Ever seen a guy in a tailored Italian suit scream over a drum beat so loud it could rattle the windows of a skyscraper?
That was 1985. Specifically, that was Robert Palmer Some Like It Hot, the lead single from a supergroup that probably shouldn't have worked on paper but absolutely scorched the earth when the needle dropped. The Power Station was the name. It wasn't just a band; it was a collision of egos, styles, and enough gated reverb to drown a continent.
Honestly, the track is a miracle. You've got the Taylor brothers (John and Andy) trying to escape the "pretty boy" synth-pop of Duran Duran. You've got Tony Thompson from Chic—the human metronome—trying to play like John Bonham. And then you have Robert Palmer.
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Palmer was the secret weapon. Before this, he was a sophisticated, slightly niche blue-eyed soul singer. After this? He was a god.
The Weird Origin Story of a 1980s Monster
People think these things are planned by genius record executives in boardrooms. They aren't. This started because John and Andy Taylor were bored. They wanted to rock. They wanted to play "Get It On (Bang a Gong)" by T. Rex and feel some actual grit under their fingernails.
They recruited Tony Thompson and legendary producer Bernard Edwards. At first, the plan was to have a rotating cast of singers. Maybe Mick Jagger? Maybe Billy Idol?
Then Robert Palmer walked into the room.
Basically, once they heard him lay down the vocals for Robert Palmer Some Like It Hot, the "rotating singer" idea went out the window. He didn't just sing the song; he owned it. He brought this weird, cool-under-pressure vibe to a track that was otherwise total sonic chaos.
Why the Sound Was So Massive
If you listen to the drums on that track, they don't sound like a kit. They sound like a building falling down. Tony Thompson's snare hit on "Some Like It Hot" became the gold standard for 80s production. It was recorded at the Power Station studio in New York (hence the name), which had these massive, soaring ceilings that made everything sound like it was happening in a cathedral.
But here is what most people get wrong: they think it’s just a rock song.
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It’s not. It’s a funk song played by people who were obsessed with Led Zeppelin. It’s got that Chic-style precision on the bass and guitar, but with the volume turned up to eleven.
The Famous (and Infamous) Music Video
You can’t talk about Robert Palmer Some Like It Hot without the video. It was peak MTV. It featured the transgender model Caroline "Tula" Cossey, which was a huge, progressive move for 1985, even if the general public didn't fully realize it at the time.
The aesthetic was all red and black leather.
It was moody.
It was expensive.
It looked exactly like the music sounded: sleek, dangerous, and very, very loud.
The Drama: Why Palmer Walked Away
Just as the band was about to go on a massive tour and play Live Aid, Palmer quit. He bailed. He went back to the Bahamas to record his solo album Riptide.
The rest of the band was furious. John Taylor has been pretty open in interviews about how bitter he was back then. They felt like Palmer had used them to jump-start his career in America and then left them holding the bag. They ended up hiring Michael Des Barres to fill in for the tour, but let’s be real—it wasn't the same.
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Palmer’s excuse? He said he never signed up for a career. He signed up for a project. He told people he didn't need the money and just wanted to get back to his own work. And he was right. His next single was "Addicted to Love," which used the exact same heavy-funk-rock formula and made him a superstar.
He basically "stole" the Power Station sound for himself, and honestly? It was the smartest move he ever made.
Why We Still Care in 2026
Music today is often so polished it feels sterile. Robert Palmer Some Like It Hot feels like it’s vibrating. It’s got a raw, sweaty energy that is hard to find in a world of laptop-produced beats.
If you want to understand why the 80s were more than just neon leg warmers and synthesizers, you listen to this. It represents a moment when rock, funk, and pop actually fused together into something that could blow your speakers.
Actionable Insights for Music Fans
- Listen to the 12-inch mix: If you’ve only heard the radio edit, you’re missing the full "Heat Is On" instrumental section. It’s where the Bernard Edwards bass line really shines.
- Compare it to "Addicted to Love": Listen to them back-to-back. You can hear exactly how Palmer took the DNA of the Power Station and refined it for the masses.
- Check out the 1996 Reunion: A lot of people forget the band got back together for an album called Living in Fear. It’s darker, heavier, and features Bernard Edwards on bass. It’s worth a deep listen if you like the grittier side of Palmer's voice.
Next time you hear that opening drum fill, don't just let it play in the background. Crank it. That’s what it was built for.