As he grew older, his tastes began to
broaden and on ABC’s “In Concert” Palmer recalled how he was influenced
by a film he saw during these formative years. The 1959 film “Drum
Crazy” (aka “The Gene Krupa Story”), starring American film icon Sal
Mineo (“Rebel Without A Cause”, “Exodus”), captured Carl’s imagination
and set him on his way – he was hooked. His biggest influences from that
point forward were Krupa and drum legend Buddy Rich who would later
become a close personal friend of Carl’s. For his eleventh birthday he
received a new drum set and immediately began to study the instrument.
Over the next three years he studied with local instructor Tommy
Cunliffe, played in a radio orchestra (the Midland Light Orchestra) and
performed with his father’s dance band.
At age 14 Carl Palmer joined his first
professional band, a six-month stint with The Mecca Dance Band, for
which he was paid a whopping 23 pounds a week. At 15, Palmer enlisted in
the Motown influenced King Bees along with Richard King on guitar, Len
Cox on bass and Jeff Brown on lead vocals. The band would later be known
as The Craig.
Already a respected working drummer by
16, Palmer moved on to join Chris Farlowe and the Thunderbirds which
also featured guitar great Albert Lee (later with Eric Clapton, Albert
Lee & Hogan's Heroes, Emmylou Harris, Dolly Parton, Bill Wyman & the
Rhythm Kings) and keyboardist Dave Greenslade (later in Colosseum). Pete
Solley would eventually replace Greenslade in the band. Recalls Palmer,
“yeah that was a blues band, a soul band with saxophones and everything.
At the time, we were produced by none other than Mick Jagger.” It was
Jagger who had originally discovered Farlowe. With Palmer in the band
the Thunderbirds enjoyed moderate success with the single "My Way of
Giving” but it was the Rolling Stones cover “Out Of Time” which
propelled Farlowe to the top of the UK charts.
At the age of 18, replacing drummer
Drachen Theaker, Carl Palmer joined up with The Crazy World of Arthur
Brown at the absolute peak of their success following the smash single
“Fire” (“I am the God of Hellfire…”). Top 10 around the world and
feeling the weight of success, cracks had begun to form in the band,
there were personnel changes and Palmer arrived at a time when the band
were touring with some of the biggest names in music. After brief
rehearsals the lineup set out on an arduous U.S. tour alongside the
cream of the rock world including the Grateful Dead, Jimi Hendrix,
Premier Cast of Hair, Iron Butterfly and others.
The concerts were bombastic, pyrotechnic
spectacles bordering on insanity, including the eccentric Brown setting
himself on fire in asbestos suit, and the tour was a blur for the band.
Speaking to Janis Schacht of Circus Magazine Palmer recalled, “I don't
know how the audiences were. I couldn't see them with Arthur Brown. I
was wearing too many masks, there were too many strobe lights, it was
very hard to tell. The audiences were nothing like what we have today
and with Arthur being so visual you never got a chance in the band.” He
added, “The audience anticipation was all Arthur's. So, musically, I was
left behind. They would clap when he lit his fire helmet up. If I did
something good, they wouldn't clap. Mind you, it might not have been
good. I have no impressions from the last time.”
Continuing pressures, management
problems, health issues and personality conflicts eventually took their
toll. The disillusioned Brown became increasingly difficult and the band
splintered. Speaking about Brown, Palmer recalled, “It was no use
talking to him so I just left him in the middle of the night.” Carl,
along with ailing guitarist Vincent Crane, returned to the UK to form
Atomic Rooster.
It was with Atomic Rooster that Carl
Palmer enjoyed his first real success as a founding member of a band.
Media and fans alike immediately embraced Crane, Palmer and
bassist/vocalist Nick Graham as the late 60’s progressive rock scene was
thriving. Their debut album, Atomic Rooster, hit number 49 in the U.K.,
and they enjoyed success with the singles “Tomorrow Night” and “Devil's
Answers.” All the while, fueled by his brilliant drum solos, Palmer’s
reputation grew as a drummer with phenomenal skill and dizzying speed.
In the spring of 1970, Carl Palmer
received a phone call that changed his life forever. Keyboard virtuoso
Keith Emerson, himself enjoying Top 10 U.K. success with The Nice, was
forming a new band with King Crimson founder Greg Lake who had also just
experienced real success with his band’s legendary “In The Court Of The
Crimson King”. After trying out several drummers, including Mitch
Mitchell, the two wanted Palmer to audition for a spot in the new trio
but Palmer was uncertain if he wanted to leave the growing success of
Atomic Rooster behind. Reluctantly, he agreed to meet and rehearse with
the band and thank God he did.
The trio's first rehearsal mostly
featured Nice and King Crimson standards, including "Rondo" and "21st
Century Schizoid Man”, and all three musicians describe it as a “magical
feeling” when they first played together. The session blew everyone away
and Palmer was offered the job right there on the spot. Still not
convinced however, he told Emerson and Lake that he would need to think
it over. Returning the next day to another brilliant rehearsal, Carl
Palmer accepted the invitation and joined the band.
Immediately dubbed a “supergroup” by the
media, Emerson, Lake and Palmer (ELP) entered the musical arena with
great expectations. In August of 1970, while they were still working on
the tracks that would eventually form their first album, ELP played its
first show at Plymouth, and moved on immediately to the legendary Isle
of Wight Festival. Following their set, which included an explosive
version of “Pictures At An Exhibition” (complete with cannons), the
fallout was massive. Said Palmer of the festival, “I don’t recall how
well we played. All I know is that we went down incredibly well.” Even
that may have been an understatement. Perhaps signaling the path of the
band itself, critical acclaim was monumental and overnight the band was
thrust down the path to superstardom.
The following month the group finished
its self-titled debut album, which was released in November. Instantly
successful, it climbed to the Top 5 in England and the Top 20 in
America. The classic single "Lucky Man" became a hit, and their stage
show quickly became the stuff of legend.
The 1971 follow-up album, Tarkus,
propelled the ELP’s sound in new directions and was the first real test
for the band’s cohesiveness. Emerson, wanting to further experiment with
the range of the Moog synthesizer, had composed a musically unorthodox,
extended piece and Palmer had come up with an unusual drum pattern he
wanted to incorporate. Arguments ensued and when Greg Lake, who was
producing the album said he wouldn’t be involved it looked like that
might be it for ELP. In the end there was agreement (or agreement to
disagree) and the album, which for many came to define ELP’s sound, was
released.
On the heels of Tarkus’ rise to #1 on the
UK charts and Top 10 in the America, ELP arrived at Newcastle City Hall
on March 21, 1971, to perform and record live their signature adaptation
of Modest Mussorgsky’s “Pictures At An Exhibition. When released, that
album too became a great success.
Following a blistering schedule which saw
the band touring furiously, the world over, ELP returned to the studio
and released another impressive effort in “Trilogy” which saw the band’s
partnership fully back in balance.
1973 saw ELP returning to touring and
Carl traveling to the Guildhall School of Music in London where he
studied classical timpani. That year also saw ELP return to the studio
to record the album Brain Salad Surgery, perhaps the band’s definitive
work. Bearing such memorable work as “Karn Evil 9”, “Still You Turn Me
On” and “Jerusalem”, the album is highlighted by “Toccata”, a reworking
of Argentine composer Alberto Ginastera's Piano Concerto No. 1, and some
of Carl Palmer’s most amazing drumming and synthesized percussion work.
So incredible and original was the performance in fact that Ginastera
himself endorsed the recording.
An insane touring schedule followed and
the legendary scale and musicianship of ELP’s live show continued to
grow as evidenced by the release of the epic triple live album Welcome
Back My Friends To The Show That Never Ends, released in August 1974.
Tired from a grueling four year run which had seen the release of 5
albums as well as untold hundreds of tour dates, the band decided to
take a hiatus to explore other projects and to recharge their creative
juices.
In reality, much of the material created
during this period later went on the form the ELP albums Works, Volume I
and Works, Volume II and when the band reunited for the former, a double
album, it was decided that each would have a solo side followed by a
forth side featuring the band as a unit. For his part, Carl Palmer’s
contribution featured big band recordings recorded with 60’s and 70’s
pianist & big band leader Harry South, as well as some individual
tracks, including "LA '74" with guitarist Joe Walsh of the Eagles. The
real gem from this period however was Palmer’s own epic “Concerto for
Percussion” which, sadly, would wait nearly twenty years before finally
being released.
Following the Works albums and a
grandiose, bank breaking orchestral tour the band returned to the studio
one last time for the album “Love Beach”. “In Concert”, a testament, to
the Works orchestral tour followed and in 1979 ELP quietly disbanded and
exited the musical arena.
Looking for new horizons beyond ELP Carl
Palmer formed his own band, PM, for which he recruited vocalist Todd
Cochran from the band Automatic Man and blues guitarist John Nitzinger,
along with Erik Scott and Barry Finnerty. The band, an attempt at Top
40-style rock, released one album, entitled 1:PM, which was released in
1980 in Europe only. Success eluded the album and the band, which broke
up shortly thereafter.
Opportunity knocked again for Carl Palmer
when manager Brian Lane approached him in 1981. Lane was trying to put
together a supergroup concept for Geffen records and, reportedly, one of
his first attempts brought together Palmer along with bassist/vocalist
John Wetton (U.K., King Crimson), Rick Wakeman (Yes) and guitar ace
Trevor Rabin (Rabbit, Manfred Mann and later Yes). A deal with Geffen is
said to have fallen through when Wakeman bailed. Still intent on his
idea of a supergroup, Lane introduced John Wetton to Yes axeman Steve
Howe. When that musical fit seemed right Lane brought in Palmer and
keyboardist Geoff Downes (The Buggles, Yes) filled out the lineup. The
group Asia was born.
Recording with Asia, and the concept of
performing as a band rather than a fusing of solo artists, was something
of a new experience for Carl Palmer who said, “We have tried to create a
sound collectively rather than a project as individuals.” The band’s
self-titled debut album “Asia” was released in 1982 and a small tour
began. Palmer and Wetton have said that they had a feeling in the studio
they were doing something special but no one could have been prepared
for what happened next. Asia exploded on the charts, right to number
one, and over 7 million copies of the album were sold worldwide. Along
the way singles such as “Heat Of The Moment”, “Only Time Will Tell”,
“Wildest Dreams” and “Sole Survivor” dominated the charts for months.
Asia was a perfect fit for the musical climate of the time.
“We were unique,” said Palmer. “Asia was
English rock with a technical side. It's sophisticated rock mixed in
with melodies and singles. It was taboo in those days. And you very
rarely hear that today, either.”
After an Exhausting 18-month tour, Asia
followed up with their second album, Alpha, which spawned two charting
hits, “Don't Cry” and “The Smile Has Left Your Eyes”. With the
inevitable pressures that accompany such phenomenal success came signs
that Asia was beginning to come apart. Pressures from management and
personality clashes in the band finally came to head with the sudden
departure of John Wetton late in 1983. Committed to a live MTV
broadcast, “Asia in Asia”, Asia brought in Palmer’s old ELP mate Greg
Lake to fill Wetton’s shoes. Shortly thereafter Lake went his own way,
the band brought Wetton back in and Steve Howe departed the band for
good. Astra, the band’s third album, followed in 1985 with Mandy Meyer
taking Steve Howe’s spot but the album failed to match the success of
the earlier albums. A planned tour was abandoned and Asia went their
separate ways.
In 1988 the chance came for Carl Palmer
to team up once again with Keith Emerson in a new group with
California-based singer/bassist Robert Berry. 3, as they were called,
released their only album, To The Power Of Three, on Geffen records.
Though the group received respectable FM airplay and followed with a
successful club tour, their release generated little interest and they
disbanded early in 1989.
Later in 1989 the Asia banner was raised
once again when an invitation play a series of stadium dates with the
Beach Boys brought Carl Palmer and John Wetton back into the Asia fold
along with hired guns John Young and Alan Darby. Encouraged by the
reception they received, Asia arranged another tour for the fall and
convinced Geoff Downes to return.
Hoping to generate interest in another
Asia album the group set out on a feverish touring schedule accompanied
by guitarist Pat Thrall. For the well traveled Carl Palmer it meant a
return to the road and successful tours ensued in Germany, the U.K.,
Japan, Brazil and Russian. The Russian shows in particular represented
another high in the Asia saga and were captured for posterity in the CD
and video releases of Asia Live in Moscow. As Asia prepared to write a
new album in 1991 John Wetton decided to leave and Carl Palmer jumped at
the chance to reunite with his old mates Keith Emerson and Greg Lake in
ELP.
Originally the band had only intended on
writing and recording music for a planned film score but the chemistry
was clearly still there and eventually it was decided that they should
record an album. Signed to the newly founded Victory Records, ELP
returned in 1992 with Black Moon, a strong effort produced by Mark
Mancina. A video was released and an ambitious tour followed. To the
surprise of many the tour was quite successful and saw ELP circle the
globe on a tour that lasted from the summer of 1992 well into 1993.
Recalled Palmer, “I knew we’d be OK but I never dreamed it would be to
this magnitude.”
ELP headed back into the studio but
problems with Keith Emerson’s right arm and production that didn’t
really gel with the sound of ELP plagued the effort. In The Hot Seat was
released in 1994 but failed to attract any real attention. ELP headed
their own ways to concentrate on medical and personal issues but
returned to touring in 1996 and over the next three years they were
accompanied on the road by such notable acts as Deep Purple, Dream
Theatre, Kansas and Jethro Tull. In the winter of 1998, and in the midst
of great anticipation about a much hyped, forthcoming concept album Greg
Lake left ELP which left Carl open to another reunion that was in the
works.
The wheels had begun to turn again and
excitement grew for another reunion of the Asia originals. Negotiations
continued and the band began to rehearse together in February 1999,
joined by guitarist Dave Kilminster. The feeling among the principals
was that the magic was still there and a world tour was announced, set
to begin in June. Following a world tour, Asia had hoped to record a new
album and Geoff Downes and John Wetton had already begun writing songs
again. Said Carl Palmer at the time: “There's some new material that is
being rehearsed and recorded which will be played on the upcoming tour.
I would say that there would be a new Asia album in the works for the
year 2000. That's where we are at the moment.”
Unfortunately that is as far as it went.
Almost as quickly as the whole project had begun it came crashing down
with the announcement by Geoff Downes that he was abandoning the
reunion. The event, which so many had hoped for, would have to wait. It
did lead however to the brief reunion of Wetton and Palmer, along with
guitarist Dave Kilminster and keyboardist John Young in the band Qango.
Sporting a set list consisting of classic ELP, Asia, and King Crimson
material, along with some new songs, Qango played a well-received series
of dates. “It was a wonderful feeling to be back on stage playing this
material with our new band,” said Palmer. “The shows went down very well
and have made us excited about continuing with more tours and the
recording of new material.” One memorable night even saw the band joined
onstage by none other than Keith Emerson. Once again though, hope was
short-lived and John Wetton departed the project leaving Palmer to
ponder his next move.
Not one to sit around, Palmer set out on
a schedule that included instructing drum clinics & master classes and
once again set out to create his own new band and along with bassist
Dave Marks and guitarist extraordinare Shawn Baxter he formed the
progressive trio “Palmer”. The thought of Carl Palmer assembling a
progressive trio might seem like he was relying on formula, especially
since the band’s material consisted mainly of ELP classics, but this was
indeed a new direction. Purely guitar driven, this band put a new face
on such tracks as “Toccata”, “Hoedown” and Fanfare For The Common Man”
and performed them with dizzying complexity and an energy perhaps not
heard since the earliest days of ELP.
Fans fortunate enough to see the group
live immediately embraced their raw power and virtuosity and critics
were quick to agree. Malcolm Dome of Classic Rock Magazine wrote, “The
venerable Palmer, who is still great Drummer, leads his current line up
of Guitarist SHAUN BAXTER & DAVE MARKS though impressive reworkings of
ELP music” and added, “There's an energy and edge here that belongs to
2003. The music might go way back, but the musicianship is most
certainly from here and now.” Tim Jones of Record Collector magazine
observed, “If you like instrumental virtuosity this should sit well with
you.” Palmer, the band, began touring at will.
In 1991, Carl Palmer released his
much-anticipated two-disk anthology Do Ya Wanna Play, Carl. The
collection showcased Palmer’s greatest recordings with ELP, Asia, Atomic
Rooster plus and several rare and never-before-released tracks from
every professional group had ever been in. Highlights included cuts from
sessions with British rock artist Mike Oldfield, and a live track
featuring Carl with his childhood idol, drum jazz icon Buddy Rich and
his Orchestra. Perhaps the biggest gem for fans was the inclusion of the
piece fans had been asking for since the seventies. “Concerto for
Percussion” made its debut fifteen years after it had been recorded. In
a 1991 interview he said, “The album has been in the works since 1976,
when ELP took its hiatus to do solo projects. What came of it was the
WORKS double LP, with one band side and three solo sides. It was then
that I did the “Percussion Concerto.” It didn’t make it to Works, Vol. 1
or Works Vol. 2. I have always wanted to release it and now it has
finally come out.”
One of the real highlights of 2002 was an
appearance with U.K. rockers "Status Quo" at the Broadlands (the home of
Lord Mountbatten) in Romsey, Hampshire. Said Palmer, “The Quo show was
absolutely great. 7,500 people... our biggest show since starting the
band!” A continuous string of dates saw Carl and the band playing
supercharged sets to enthusiastic crowds in Mexico, Germany, Italy,
Switzerland, Holland, Belgium, Spain and the U.K. - over 60 plus dates
between February and November.
Following more tours and clinics in 2003,
Palmer released another CD. Working Live: Volume 1 captured the dynamic
Palmer trio in concert and displayed for all the direction, power and
originality of the band. Carl Palmer has already announced plans for
Working Live: Volume 2, to be released in 2004 (including original
material) and the band continues on a torrid touring schedule to this
very day.
When asked recently what he has yet to
accomplish Palmer replied, “I would still like to accomplish that great
Emerson, Lake & Palmer album that I know we have still yet to make. This
is still a dream, but as long as I can prove that I am getting better
all the time, that to me is ultimate accomplishment.” Whether or not
that reunion will ever materialize is something only EL&P can know but
for now the rejuvenated Palmer is happy providing nightly thrills for
fans from the stage, where he is meant to be.
A renowned showman and a musician of the
highest order Palmer has entertained fans and crowds for generations and
left an indelible mark on the music world. With no sign of his ever
slowing down one can only assume the best is yet to come for Carl
Palmer. Fans will be ever the richer for it.
David Harris
2003 |
