuanced sonic landscape.

A1. “Give Me an Inch” (3:17)
A2. “Work to Make It Work” (4:27)
A3. “Back in My Arms” (3:30)
A4. “River Boat” (3:44)

B1. “Pressure Drop” (5:26) — originated as a 1969 side by Toots and the Maytals, written by Frederick Hibbert.
B2. “Here with You Tonight” (4:57)
B3. “Trouble” (2:25)
B4. “Fine Time” (5:43)
B5. “Which of Us Is the Fool” (3:25)

Sessions occurred at Blue Seas Studio in Hunt Valley, Maryland with producer Steve Smith and engineer Phill Brown. Artwork is by Graham Hughes.

Island promoted Pressure Drop with “Give Me an Inch” (b/w “Pressure Drop”) on 30 January 1976. “Which of Us Is the Fool” followed with a video featuring Palmer in performance scenes. Ian Matthews covered “Give Me an Inch” in 1978.

Some People Can Do What They Like

Robert Palmer released his third solo album, Some People Can Do What They Like, in October 1976 on Island.

Some People emphasizes funk rock and pop rock with reggae touches. Little Feat members contribute to select tracks without full-band backing.

Palmer wrote three songs and co-wrote “Gotta Get a Grip on You (Part II)” with Alan Powell and “Off the Bone” with Phill Brown and Steve Smith. Covers include Norman Span (“Man Smart, Woman Smarter”), Lowell George (“Spanish Moon”), Don Covay (“Have Mercy”), and James Gadson (“What Can You Bring Me”).

Musically, Some People Can Do What They Like emphasizes smooth, stripped-down arrangements that foreground Palmer’s vocal range and expressive phrasing. Side one opens with the lush, harmony-rich breakup ballad “One Last Look,” flowing into the buoyant, lightly syncopated “Man Smart, Woman Smarter,” which rides a reggae-inflected rhythm with playful vocal twists. “Have Mercy” builds on punchy, funk-driven instrumentation, while “Keep in Touch” unfolds over a mellow, jazz-tinged pulse layered with intricate backing vocals.

Side two moves through sultry, mood-driven tracks such as “What Can You Bring Me” and “Hard Head,” balancing restrained percussion with supple guitar lines and ambient touches. Interspersed snippets like the effects-laden “Off the Bone” provide textural contrast, while rock-leaning moments punctuate the set, creating a measured alternation between relaxed, contoured passages and rhythmically assertive sections. Across originals and covers, Palmer negotiates tempo and intensity with finesse, producing an album that feels intimate, fluid, and emotionally resonant.

A1. “One Last Look” (4:22)
A2. “Keep in Touch” (3:25)
A3. “Man Smart (Woman Smarter)” (2:35) — originated as a 1936 side by King Radio, written by Norman Span.
A4. “Spanish Moon” (5:58)

B1. “Have Mercy” (3:50) — originated as a 1964 side by Don Covay, written by Don Covay and Ron Miller.
B2. “Gotta Get a Grip on You (Part II)” (3:57)
B3. “What Can You Bring Me” (3:43)
B4. “Hard Head” (4:30)
B5. “Off the Bone” (2:18)
B6. “Some People Can Do What They Like” (4:09)

Sessions occurred at Clover Studios in Los Angeles with producer Steve Smith and engineer Phill Brown.

The album cover features photography by Moshe Brakha, showing Palmer playing strip poker with model Denise Michele.

Island promoted Some People Can Do What They Like with “Man Smart, Woman Smarter,” which reached No. 63 on the Billboard Hot 100.

Double Fun

Robert Palmer released his fourth album, Double Fun, on March 17, 1988, on Island.

Double Fun merges blue-eyed soul, disco-inflected paces, and rock edges under uniform production. Session players from New York and Philadelphia provide instrumental support.

Palmer wrote six songs. They cover Andy Fraser (“Every Kinda People”), Allen Toussaint (“Night People”), and The Kinks (“You Really Got Me”).

Musically, Double Fun alternates between buoyant, rhythm-driven tracks and smooth, mid-tempo ballads, emphasizing Palmer’s vocal agility over varied textures. The album opens with the warm, uplifting pulse of “Every Kinda People,” propelled by subtle percussion and lightly syncopated bass, while “Best of Both Worlds” maintains a flowing, easy pace with playful rhythmic shifts.

“Night People” rides a bouncy, lightly swung rhythm, layered with faint Caribbean percussion, and “You Overwhelm Me” unfolds as a tender, restrained love song with soft backing harmonies. Rock-oriented moments, such as “You’re Gonna Get What’s Coming,” combine taut guitar lines with assertive drum patterns, creating a sharp, driving intensity. Interspersed covers and experimental touches, like the dimmed-lights funk rendition of “You Really Got Me,” punctuate the set with angular riffs and textured arrangements, producing an album that balances flirtatious energy, relaxed contours, and subtle rhythmic variation.

A1. “Every Kinda People” (3:17)
A2. “Best of Both Worlds” (3:54)
A3. “Come Over” (4:06)
A4. “Where Can It Go?” (3:20)

B1. “Night People” (4:12)
B2. “Love Can Run Faster” (4:02)
B3. “You Overwhelm Me” (3:05)
B4. “You Really Got Me” (4:23) — originated as a 1964 side by The Kinks, written by Ray Davies.
B5. “You’re Gonna Get What’s Coming” (4:29)

Sessions occurred at Hit Factory and Mediasound in New York City and Sigma Sound in Philadelphia with producers Robert Palmer and Tom Moulton and engineers Phill Brown, Arthur Stoppe, and Tom Moulton.

Island promoted Double Fun with “Every Kinda People” (b/w “Keep in Touch” in Europe, “How Much Fun” in the US) in March 1978, which reached No. 16 on the Billboard Hot 100. “Best of Both Worlds” followed in April, “You Overwhelm Me” in June, and “You’re Gonna Get What’s Coming” in October. Bonnie Raitt covered “You’re Gonna Get What’s Coming” in 1979.

Secrets

Robert Palmer released his fifth album, Secrets, in June 1979 on Island.

Palmer drives rock edges with R&B rhythms and accented riffs. Five session players back him: bassist Pierre Brock, drummer Dony Wynn, guitarist Kenny Mazur, and keyboardists Steve Robbins and Jack Waldman.

Palmer wrote six songs and co-wrote “Woman You’re Wonderful” with Jo Allen. Covers include Moon Martin (“Bad Case of Loving You (Doctor, Doctor)”), Todd Rundgren (“Can We Still Be Friends”), Andy Fraser (“Mean Ol’ World”), John David (“Love Stop”), and Dennis Linde (“Under Suspicion”).

Secrets opens with “Bad Case of Loving You (Doctor, Doctor),” which drives forward on brisk, clipped accents that frame Palmer’s forceful delivery. “Too Good to Be True” follows with a steadier, mid-pace rhythm that lets his phrasing stretch in longer contours, while “Can We Still Be Friends?” shifts into a softer pace shaped by more rounded lines. “What’s It Take” stands out for its buoyant, island-leaning cadence and light percussive bounce that give the track a lifted feel.

“Under Suspicion” moves with a rougher, more jagged guitar presence, and “Mean Old World” slows into a gentler step where his voice softens against a warmer arrangement. “Love Stop” drifts by comparison, its slower pace and looser structure making it less defined. Across these pieces, the album alternates between taut, forward-driven numbers and relaxed mid-tempo songs shaded by the Bahamas setting in which Palmer recorded.

A1. “Bad Case of Loving You (Doctor, Doctor)” (3:10) — originated as a 1978 side by Moon Martin.
A2. “Too Good to Be True” (2:54)
A3. “Can We Still Be Friends” (3:37) — originated on Rundgren’s 1978 album Hermit of Mink Hollow.
A4. “In Walks Love Again” (2:45)
A5. “Mean Ol’ World” (3:33)

B1. “Love Stop” (2:57)
B2. “Jealous” (3:15)
B3. “Under Suspicion” (3:25)
B4. “Woman You’re Wonderful” (3:57)
B5. “What’s It Take?” (3:26)
B6. “Remember to Remember” (3:30)

Sessions occurred at Compass Point Studio in Nassau, Bahamas with producer Robert Palmer and engineer Karl Pitterson.

Title features a cover concept by Susan Palmer and photography by Graham Hughes.

Island promoted Secrets with “Bad Case of Loving You (Doctor, Doctor)” (b/w “Love Can Run Faster”) on 25 May 1979, which reached No. 14 on the Billboard Hot 100. “Jealous” followed on 17 August, and “Can We Still Be Friends” (b/w “Too Good to Be True”) issued on 9 November and reached No. 52.

Clues

Robert Palmer released his sixth album, Clues, on September 26, 1980, on Island.

Clues layers new wave paces over synth-pop frameworks and electronic rock lines.

Palmer wrote five songs and co-wrote “Found You Now” with Gary Numan. They cover Gary Numan (“I Dream of Wires”) and The Beatles (“Not a Second Time”). Numan guests on keyboards for two tracks.

Clues moves between brisk, clipped pieces and cooler, glassy synth-led tracks. “Looking for Clues” pushes forward on tight, quick-step rhythms and bright, xylophone accents, while “Johnny and Mary” narrows into a steady, unbroken pulse where Palmer shapes long, restrained vocal lines over a sparse electronic frame. His take on “I Dream of Wires” keeps the original’s stark edges but adds a warmer, more grounded undercurrent in the rhythm.

“Woke Up Laughing” stretches into a thinner, chant-like pattern set against minimal electronic movement, and “Found You Now” leans into a slower, sway-like cadence. “Not a Second Time” sits between these modes with a lighter touch and less density. The album’s contrasts hinge on how Palmer alternates tight, propulsive arrangements with pared-down pieces built from sustained tones and muted repetition.

A1. “Looking for Clues” (4:52) — combines steady rhythms with zolo-ish xylophone arpeggios and sharp, atonal guitar breaks.
A2. “Sulky Girl” (4:07)
A3. “Johnny and Mary” (3:59) — balances minimal synth lines against contoured vocal phrasing across an airtight back beat.
A4. “What Do You Care” (2:44)

B1. “I Dream of Wires” (4:34) — originated as a 1980 side by Gary Numan.
B2. “Woke Up Laughing” (3:36)
B3. “Not a Second Time” (2:48) — originated as a 1963 side by the Beatles, written by John Lennon and Paul McCartney.
B4. “Found You Now” (4:37)

Sessions occurred at Compass Point Studio in Nassau, Bahamas with producer Robert Palmer and engineer Alex Sadkin.

Island promoted Clues with “Johnny and Mary” (b/w “What’s It Take?” in Europe, “Style Kills” in North America) in August 1980. “Looking for Clues” followed in October with a video aired on MTV’s launch day.

Maybe It’s Live

In April 1982, Robert Palmer released Maybe It’s Live, a semi-live album with six concert staples and four new studio tracks.

Maybe It’s Live splits between taut studio pieces and heated stage performances. The new tracks lean on precise, restless motion: “Style Kills” pushes a clipped, jittery pulse under high, sharp-edged vocal lines, while “Si Chatouillieux” flickers with quick electronic gestures that shift direction like a fidgeting signal. “Some Guys Have All the Luck” moves in a straighter, forward stride, its phrasing clean and even. “Maybe It’s You” tilts toward a looser, falsetto-led sway with a stronger rhythmic undercurrent.

The live cuts surge with louder dynamics and harder accents; “Sneakin’ Sally Through the Alley” stretches into a more forceful, full-band drive, and “Bad Case of Loving You (Doctor, Doctor)” hits with tightened pace and crowd-fueled lift. Across these contrasts, the album alternates between tightly framed studio focus and the amplified, rougher edges of the Dominion Theatre set.

A1. “Sneakin’ Sally Through the Alley” (4:07)
A2. “What’s It Take?” (2:54)
A3. “Best of Both Worlds” (3:06)
A4. “Every Kinda People” (4:17)
A5. “Bad Case of Loving You (Doctor, Doctor)” (4:04)

B1. “Some Guys Have All the Luck” (3:09) originated as a September 1973 Atco a-side by Bronx soul group The Persuaders; written by Yale Whiffenpoofs alumni Jeff Fortgang. Ex-Deaf School singer Bette Bright sings it from the female perspective (“Some Girls Have All the Luck”) on her 1981 solo album Rhythm Breaks the Ice.
B2. “Style Kills” (4:16)
B3. “Si Chatouilleux” (4:34)
B4. “Maybe It’s You” (3:43)
B5. “What Do You Care” (2:20)

Sessions for live tracks occurred at Dominion Theatre, London on 11 October 1980; studio tracks recorded with producer Robert Palmer and engineers Rhett Davies and Jack Nuber. Guitarist Adrian Belew (a fellow Remain In Light guest) plays on “Si Chatouilleux.”

Island promoted Maybe It’s Live with “Some Guys Have All the Luck” in January 1982, which reached No. 16 on the UK Singles Chart. In 1984, Rod Stewart charted stateside with “Some Guys Have All the Luck.”

Pride

Robert Palmer released his seventh studio album, Pride, in March 1983 on Island.

Pride fuses dance-pop with R&B funk paces. Palmer wrote seven songs and co-wrote “Say You Will” with Rupert Hine and “The Silver Gun” with Alan Powell. They cover songs by The System (“You Are in My System”) and Kool & the Gang (“You Can Have It (Take My Heart)”).

Pride threads tightly sequenced percussion, sharp synth figures, and abrupt structural turns. The title track moves with quick, clipped rhythm and bright metallic accents that dart around Palmer’s lines. “Want You More” pulls back into a slower, more hollowed-out space where repeated phrases settle over a thin, lingering backdrop. “You Are in My System” hinges on insistent, looping patterns that build in small increments, and “Deadline” carries a brisk, staccato pace that jumps between punctuated bursts.

“It’s Not Difficult” and “Say You Will” lean on colder, more rigid electronic frames where his vocals trace narrow contours across steady pulses. “Dance for Me” slinks at a slower tempo without much lift, while “The Silver Gun” shifts into an almost cinematic drift shaped by sparse atmospherics and unconventional phrasing. “What You Waiting For” stands out for its off-kilter refrain and sudden rhythmic pivots. Across these pieces, Palmer sets his voice against dense sequencing and hard-edged electronic textures, creating an album of sharp contrasts and abrupt, sometimes disorienting transitions.

A1. “Pride” (3:27)
A2. “Deadline” (3:53)
A3. “Want You More” (3:26)
A4. “Dance for Me” (3:42)
A5. “You Are in My System” (4:20) — originated as a 1982 side by the System, written by David Frank and Mic Murphy.

B1. “It’s Not Difficult” (3:41)
B2. “Say You Will” (3:46)
B3. “You Can Have It (Take My Heart)” (3:07) — originated as a 1981 side by Kool & the Gang, written by Kool & the Gang, J.T. Taylor, George Brown, and Claydes Smith.
B4. “What You Waiting For” (3:44)
B5. “The Silver Gun” (5:33)

Sessions occurred at Compass Point studio in Nassau, Bahamas and Farmyard studio in Little Chalfont, England with producer Robert Palmer and engineers Jack Nuber and Paul Jarvis.

Pride features cover art by Bert Kitchen.

Island promoted Pride with “Pride” on 19 November 1982. “You Are in My System” followed in March 1983 with a video. “You Can Have It (Take My Heart)” issued in June 1983.

Riptide

Robert Palmer released his eighth solo studio album, Riptide, in November 1985 on Island.

Riptide layers hard rock riffs over steady rhythms. The album features ex-Chic bassist Bernard Edwards and Palmer’s erstwhile Power Station colleagues: guitarist Andy Taylor (one track) and drummer Tony Thompson (seven).

Palmer wrote three songs. They cover songs by Walter Donaldson (“Riptide”), Earl King (“Trick Bag”), Cherrelle (“I Didn’t Mean to Turn You On”), and David Batteau (“Discipline of Love”).

Riptide moves between forceful, percussion-driven tracks and lighter, more suspended pieces. “Addicted to Love” centers on a hard, even pulse where clipped guitar figures cycle against Palmer’s taut phrasing, while “I Didn’t Mean to Turn You On” tightens into sharper, jittered accents that flicker around a dense low end. “Hyperactive” pushes a brisk pace shaped by bright keyboard stabs and sudden rhythmic jolts, and “Discipline of Love” follows a similar forward motion with thicker layering and emphatic vocal lines.

“Flesh Wound” hits with heavier, staccato guitar patterns and pounding drums that echo the blocky, high-impact style of Palmer’s Power Station work; “Trick Bag” pares that back into a leaner frame with fewer moving parts. Between these louder pieces, the title track and “Get It Through Your Heart” pull into slower, more fluid contours, clearing space for longer vocal lines and softer instrumental shading. Throughout, the album relies on tight rhythmic foundations and sharply framed motifs that drive each track with a direct, unvarnished intensity.

A1. “Riptide” (2:24) — originated as a 1933 side by Eddy Duchin, written by Walter Donaldson and Gus Kahn.
A2. “Hyperactive” (5:08)
A3. “Addicted to Love” (6:03)
A4. “Trick Bag” (3:01)

B1. “Get It Through Your Heart” (2:49)
B2. “I Didn’t Mean to Turn You On” (3:43) — originated as a 1984 side by Cherrelle, written by James Harris III and Terry Lewis.
B3. “Flesh Wound” (3:43)
B4. “Discipline of Love” (6:06)
B5. “Riptide” (Reprise) (2:00)

Sessions occurred at Compass Point studio in Nassau, Bahamas with producer Bernard Edwards and engineer Jason Corsaro. Riptide features illustration by Susan Palmer.

Island promoted Riptide with “Discipline of Love” in October 1985 with a video showing Palmer in performance clips. “Riptide” followed in January 1986 in the UK. “Addicted to Love” issued in January 1986 in the US with a video directed by Terence Donovan depicting Palmer fronting identical female models on guitars, keyboards, bass, and drums. “Hyperactive” followed in May 1986 in the US. “I Didn’t Mean to Turn You On” (b/w “Get It Through Your Heart”) released on 7 July 1986 in the UK with a video reusing the model band concept.

Heavy Nova

Robert Palmer released his ninth solo album, Heavy Nova, on June 22, 1988, on EMI.

Heavy Nova shifts between hard rock paces and bossa nova rhythms. Eight session musicians back Palmer, including accordionist Garth Hudson and guitarist Eddie Martinez.

Palmer wrote seven songs. They cover songs by the Gap Band (“Early in the Morning”), Johnny Burke (“It Could Happen to You”), and Jermaine Jackson (“Tell Me I’m Not Dreaming”).

Heavy Nova moves between sharp, high-impact pieces and slower mood studies. “Simply Irresistible” fires the album open with clipped guitar accents, tight rhythmic propulsion, and vocal lines that rise in short, contoured bursts. “Early in the Morning” shifts into a thicker, low-strung pattern built on a steady, weighty pulse. “Tell Me I’m Not Dreaming” pushes that density further with a duet that layers syncopated accents and overlapping phrases.

In contrast, “She Makes My Day” pulls back to a soft, linear flow with lightly cushioned orchestral touches. The mid-album diversions stand apart: “Change His Ways” swings between brisk phrases and abrupt yodel passages, while “Casting a Spell” sets its pace against circling patterns and percussive details that give the track an unsettled edge. Across these turns, the album alternates between tightly wound arrangements and looser, more exploratory passages.

A1. “Simply Irresistible” (4:14)
A2. “More Than Ever” (3:25)
A3. “Change His Ways” (2:56)
A4. “Disturbing Behavior” (3:45)
A5. “Early in the Morning” (4:42)

B1. “It Could Happen to You” (2:32) — originated as a 1944 side by Dorothy Lamour, written by Johnny Burke and Jimmy Van Heusen.
B2. “She Makes My Day” (4:23)
B3. “Between Us” (4:49)
B4. “Casting a Spell” (3:57)
B5. “Tell Me I’m Not Dreaming” (3:46) — originated as a 1984 side by Jermaine Jackson, written by Michael Omartian, Bruce Sudano, and Jay Gruska.

Sessions occurred at Logic studio in Milan, Italy and Compass Point studio in Nassau, Bahamas with producer Robert Palmer and engineer Tim Kramer.

Island promoted Heavy Nova with “Simply Irresistible” (b/w “Nova”) on 31 May 1988 with a video directed by Terence Donovan showing Palmer with synchronized female models. “She Makes My Day” (b/w “Disturbing Behaviour”) followed on 3 October 1988 in the UK. “Early in the Morning” issued in October 1988 in the US. “Change His Ways” (b/w “More Than Ever”) released on 2 May 1989 in the UK with an animated video featuring cartoon birds parodying the model band. “Tell Me I’m Not Dreaming” followed in June 1989 in the US. “It Could Happen to You” issued on 14 August 1989.

Discography: