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Sneakin' Sally Through the Alley is based in rhythm. [10] Steve Sutherland called it "a polished and energetic primer in sophisticated body rhythms." [11] As with Palmer's other early albums, it is a synthesis of "improvised funk grooves, New Orleans R&B and tasty original". [12]
His first solo album, Sneakin' Sally Through the Alley, recorded in 1974 in New Orleans was heavily influenced by the music of Little Feat and the funk fusion of the Meters, who acted as the backing band along with producer/guitarist Lowell George of Little Feat. [12] Unsuccessful in the UK, both the album and single reached the top 100 in the ...
Featured on the 2013 CD reissue by Edsel (which is bundled with Sneakin' Sally Through the Alley) are acoustic demos of "Willin'" (George) and "Hope We Never Wake". Palmer rerecorded "Work to Make It Work" for his final studio album featuring original compositions, 1999's Rhythm & Blues (released in 1998 in Japan).
In 1980, he opened for English punk band The Clash on their US concert tour, ... "Sneakin' Sally Through the Alley" b/w "Tears, Tears and More Tears" — — — Yes ...
Riptide is the eighth studio album by English singer Robert Palmer, released in November 4, 1985 by Island Records. The album was recorded over a period of three months in 1985 at Compass Point Studios in Nassau, Bahamas. The album peaked at No. 5 on the UK Albums Chart and at No. 8 on the US Billboard 200.
Ringo Starr recorded "Sneakin' Sally Through The Alley" in 1977 on his album Ringo the 4th. Phish covered "Sneakin' Sally Through The Alley" as well as "On Your Way Down" numerous times in concert, dating as far back as 1985. [23] Helen Reddy covered "Optimism Blues" on her 1981 album Play Me Out.
Bad Company singer Paul Rodgers covered the song for the soundtrack of the 1992 slasher film Dr. Giggles. [10] Mexican-American singer Tatiana recorded a Spanish-language cover version in 1994 for her album Un Alma Desnuda and was released as the second single from the album. [11]
In a contemporaneous review, The Globe and Mail found that Palmer "has created a synthesis of English mainstream pop and heavy black rhythms, utilizing various combinations of more roots-oriented West Indian music such as calypso and soca, the almost-tribal rhythms of such West African musicians as King Sunny Ade, and to a lesser degree, the more familiar patterns of urban American funk."
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