Christian Soldier, Muslim Soldier
By Michelle Malkin
Townhall.com | October 3, 2003
There's something terribly wrong when an American soldier overseas can't receive Scriptures in the mail, but a Muslim chaplain can preach freely among al Qaeda and Taliban enemy combatants at Guantanamo Bay.
This is a story of two soldiers, one Christian, one Muslim. It's a cautionary tale that suggests how religious double standards and politically driven hypersensitivity threaten not only our troops, but us all.
Six months ago, Jack Moody tried to send his son, Daniel, a care package containing a Bible study and other Christian religious materials. Daniel is a 21-year-old Army National Guardsman serving in the Middle East. He had written home requesting spiritual support while he risked his life abroad. The literature his dad packed included Christian comic books. But when Daniel's dad approached the post office in the family's hometown of Lenoir, North Carolina, he was told he would not be allowed to send the items.
According to U.S.P.S. postal bulletin 22097, section E2, Moody was forbidden from sending "any matter containing religious materials contrary to Islamic faith or depicting nude or seminude persons, pornographic or sexual items, or non-authorized political materials." The postal clerk informed Moody that the Christian contents of the package might be considered offensive to some Muslims overseas. The policy was initiated during the first Gulf War.
"My son is in the military, and he's overseas fighting to free this country from tyranny, and to protect our rights and our freedoms, and here our government has a rule on the books that's limited his freedom. I just couldn't believe it," Moody told the Voice of America news service.
Even more unbelievable was the apathetic reaction of Moody's elected representatives. According to John Whitehead of the Rutherford Institute, a staunch defender of religious liberty, Sen. Elizabeth Dole's staff brushed Moody off. So did Dan Gurley, GOP Congressman Cass Ballenger's chief of staff. According to Moody, Ballenger refused to get involved, insisting that the matter should be left to the courts.
And there's where Moody's case -- which is included in the devastating new book "Persecution," best-selling author David Limbaugh's searing indictment of anti-Christian intolerance -- remains today. The Rutherford Institute filed suit against the U.S. Postmaster General in defense of Moody's rights to freedom of speech, free exercise of religion, and equal protection under the law. The group's motion for summary judgment is pending.
Whitehead explains: "The First Amendment prohibits our government from establishing a religion by favoring one over another. By stating that no material can be mailed if it is contrary to the Islamic religion, the U.S. Post Office has clearly shown deference to Islam above all other religions -- and this definitely violates our Constitution."
Contrast Daniel Moody's treatment with that of Capt. James Yee. The Muslim convert, who studied in terror-sponsoring Syria and attended an Islamic cultural center run by the terror-friendly Saudi government, was given free rein by the U.S. Army to administer to the souls of al Qaeda and Taliban enemies at Guantanamo Bay.
Yee brought the detainees prayer beads and religious books, facilitated prayer services, and assisted them with Muslim food preparation. And he received lavish, fawning profiles in the "diversity-" and "tolerance-" obsessed mainstream press. Now, he has been charged with sedition, aiding the enemy, spying, espionage and failure to obey a general order. Treason charges may be added. Yee exploited our bent-over-backwards solicitude toward Muslims in the military by allegedly using his access to smuggle out diagrams of the detainees' cells and lists of the names of the detainees and their interrogators. More than half of the armed forces' Muslim chaplains were trained by a terror-linked, Saudi-subsidized institute while military leaders blindly sung the praises of multiculturalism.
Islamist Fifth Columnists are benefiting from the very guarantees of religious freedom being denied to devout Christian soldiers such as Daniel Moody who are risking their lives for the War on Terror overseas. This dangerous deference to radical Islam -- rooted in a cowardly fear of offending -- is not only a threat to our soldiers' constitutionally protected rights, but to our national security.
Saturday, October 04, 2003
Springsteen at Shea
By DAVID HINCKLEY
DAILY NEWS FEATURES WRITER
Wednesday, October 1st, 2003
After 14 rich and record-shattering months on the road, "The Rising" is getting ready to set.
Bruce Springsteen and his E Street Band take the fieldat Shea Stadium tonight to wrap up a tour that has sold more than 3 million tickets around the world and drawn near-unanimous critical acclaim both for its music and its message.
The band returns to Shea on Friday and Saturday, then leaves the road from the city whose Sept. 11 tragedy inspired the CD, "The Rising," on which the tour was built.
All shows are almost sold out, though a few seats are often made available at showtime.
The production has showcased the enduring power of both the band and Springsteen himself. Though he turned 54 on Sept. 23, he still gives a three-hour show with singing that would turn most vocal cords to rhubarb.
Few would blame any of the E-Streeters if they wake up Sunday, pull out the crossword puzzle and settle in for a long break.
But the man with the best seat in the house says that's not how things work with E Street or its boss.
"We've never thought in terms of a tour with X number of shows," says drummer Max Weinberg, who joined Springsteen in 1974 and has carved out another niche for himself during the last decade as the bandleader on NBC's "Late Night With Conan O'Brien."
"Our whole focus is on the show we're doing right now - or, really, the song we're doing right now."
That was a notion he picked up his first day with Bruce.
"It was at the Main Point outside of Philadelphia," says Weinberg. "We had two shows, about 2 1/2 hours each, which is a lot of playing. Bruce told me the trick was not to pace yourself, but to go into every song with everything you had."
It's counterintuitive, in a sense, but anyone who has seen a Springsteen show knows that's how the band still operates.
"If we do 'Because the Night' into 'Badlands,' " says Weinberg, "I don't hold back just because 'Badlands' is a hard one."
This full-throttle approach also takes each Springsteen show down its own road - one reason hard-core fans will see 20, 50 or more shows on a tour.
"Most artists - even the great ones - do the same show every night," says Weinberg. Springsteen doesn't, and that keeps the band on its musical toes.
"He's always changing set lists, calling audibles," says Weinberg. "Sometimes, it's something we've rehearsed. Sometimes not.
"Sometimes, he'll call out a song and I won't be able to hear him, and as he's counting it off, I literally won't know what we're about to go into."
But it works out. After 20 or 30 years, E Street can please even a notorious musical perfectionist like Springsteen.
"You'd be surprised how relaxed it is on stage," says Weinberg. "We're having fun."
The question for fans on Sunday morning is what's next. That's always a tricky call.
Springsteen has mixed rock with the quieter music of the "Nebraska" and "Ghost of Tom Joad" CDs. He followed his anthemic "Born in the U.S.A." tour with the dark "Tunnel of Love," and he disbanded E Street altogether to use a different group for "Human Touch" and "Lucky Town" in the early '90s.
"That hiatus was a little disorienting at first," Weinberg says. "But we all went out and grew in separate ways, and it made us even stronger when we came back together."
While it's no secret the E Streeters would love to keep it going, Springsteen calls that shot, and here, too, they'll take his cue.
"I never project ahead," says Weinberg. "A musician is a freelancer. I'm incredibly lucky to have had two great gigs - Bruce and Conan - that have had long lives."
But music takes you where it takes you.
"Like Bruce says," Weinberg muses, " 'My job tomorrow is to write a better song than I wrote today.' "
Three nights to rock.
By DAVID HINCKLEY
DAILY NEWS FEATURES WRITER
Wednesday, October 1st, 2003
After 14 rich and record-shattering months on the road, "The Rising" is getting ready to set.
Bruce Springsteen and his E Street Band take the fieldat Shea Stadium tonight to wrap up a tour that has sold more than 3 million tickets around the world and drawn near-unanimous critical acclaim both for its music and its message.
The band returns to Shea on Friday and Saturday, then leaves the road from the city whose Sept. 11 tragedy inspired the CD, "The Rising," on which the tour was built.
All shows are almost sold out, though a few seats are often made available at showtime.
The production has showcased the enduring power of both the band and Springsteen himself. Though he turned 54 on Sept. 23, he still gives a three-hour show with singing that would turn most vocal cords to rhubarb.
Few would blame any of the E-Streeters if they wake up Sunday, pull out the crossword puzzle and settle in for a long break.
But the man with the best seat in the house says that's not how things work with E Street or its boss.
"We've never thought in terms of a tour with X number of shows," says drummer Max Weinberg, who joined Springsteen in 1974 and has carved out another niche for himself during the last decade as the bandleader on NBC's "Late Night With Conan O'Brien."
"Our whole focus is on the show we're doing right now - or, really, the song we're doing right now."
That was a notion he picked up his first day with Bruce.
"It was at the Main Point outside of Philadelphia," says Weinberg. "We had two shows, about 2 1/2 hours each, which is a lot of playing. Bruce told me the trick was not to pace yourself, but to go into every song with everything you had."
It's counterintuitive, in a sense, but anyone who has seen a Springsteen show knows that's how the band still operates.
"If we do 'Because the Night' into 'Badlands,' " says Weinberg, "I don't hold back just because 'Badlands' is a hard one."
This full-throttle approach also takes each Springsteen show down its own road - one reason hard-core fans will see 20, 50 or more shows on a tour.
"Most artists - even the great ones - do the same show every night," says Weinberg. Springsteen doesn't, and that keeps the band on its musical toes.
"He's always changing set lists, calling audibles," says Weinberg. "Sometimes, it's something we've rehearsed. Sometimes not.
"Sometimes, he'll call out a song and I won't be able to hear him, and as he's counting it off, I literally won't know what we're about to go into."
But it works out. After 20 or 30 years, E Street can please even a notorious musical perfectionist like Springsteen.
"You'd be surprised how relaxed it is on stage," says Weinberg. "We're having fun."
The question for fans on Sunday morning is what's next. That's always a tricky call.
Springsteen has mixed rock with the quieter music of the "Nebraska" and "Ghost of Tom Joad" CDs. He followed his anthemic "Born in the U.S.A." tour with the dark "Tunnel of Love," and he disbanded E Street altogether to use a different group for "Human Touch" and "Lucky Town" in the early '90s.
"That hiatus was a little disorienting at first," Weinberg says. "But we all went out and grew in separate ways, and it made us even stronger when we came back together."
While it's no secret the E Streeters would love to keep it going, Springsteen calls that shot, and here, too, they'll take his cue.
"I never project ahead," says Weinberg. "A musician is a freelancer. I'm incredibly lucky to have had two great gigs - Bruce and Conan - that have had long lives."
But music takes you where it takes you.
"Like Bruce says," Weinberg muses, " 'My job tomorrow is to write a better song than I wrote today.' "
Three nights to rock.
Friday, October 03, 2003
WILLIAM ERVIN BYRD
10-02-2003
LIBERTY— Mr. William Ervin Byrd, 60, of 5513 Lake Juno Road, died Wednesday, Oct. 1, 2003, at Beacon Place.
The services will be held 11 a.m. on Friday, Oct. 3, 2003, at First Baptist Church of Liberty, with the Rev. Rick Bell officiating. Interment will follow at Forest Lawn Cemetery in Greensboro.
Mr. Byrd was born Oct. 7, 1942, in Harnett County, to the late Cornelius Bright and Vida Lenore Godwin Byrd.
He was a veteran of the United States Air Force, was employed with Curl Realty of Liberty as a salesman and was an avid golfer and lover of the New York Yankees.
He is survived by sisters, Elva Melton and Jean Jobe, both of Greensboro; brothers, Weldon and Kenneth Byrd of Dunn and Donald Byrd of Erwin; a nephew, Tim and his wife, Dawn Melton, of Kernersville; great-nieces, Maris and Casey Melton and great-nephew, Julius Melton, all of Kernersville and many other loving family members.
The family will receive friends from 6 to 8 p.m. Thursday, Oct. 2, 2003, at Loflin Funeral Home in Liberty.
Memorials may be made to Hospice of Greensboro, 2500 Summit Ave., Greensboro, N.C. 27405.
10-02-2003
LIBERTY— Mr. William Ervin Byrd, 60, of 5513 Lake Juno Road, died Wednesday, Oct. 1, 2003, at Beacon Place.
The services will be held 11 a.m. on Friday, Oct. 3, 2003, at First Baptist Church of Liberty, with the Rev. Rick Bell officiating. Interment will follow at Forest Lawn Cemetery in Greensboro.
Mr. Byrd was born Oct. 7, 1942, in Harnett County, to the late Cornelius Bright and Vida Lenore Godwin Byrd.
He was a veteran of the United States Air Force, was employed with Curl Realty of Liberty as a salesman and was an avid golfer and lover of the New York Yankees.
He is survived by sisters, Elva Melton and Jean Jobe, both of Greensboro; brothers, Weldon and Kenneth Byrd of Dunn and Donald Byrd of Erwin; a nephew, Tim and his wife, Dawn Melton, of Kernersville; great-nieces, Maris and Casey Melton and great-nephew, Julius Melton, all of Kernersville and many other loving family members.
The family will receive friends from 6 to 8 p.m. Thursday, Oct. 2, 2003, at Loflin Funeral Home in Liberty.
Memorials may be made to Hospice of Greensboro, 2500 Summit Ave., Greensboro, N.C. 27405.
Thursday, October 02, 2003
An excellent observation from Jonah Goldberg:
"...Criticizing someone else's criticism — even when a government official does it — isn't an assault on free speech. It is free speech. And leadership does not require saying "thank you sir may I have another" every time some yutz takes an unfair swipe at you. If giving as good as you get intimidates people from speaking their mind, maybe that's a good thing, because it most likely means those people haven't thought through their positions well enough to offer an opinion worth listening to. If that makes you sad, if that makes you want your boo-boo-kitty and a cookie from your mommy, that's fine. But spare me the prattle about how dissenters are being intimidated. Either offer some facts or stop your whining. "
"...Criticizing someone else's criticism — even when a government official does it — isn't an assault on free speech. It is free speech. And leadership does not require saying "thank you sir may I have another" every time some yutz takes an unfair swipe at you. If giving as good as you get intimidates people from speaking their mind, maybe that's a good thing, because it most likely means those people haven't thought through their positions well enough to offer an opinion worth listening to. If that makes you sad, if that makes you want your boo-boo-kitty and a cookie from your mommy, that's fine. But spare me the prattle about how dissenters are being intimidated. Either offer some facts or stop your whining. "
Wednesday, October 01, 2003
From The Corner, the virtually indispensible National Review blog:
START GETTING READY FOR THE RETURN OF THE KING
by Steve Hayward
How can you preview a movie that is being released three months from now? When it’s the third installment of the Lord of the Rings trilogy, Return of the King. The two-and-a half-minute trailer for King was released on Monday, and although this is not much to go by, it offers hints that the last installment will get the big things right.
I have written previously that the filmmakers have managed the rare feat of improving some aspects of Tolkien’s moral vision. One of the things that sets apart Tolkien’s great book from other recent so-called epics was the prominence of the tragic cost associated with the victory over Sauron’s evil. Contrast this with the treacly ending of the first Star Wars trilogy and you’ll see what I mean. The text messages in the trailer for King read: “There is no triumph without loss; No victory without suffering; No freedom without sacrifice.”
Near the end of the story Aragorn and Gandalf lead a last-ditch attack on Mordor with an inferior force that knows it marches to its death—a diversion they hope will aid Frodo’s chances of destroying the ring. In the book, Gandalf has a long parley with a senior captain of Sauron’s forces before the battle begins. It wouldn’t work very well on film, and it appears from the trailer that the filmmakers have substituted an original speech (that is, not from the book) from Aragorn in place of Gandalf’s parley that reminds of nothing so much as the St. Crispin’s Day speech from Henry V: “A day may come when the courage of men fails, when we forsake our friends, and break all bonds of fellowship. But it is not this day. This day—we fight!”
Okay, maybe not as lyrical as Shakespeare, but both fictional scenes recall a real moment from the not-too-distant past: Churchill’s “choking in our own blood” speech on May 28, 1940. Not yet three weeks in office, Churchill was facing intense pressure from the appeasers still in his war cabinet (Halifax and Chamberlain) to seek terms from Hitler. Churchill put them down once and for all with a speech to the entire cabinet that ended as follows: “If this long island story of ours is to end at last, let it end only when each one of us lies choking in his own blood upon the ground.” (Churchill’s deed didn’t become publicly known until after the war. The whole story is told in John Lukacs’ superb book Five Days in London, May 1940, from Yale University Press.) The point is: moral fiction sometimes does reflect reality at moments of great clarity.
Return of the King opens December 17. See you in the theater.
START GETTING READY FOR THE RETURN OF THE KING
by Steve Hayward
How can you preview a movie that is being released three months from now? When it’s the third installment of the Lord of the Rings trilogy, Return of the King. The two-and-a half-minute trailer for King was released on Monday, and although this is not much to go by, it offers hints that the last installment will get the big things right.
I have written previously that the filmmakers have managed the rare feat of improving some aspects of Tolkien’s moral vision. One of the things that sets apart Tolkien’s great book from other recent so-called epics was the prominence of the tragic cost associated with the victory over Sauron’s evil. Contrast this with the treacly ending of the first Star Wars trilogy and you’ll see what I mean. The text messages in the trailer for King read: “There is no triumph without loss; No victory without suffering; No freedom without sacrifice.”
Near the end of the story Aragorn and Gandalf lead a last-ditch attack on Mordor with an inferior force that knows it marches to its death—a diversion they hope will aid Frodo’s chances of destroying the ring. In the book, Gandalf has a long parley with a senior captain of Sauron’s forces before the battle begins. It wouldn’t work very well on film, and it appears from the trailer that the filmmakers have substituted an original speech (that is, not from the book) from Aragorn in place of Gandalf’s parley that reminds of nothing so much as the St. Crispin’s Day speech from Henry V: “A day may come when the courage of men fails, when we forsake our friends, and break all bonds of fellowship. But it is not this day. This day—we fight!”
Okay, maybe not as lyrical as Shakespeare, but both fictional scenes recall a real moment from the not-too-distant past: Churchill’s “choking in our own blood” speech on May 28, 1940. Not yet three weeks in office, Churchill was facing intense pressure from the appeasers still in his war cabinet (Halifax and Chamberlain) to seek terms from Hitler. Churchill put them down once and for all with a speech to the entire cabinet that ended as follows: “If this long island story of ours is to end at last, let it end only when each one of us lies choking in his own blood upon the ground.” (Churchill’s deed didn’t become publicly known until after the war. The whole story is told in John Lukacs’ superb book Five Days in London, May 1940, from Yale University Press.) The point is: moral fiction sometimes does reflect reality at moments of great clarity.
Return of the King opens December 17. See you in the theater.
Tuesday, September 30, 2003
From the HMV Japan website-let the discussions over omissions/inclusions begin:
The Essential Bruce Springsteen
disc 1
1
Blinded By The Light
2
Spirit In The Night
3
For You
4
4th Of July,Asbury Park (Sandy)
5
Rosalita
6
Thunder Road
7
Born To Run
8
Jungleland
9
Badlands
10
Darkness On The Edge Of Town
11
Promised Land
12
River
13
Hungry Heart
14
Nebraska
15
Atlantic City
disc 2
1
Born In The U.S.A.
2
Dancing In The Dark
3
Glory Days
4
Tunnel Of Love
5
Brilliant Disguise
6
Human Touch
7
If I Should Fall Behind
8
Streets Of Philadelphia
9
Ghost Of Tom Joad
10
Youngstown
11
Rising
12
Mary's Place
13
My City Of Ruins
14
American Skin
15
Land Of Hope And Dreams
The Essential Bruce Springsteen
disc 1
1
Blinded By The Light
2
Spirit In The Night
3
For You
4
4th Of July,Asbury Park (Sandy)
5
Rosalita
6
Thunder Road
7
Born To Run
8
Jungleland
9
Badlands
10
Darkness On The Edge Of Town
11
Promised Land
12
River
13
Hungry Heart
14
Nebraska
15
Atlantic City
disc 2
1
Born In The U.S.A.
2
Dancing In The Dark
3
Glory Days
4
Tunnel Of Love
5
Brilliant Disguise
6
Human Touch
7
If I Should Fall Behind
8
Streets Of Philadelphia
9
Ghost Of Tom Joad
10
Youngstown
11
Rising
12
Mary's Place
13
My City Of Ruins
14
American Skin
15
Land Of Hope And Dreams
Nice appreciation of Robert Palmer from USA Today.
Palmer's hit songs were addicting
By Ken Barnes, USA TODAY
A performer of elegance and taste, Robert Palmer made R&B-imbued pop/rock records that at their best were, as his 1988 smash expressed it, simply irresistible.
Palmer, 54, who died Friday in Paris of a heart attack, reached his career peak in the mid-'80s with 1986's No. 1 hit Addicted to Love, accompanied by a then-omnipresent video depicting the suave, besuited singer rocking out as blank-faced supermodels mimed behind him.
It's unfortunate in some ways that this gifted and versatile artist will be best remembered for fronting a non-performing group of haughty hotties. Certainly it was a memorable media moment that vividly defined superficial '80s glitz, and it led to Palmer's only No. 1 hit and a commercial heyday that lasted for five years.
But the slick image, which he had exploited as far back as his first solo album, 1975's Sneakin' Sally Through the Alley, tended to obscure Palmer's abundant talent and taste.
The British-born singer achieved little success with late-'60s progressive soul ventures Mandrake Paddle Steamer, the Alan Bown Set, Vinegar Joe and Dada. But after going solo, he consistently attracted top musicians and producers: On Alley, he was backed by legendary New Orleans band The Meters (later to evolve into the Neville Brothers). On follow-up Pressure Drop, he worked with funk-rockers Little Feat.
In the '80s, he collaborated with Chris Frantz of Talking Heads and Cars hitmaker Gary Numan. In 1985 he famously teamed with Duran Duran's John Taylor and Andy Taylor and Chic's Tony Thompson to form Power Station, whose Some Like It Hot was a rock precursor to Addicted to Love.
Palmer wrote Addicted and the No. 2 Simply Irresistible, as well as the brooding, overlooked 1980 synth-pop single Johnny and Mary. But from the earliest days of his career, he displayed a knack for uncovering superb material to cover: Vinegar Joe performed the obscure, hypnotic Hearts & Flowers folk-rocker Rock 'n' Roll Gypsies, and the title songs of Palmer's first two solo albums were by New Orleans production wizard Allen Toussaint and reggae legends Toots & The Maytals.
Later he had hits with Moon Martin's Bad Case of Loving You, Todd Rundgren's Can We Still Be Friends, The System's R&B hit You Are in My System, Cherrelle's smash I Didn't Mean to Turn You On and the Gap Band's sublime smooth-funker Early in the Morning.
In the '90s, Palmer's hitmaking days drew to a close, but he was able to indulge his taste for pop standards with the 1992 album Ridin' High and his lifelong love of R&B with 1999's Rhythm & Blues. His most recent album, Drive, released in May, emphasized the blues, but with typically quirky Palmer eclecticism: It encompasses the classic slow-blues plaint I Need Your Love So Bad (popularized by Little Willie John and Fleetwood Mac, among others) and ZZ Top's TV Dinners.
Palmer's hit songs were addicting
By Ken Barnes, USA TODAY
A performer of elegance and taste, Robert Palmer made R&B-imbued pop/rock records that at their best were, as his 1988 smash expressed it, simply irresistible.
Palmer, 54, who died Friday in Paris of a heart attack, reached his career peak in the mid-'80s with 1986's No. 1 hit Addicted to Love, accompanied by a then-omnipresent video depicting the suave, besuited singer rocking out as blank-faced supermodels mimed behind him.
It's unfortunate in some ways that this gifted and versatile artist will be best remembered for fronting a non-performing group of haughty hotties. Certainly it was a memorable media moment that vividly defined superficial '80s glitz, and it led to Palmer's only No. 1 hit and a commercial heyday that lasted for five years.
But the slick image, which he had exploited as far back as his first solo album, 1975's Sneakin' Sally Through the Alley, tended to obscure Palmer's abundant talent and taste.
The British-born singer achieved little success with late-'60s progressive soul ventures Mandrake Paddle Steamer, the Alan Bown Set, Vinegar Joe and Dada. But after going solo, he consistently attracted top musicians and producers: On Alley, he was backed by legendary New Orleans band The Meters (later to evolve into the Neville Brothers). On follow-up Pressure Drop, he worked with funk-rockers Little Feat.
In the '80s, he collaborated with Chris Frantz of Talking Heads and Cars hitmaker Gary Numan. In 1985 he famously teamed with Duran Duran's John Taylor and Andy Taylor and Chic's Tony Thompson to form Power Station, whose Some Like It Hot was a rock precursor to Addicted to Love.
Palmer wrote Addicted and the No. 2 Simply Irresistible, as well as the brooding, overlooked 1980 synth-pop single Johnny and Mary. But from the earliest days of his career, he displayed a knack for uncovering superb material to cover: Vinegar Joe performed the obscure, hypnotic Hearts & Flowers folk-rocker Rock 'n' Roll Gypsies, and the title songs of Palmer's first two solo albums were by New Orleans production wizard Allen Toussaint and reggae legends Toots & The Maytals.
Later he had hits with Moon Martin's Bad Case of Loving You, Todd Rundgren's Can We Still Be Friends, The System's R&B hit You Are in My System, Cherrelle's smash I Didn't Mean to Turn You On and the Gap Band's sublime smooth-funker Early in the Morning.
In the '90s, Palmer's hitmaking days drew to a close, but he was able to indulge his taste for pop standards with the 1992 album Ridin' High and his lifelong love of R&B with 1999's Rhythm & Blues. His most recent album, Drive, released in May, emphasized the blues, but with typically quirky Palmer eclecticism: It encompasses the classic slow-blues plaint I Need Your Love So Bad (popularized by Little Willie John and Fleetwood Mac, among others) and ZZ Top's TV Dinners.
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