A Look Back on Legend Robert Palmer

This is a posting that is particularly special to me because it's about one of my favorites and also because of the extended time period that it covers. Plus, it reveals my respective association with one of Rock Music’s finest artist, Robert Palmer (1949-2003). But first, please let me reinforce the proclamation that these first-hand stories are not about me. They are about the timely experiences as well as the special places in which they occurred. I’ll be the first to admit that when most of these episodes transpired, I was just a middle-management promotion executive who happened to be so lucky to be assigned to represent such great talent. How fortunate I was to be a field rep and work with Rock’s finest and not have to experience the caged environment of working in a home office of a big corporation. This unparalleled freedom allowed me to fly under the radar as a marketing specialist and promote my favorite artists with passion. All while flying by the seat of my pants and allowing natural experiences to prevail. These stories express my magic carpet ride through Rock history and I enjoy sharing them. I hope you can appreciate.

This is a three-part story on Rock legend Robert Palmer. As the story begins, let us turn back the clock to 1972. The scene opens when a mail person enters my office to deliver the morning mail. However he didn’t look too pleased and displayed a smirk on his face as he made numerous trips to deliver several armloads of records and magazines. I guess to him I appeared to be a slacker or long haired hippie who indulged himself in receiving postal nonsense. After all, it was a turbulent era, a time filled with chaos and a generation gap so big that you could drive a semi through. As I went through the mail, my favorite publication was in the bundle and posted there on the cover was news from afar. The publication was a music weekly named Melody Maker and it was the British equivalent to the U.S. version of Billboard Magazine. The front-page headlines proclaimed in bold print “MELODY MAKER’S GROUP OF THE YEAR – VINEGAR JOE.” Being a stern supporter of music trends that developed in England, I further investigated the article which was written by leading journalist Chris Welch. Come to find out, the article revealed that Vinegar Joe’s debut album was on Atlantic Records. That got me excited as Atlantic was my employer at the time. Plus they were a leader in the British Rock movement. As I further scanned, I noticed the band’s U.S. tour itinerary that included none other than my hometown of Memphis.

Further details in Melody Maker listed Vinegar Joe’s tour dates through the Southern states as they were the opening act for another British newcomer, Wishbone Ash. Not your everyday box office ticket rush. But never the less Vinegar Joe was given a small opening for a big opportunity. In those days most of the smaller tours featuring groups that didn’t have a hit record, the purpose was to expose them to the general public and sometimes the record companies would under write the band's expenses in an effort to offset any loses occurred at the gates.

Based on the strength of the article, I convinced a senior executive at Atlantic to allow me to get involved. After some reluctance, finally he agreed and I was given the opportunity to tour with the group to set-up FM Radio and underground press interviews. Plus the after concert meet-and-greets had become a new found popularity with young broadcasters and aspiring journalists. But confidentially, the home office in New York considered the tour as a yawner as Atlantic was about to unload tons of new releases on several of their major artists. It was during these uneventful tours that the home office brass referred to me as a “Groupie” because of my desire to tour with the unknown bands. During that same time I was absorbing myself with the reading material of a new underground rag called Rolling Stone Magazine. However, back at the home office, it seemed that major emphasis was being focused exclusively on the publications Billboard, Cashbox and Record World. Yet, no one was actually assigned to call on what they considered as the “Hippie Press.” This oversight left me puzzled. As you had it, the general consensus from my corporate officers was that they thought these publications were operated by guys who smoked dope all day and didn’t practice hygiene. Their major concern at the time was for Top-Forty Radio. Oh by the way, I took on the additional task to inform my managers of the importance of Melody Maker also. So, off to meet Vinegar Joe I went.

Vinegar Joe’s vocalist was a sassy young beauty named Elkie Brooks (above) who had created a huge following throughout the British Isles. Her husband Pete Gage was the guitarist in the band and acknowledged as a foremost bandleader. Next, there was a handsome lad who was positioned on the far side of the stage and a mere backup singer and tambourine player by the name of (above) Robert Palmer. Despite Palmer's low profile and background status, his soft eyes and silky smooth vocals were very much appreciated by everyone all the way to the back row of the audience. When the Southern leg of their U.S. tour began, Elkie Brooks, Pete Gage and I flew in advance of the bands travel arraignments to set-up their forthcoming evening's performances with pre-show interviews. After visiting several radio stations, the band's album experienced moderate success as it received airplay at WRAS-FM in Atlanta, WWOM-FM in New Orleans, WORJ-FM in Orlando and WBUS-FM in Miami. However, several days into the tour and after long hours of a grueling schedule, I sensed that the tour was not producing the magic needed to capture an American audience. This is not to say that Elkie Brooks and Peter Cage or Robert Palmer didn’t bust their asses or meet expectations. It was just the fact that without a hit record only small crowds attended their concerts plus they were only the opening act for a mediocre headliner, Wishbone Ash.

After a convincing Vinegar Joe performance at Ellis Auditorium in Memphis combined with a Bar-B-Q dinner at the famous Rendezvous Restaurant, both bands, Vinegar Joe, Wishbone Ash and myself (above) were invited to a party at the infamous location known in prominent rock circles as ‘3744 James Road.’ It was a plush location resembling a Southern style mansion and fashioned with tall white columns stretching out over the front porch. From the long driveway entrance you could view a fashionable porch swing and rocking chairs suitably fitted for the setting. As we drove up to the house, it appeared we were approaching a scene from the movie "Gone With The Wind." This was the residence of several industry notables and their families; WMC-FM 100 disk jockey Jon Scott, MCA Records' Bruce Bowles, and a local RCA Records’ rep named Phil Rush. As most Rock and Roll parties generally go, people were staged all over the entire house, the kitchen, living room, entrance stairwell, and yes, the front porch. The sweet fragrance of imported cannabis filled the air combined with handfuls of Dr. Nick’s Quaaludes that were passed out as party favors. Throughout the night, loud music played while the stoners pulled motorcycle wheelies in the drive way. All while entertaining all the special party guest. But as the clock ticked-on well into the evening, guess who got sick and blew chow all over the kitchen? It was about that time that I got well acquainted with a sick Robert Palmer and drove him back to his hotel in downtown Memphis. No one told me that an Atlantic promotion man had to pull baby sitting duties.

But Robert Palmer was only a back-up singer in the Brit's version of a R&B band. As good as Vinegar Joe was, especially live on stage, the unit was unable to capture their magic on record.

After three respectable albums on Atlantic, the tightly knit band hit a crossroads.

After several unsuccessful U.S. tours, Vinegar Joe disbanded in 1973. At that time Robert Palmer and Elkie Brooks pursued a solo careers. Palmer landed with Chris Blackwell's Island Records which was distributed by Atlantic Records. There he experienced a successful solo career with numerous chart records. Elkie Brooks soon signed with Atlantic's former European manager, Frank Fenter, who had relocated to Macon, GA to help establish Capricorn Records with partner Phil Walden.

Editors note: The location of the party in Memphis mentioned in this posting became such a popular hangout for Rock bands that it became the title of a noted album; "3744 JAMES ROAD" by the GROUNDHOGS

Next Posting: Palmer's influence on Pop Music; "Sneaking Robert Palmer Thru the Rock Era"

Photo of Robert Palmer & Elkie Brooks by Gered Mankowitz