Robin Trower Robin Trower Winterland, San Francisco, California November 3, 1973/May 25, 1974 Photos 1-6 by Dan Cuny Photos 7-36 by David Miller Text by Michael Collins Morton Robin Trower started out as a guitarist with The Paramounts, in Southend-on-Sea, Essex, England, in the early 1960s. He later came to fame as a member of Procol Harum, a British band known mainly for "A Whiter Shade of Pale," one of the biggest hits of 1967. (Although Robin Trower had not yet joined the band when that particular track was recorded.) Procol Harum played music that usually featured piano and organ in the forefront, but Robin Trower's distinctive tone on the guitar became a key element of their early songs. James Dewar In 1971, Robin Trower left Procol Harum. He soon formed a trio under his own name, with James Dewar, formerly a member of the Scottish band, Stone the Crows, on bass and vocals, and Reg Isidore on drums. Their first album, Twice Removed from Yesterday, was released on Chrysalis Records in 1973, and was produced by Matthew Fisher, who also had been a member of Procol Harum. The three musicians toured relentlessly and frequently performed in the USA, quickly garnering a sizable following. Robin Trower's second album, Bridge of Sighs, with Matthew Fisher as producer again, was released in 1974. It sold extremely well, received extensive airplay on FM radio, and transformed the guitarist into a major name in rock 'n' roll. In addition to "Bridge of Sighs," it featured "Day of the Eagle," "The Fool and Me," "Too Rolling Stoned," and other strong tracks. As a result of Bridge of Sighs, the hard-working trio became even more widely known than Procol Harum. Robin Trower, James Dewar, and Reg Isidore were never known as being showy musicians, but their performances at Winterland always had a sweaty directness that was undeniably exciting. The wild and unearthly sounds that Robin Trower created on the strings of his Stratocaster, combined with the bluesy voice of James Dewar and the heavy drums of Reg Isidore, had an overwhelming power. They connected with audiences through the sheer force of their talent, without reliance on tricks or distractions. Although Robin Trower had to endure repeated (and quite unnecessary) comparisons between his musicianship and the astonishing musicianship of Jimi Hendrix, his careful mastery of the guitar proved, beyond any doubt, that he was a worthy and strong-minded musician in his own right, with a durable style that spoke for itself. He succeeded by steadfastly dedicating himself to following a musical path that required equal parts of boldness and inspiration. David: I saw Robin Trower three times at Winterland. He was third on the bill, under Mark-Almond, the first two times. The third time he was second on the bill under Sha Na Na. (I felt he should have been the top act.) Each time I saw him, he wore similar clothes. His performance didn't change much, but it was great music each time. Even though Robin was the star, I loved James Dewar's vocals. He filled the air effortlessly with his smooth, deep voice. Robin's guitar and James' voice were a perfect match. I liked that they were a three piece and could reproduce the songs from the albums without adding other musicians. On "Man of the World," Robin would fill in the extra vocal ("I want to be, I got to be"), but I had to cringe a bit because, as great as his guitar playing was, his vocals were not so great. A lot has been said about Robin Trower being influenced by Jimi Hendrix. I admire Robin for acknowledging that and not trying to cover it over. I felt that Robin and his band mates had developed their own sound. I remember at one point during one of the performances someone behind me held up a poster of Jimi Hendrix for Robin to see. I saw him look down at the poster, with a smile and a nod. I thought that was great and wished I could have been in a position to get a photo of the moment. We waited outside Winterland with a few other fans, and were able to meet the band and get their autographs. Both Robin Trower and James Dewar were extremely nice in person. They chatted with the crowd and thanked us all for the compliments that we heaped on them. I remember how frail James Dewar looked. He was soft-spoken and had an accent that made it impossible for me to understand anything he said. Gary: I remember we saw Robin Trower three times at Winterland. In 1973, after the band had first formed, and in 1974, when Bridge of Sighs was out and filling the FM airwaves. Once at third on the bill, and then the next two times at second on the bill. James Dewar sang and played bass, and the powerful Reg Isidore was on drums. I remember hearing tracks from the great first album, Twice Removed from Yesterday: "Man of the World," "Daydream," the title track, which was wonderful, and "I Can't Stand It," which I remember being a real burner. I really love Side One of the first album. It's masterful. Although I was a big Procol Harum fan, I appreciated Robin Trower leaving and forming his own band. He was, and still is, an amazing guitarist. I remember feeling a bit of pride, like a father, when Matthew Fisher did the production and played organ on the first album. It was like they were kids, doing things on their own, following their own talents instead of lending those talents to Procol Harum. They had liberated themselves. James Dewar was a great man. I loved his work on the early Stone the Crows albums. He had an incredible voice with great expression. I have a video of him playing and singing with Stone the Crows, with Les Harvey and Maggie Bell. What a band! Robin Trower was strongly influenced by Jimi Hendrix. I remember at one of the concerts, one of his fans rushed the stage with a big blown up picture of Jimi Hendrix surrounded by a garland of flowers, and put it at Robin Trower's feet. Robin Trower was all smiles and nods. He appeared to appreciate it. Dan: I can remember wanting to see Robin Trower the first time we saw him at Winterland, in August, 1973. I had purchased his first album since he left Procol Harum, Twice Removed from Yesterday (recorded with his band mates James Dewar and Reg Isidore), and had played it many times. That first time, Robin Trower was the third act on a bill of four bands, appearing ahead of Poco (not a big fan of that band) and Mark-Almond (who we had seen four months earlier, opening for John Mayall), and after David Blue. I can still remember when the band took the stage. Dewar to the left, and Trower right in front of me, playing his Fender Stratocaster. I don't remember all the songs they played, but I do remember them playing "Twice Removed from Yesterday" and "Daydream," which were two of my favorite songs from the album. The second time we saw the band was in November, 1973. I can't remember too much different from the first time we saw them. I do remember that the band was always very tight. Robin Trower's solos, with him holding notes for a long time, came across extremely well. James Dewar's vocals were just as clear as they were on the albums. I can also remember looking in the viewfinder of my camera and thinking I had caught some pretty good images of the band. Looking back at the images reminds me of what a tight band they really were. I am very happy to have seen them in what I feel was their heyday. Michael: I had been a fan of Robin Trower for a long time, going back to his years with Procol Harum. Even then the sound of his guitar stood out. When he formed his own band, much was made of his musical debt to Jimi Hendrix, but I felt that such comments were overdone, and I never took them too seriously. He certainly owed something to Jimi Hendrix, as most guitarists of that period did, but he clearly had a style that was his own. We had the opportunity to see Robin Trower perform several times at Winterland, when he was working his way to the top after leaving Procol Harum. He did not jump about in the manner of Pete Townshend and other guitarists, but his skill on the guitar, and the fire of his music, always made a deep impression. When he played "Daydream," a slow and sleepy song from his first album, it seemed that time stood still. We met the musicians outside the stage door after one of the performances. Robin Trower seemed fairly reserved, but he was gracious about signing autographs. Reg Isidore was more outgoing and seemed surprised by our interest in him. James Dewar was an affable fellow, but his Scottish patter was utterly impenetrable to my ears, so I merely smiled and nodded as he chatted with me, without knowing what he actually was saying. More about Robin Trower at David's Rock Scrapbook Next: Manfred Mann's Earth Band (a second performance from 1974)

Fairport Convention have a long and complicated history. Formed in the late 60s, they have continued in one form or another ever since. Sandy Denny was not in the original line up and only recorded three albums with the band before branching off with Fotheringay and then launching a solo career. In 1974 she rejoined Fairport Convention for one album and a tour of the USA. My friends and I were lucky enough to see them perform at The Berkeley Community Theatre in 1974. We met Sandy Denny and other members of the band after the show and got their autographs. To see my photos and read our memoirs, go to - Brit Rock By The Bay Below is my ticket stub from the concert and the autographs I got after the show. On top is Sandy Denny, then Dave Mattacks and Dave Swarbrick. A history of Fairport Convention from "The Harmony Illustrated Encyclopedia of Rock" by Mike Clifford. © Harmony Books 1986. An insert from the Sandy Denny boxed set by Carthage Records. © Island Records 1985. A detailed history of Fairport and all of the off-shoots from "Rock Family Trees" by Pete Frame. © Omnibus Press 1993. A review of their second album and first one with Sandy Denny. Reviews of both "Unhalfbricking" and "Leige & Lief". A review of "Fotheringay" and "Full House" appeared side-by-side. Sandy is interviewed and talks about breaking up Fotheringay, going solo and possibly rejoining Fairport. Sandy is interviewed and discusses recording her new album, "Like an Old Fashioned Waltz", and touring the USA. No mention of her up coming marriage to Trevor Lucas. A detailed history of Fairport and it's members in two parts. Sandy talks about rejoining Fairport. A glowing review of a live show by the new Fairport. Comparisons are made between Renaissance and Fairport Convention. "Rising For The Moon" receives a poor review. From the book, "The Day The Music Died". ©Plexus Publishing Limited 1989. From the book, "Death By Rock & Roll" Published by Citadel Press 1995. © Gary J. Katz Richard Thompson's biography gives some interesting history on the formation of the band and it's early period. Below are some of the albums that make up the history of Fairport Convention and some of it's members. The first album with Judy Dyble, Ian MacDonald, (Ian Matthews), Richard Thompson, Simon Nicol, Tyger Hutchings and Martin Lamble, (He later died in a car accident that also took the life of richard Thompson's girl friend). Reno, Nevada - (live clip) Time Will Show The Wiser - (live clip) I like the serious look on their faces in contrast to the Marx Bros. photo. Sandy Denny's first recordings from 1967. They were released in 1978 after her death. The British cover of the second Fairport album and the first with Sandy Denny. The cover art was done on a chalk board by the band while waiting back stage. After the concert they sent a photographer over to get a shot of it before it was erased. Meet On The Ledge - (audio clip) The USA release of the album without a title. The British release of their third album "Unhalfbricking". Si Tu Dois Partir - (audio clip) The USA version. Their fourth album "Leige & Lief". After the car accident they nearly disbanded. Sandy Denny left and Dave Swarbrick joined. Come All Ye - (audio clip) BBC Radio Sessions from 1968-69. They were released on Hannibal Records in 1987. Their next album, "Full House". Members were Dave Mattacks, Simon Nicol, Dave Pegg, Dave Swarbrick and Richard Thompson. This was the last album Richard Thompson performed with Fairport. Dirty Linen - (live clip) "Fotheringay" was formed in 1970. Members were Sandy Denny, Trevor Lucas, Gerry Conway, Jerry Donahue and Pat Donaldson. Trevor Lucas later married Sandy Denny and had a child. They released one album and disbanded while working on a second which was recently released. Gypsy Davey - (live clip) After leaving Fairport Convention, Judy Dyble sang with Giles, Giles and Fripp, (King Crimson), and then joined Trader Horne with ex-Them member, Jackie McAuley. They released one album, "Morning Way". Jenny May - (audio clip) Giles, Giles & Fripp. "I Talk To The Wind" - (audio clip) Iain Matthews, (Ian McDonald), left Fairport and formed Matthews' Southern Comfort and later Plainsong. When She Smiles - (audio clip) Woodstock - (audio clip) Dave Swarbrick and Martin Carthy recorded five albums together in the late 60s. Swarbrick later joined Fairport and Carthy joined Steeleye Span. Byker Hill - (live clip) The album, "The Bunch" was a one shot recording in 1972. British folk rockers cover American classics from Hank Williams to Chuck Berry. Linda Peters later married Richard Thompson. Morris On was considered a British folk music super group. They recorded two highly acclaimed albums. Cuckoo's Nest - (audio Clip) Sandy's first solo album. The first song, "Late November" was written for the second Fotheringay album. Sandy Denny - (live clip) Sandy's second album included Richard Thompson, Pat Donaldson, Dave Swarbrick and Linda Peters. Her next album also included ex-Fairport and Fotheringay members. The songs have a more "jazzy" sound. Her reunion with Fairport included Dave Swarbrick, Dave Pegg, Jerry Donahue, Trevor Lucas, Dave Mattacks and Bruce Rowland. Rising For The Moon - (audio clip) "Rendezvous" was her last recording. Who Knows Where The Time Goes - (audio clip) To see more about Sandy Denny in my previous blog post - David's Rock Scrapbook - STRAWBS In 1981 Fairport did a reunion concert at Broughton Castle. They performed songs from various periods and even one by Jerry Lee Lewis. On hand were Dave Swarbrick, Richard Thompson, Simon Nicol, Dave Pegg, Dave Mattacks, Bruce Rowland and Judy Dyble.

(U.K 1965 - Present) . This bootleg is another one of my prize possessions which I acquired in the late 70's (probably from the Victoria Market, Melbourne or at Reading Records in Carlton, Melbourne), and I am certain that this will be the first blog posting for this concert. Having seen Jeff Beck at Festival Hall, Melbourne; when he toured with Jan Hammer in the late 70's; I was keen to get as many of his releases as possible, including bootlegs. Unfortunately, this is the only bootleg I ever came across but is not surprising considering my trusty bible of boots, entitled 'Hot Wacks', only listed a half dozen titles being available for Jeff Beck at the time (1981). Beck-fast (released by Trade Mark Of Quality) was also released under the name 'Beckelectric At O'Keefe: White Like Me' on the K & S label which helped me to identify the date and venue of the recording (as it is not listed on the Beck-fast cover). .Thanks to a bit of web searching, I have discovered that the bootleg was recorded at the O'Keefe Centre, Toronto July 23rd 1975 during 'The Blow By Blow Tour', with the support band 'Small Wonder'. I really love the cover of this bootleg. In true 'Pig Trade Mark of Quality' humour, the bootleg has been marketed in the same way that a packet of Breakfast Cereal is. Just have a look at what is inside the bowl of cereal or the track listing being referred to as "Nutrition Information per Track' and the band referred to as 'Ingredients'. And of course the play of words with Breakfast and Beckfast is fairly obvious but I love their slogan: "A nice big platter of Beckfast for breakfast gives you more 'jam' per gram & more bounce per ounce to start you on your day" ! . TMQ, TMOQ or Trade Mark Of Quality was a bootleg record label that originated in the Los Angeles, California area during the late 1960s and early 1970s. The label was responsible for many underground records of Bob Dylan, Led Zeppelin, Jefferson Airplane, Devo, Grateful Dead, The Beatles, Frank Zappa, Rolling Stones, The Who and many other popular rock artists of the era. The major record labels were shocked and dismayed that any anonymous person could obtain or make a bootleg recording of one of their artists and press up records and release them for sale. "Trade Mark of Quality" was established in 1970 by two bootleggers, "Dub" Taylor and Ken Douglas (now an avid sailor and author.) They were quality-conscious perfectionists who pressed all their albums on coloured, virgin vinyl, and perhaps the first bootleggers to start doing real, printed picture covers, and later colour picture covers (printed - not inserts under the shrink-wrap as seen on "head shop" bootlegs). Dub & Ken had released several albums under different names before settling on "TradeMark Of Quality" in 1970, the first being the (in)famous "Great White Wonder" by Bob Dylan. According to Ken, "Dub" recorded several of TMQ's releases himself, including The Rolling Stones' "Liv'r Than You'll Ever Be" and Led Zeppelin's "Live On Blueberry Hill". TMOQ also employed the services of William Stout, whose unique artwork graced many of TMOQ's albums. In fact, the cover of Beck-fast is credited to the very same person. . Concert Review If you felt that Jeff Beck was on top of the game when he released Blow By Blow in 1975, you would not be disappointed with this live show. There are many stories of Beck returning to the studio to overdub his guitar parts for this album but there is no such worries here - live, he is both fluid and mercurial. . According to The Rolling Stone Record Guide (1979), “After the stormy demise of Beck, Bogert and Appice, Beck changed course once again, and under George Martin’s production recorded Blow By Blow, an all-instrumental album (no more vocalists to worry about) that shows off Beck’s consummate abilities as a guitarist as never before. All styles served here, from to funk to jazz, and its success has led Beck into jazz-rock circles.” On the other hand, music critic J.D. Considine didn’t mince words when he wrote that “An eloquent player with absolutely nothing to say, Beck isn’t much of a jazzman, but Martin works around the guitarist’s limitations, elegantly framing the solos with sympathetic rhythm arrangements and lush string orchestrations.” But for the fan listening to this show, it is quite sublime. As taper Dan Lampinski noted: “Jeff Beck’s performance was one of the single greatest guitar performances that I ever witnessed… only rivalled by Zappa on his guitar solo blitzkrieg tour with Adrien Belew in tow.” . The concert was also reviewed by Bruce Kirkland who wrote for the Star Newspaper in Toronto. He noted that Beck was a reserved performer, writing that " he never looked at the audience in the face when he performed but rather played eyed games with drummer Bernard Purdie and the two cajoled each other into higher and greater and more intense bursts of his tension power rock, then guided each other through the smoother passages of jazz rock" [thanks to Dusty Hat for the newspaper review and concert advert] It is interesting to note that while researching the concert, there has been some discrepancy regarding the price of the concert tickets ( $6 - Music in Dorseyland and $5.50 - Dusty Hat) but the ticket stubb above clearly shows that the price to be $5.50. Oh for the days when concerts didn't cost a fortune hey. . Rip was taken from almost mint Vinyl bootleg at 320kps and includes scan of front cover, along with review article and all photos depicted. Because the tracks tended to run into one another with audience applause and occasional dialogue, I decided not to segment the tracks so as not to loose the true atmosphere of this great concert. Instead, I have posted the album as two separate mp3's - Side A & B. Hope you enjoy your next Beckfast! .Track Listing 01. Constipated Duck 02. She's A Woman 03. Freeway Jam 04. Superstition 05. Air Blower 06. Power 07. Got the Feeling 08. You Know What I Mean . Band Members Jeff Beck (Guitar, Airbag vocal guitar distorter) Max Middleton (Keyboards) Bernard Purdie (Drums) Wilbur Bascomb (Bass) . Beckfast Link (120Mb) New Link 23/12/2023 .

Carly Simon wrote "Anticipation" in 1971 while waiting for Cat Stevens to arrive for their first date, if date's the word you use. During their brief affair Cat also inspired her to write "Legend In Your Own Time". This was the era of the singer-songwriters. If you slept with one it was expected they would write a song about you. If they didn't it was tantamount to saying you weren't important enough. "Songs are like tattoos," as Joni Mitchell sang the same year. She wrote "Willy" about Graham Nash. He wrote "Our House" about her. Leonard Cohen wrote "Chelsea Hotel No 2" about Janis Joplin. That's the way it went. Carly only saw Cat for a couple of months. She was in London making an album with his producer Paul Samwell-Smith, another lover. (That cover picture was shot in Regent's Park's inner circle.) In spring Cat introduced her to future husband James Taylor. In summer she supported Kris Kristofferson who took her back to the Gramercy Park Hotel and sang "I've Got To Have You" for her, in case she didn't get the idea. They were all young, beautiful and would never be better. Being immortalised on somebody's next album simply heightened the romance. You could guarantee a song that featured your favourite subject - you. And of course as this branch of celebrity culture was being born that torrid summer the funny thing is the media neither knew nor cared.

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By Ray Shasho Robin Trower has everlastingly mesmerized rock enthusiasts across the planet with his intricate heavy rock and blues harmonics. The master of the Stratocaster recently released roots and branches an inventive mix of cover tunes spotlighting Robin’s favorite R&B, blues and early rock ‘n’ roll classics compiled with several explosive new tracks of Trower material. The most memorable cover tracks of roots and branches is Trower’s impressive blues rendition of the Willie Dixon penned, “Little Red Rooster,” Arthur “Big Boy” Crudup’s, “That’s Alright (Mama),” and the Booker T. Jones/ William Bell composition “Born Under a Bad Sign.” Robin Trower instills the magic of his own genius into these timeless classics. Trower’s heavier rock and blues adaptation of “That’s Alright Mama” should inspire generations for years to come. My favorite tunes on roots and branches are the back to basics Trower arrangements of “See My Life” and “Sheltered Moon.” “See My Life” runs deep; it’s an incredible hard rockin’ blues composition that wails … Trower Power! Robin Trower has also established himself as a first-rate rock vocalist. Although Trower contributed vocals while with Procol Harum, during his quintessential period with legendary music partner and friend James Dewar … Trower’s only voice contribution to the classic lineup was a short dialogue at the beginning of the track, “Twice Removed from Yesterday. …I gave roots and branches (5) five stars. The BEGINNING: In 1960, the British guitarist formed The Paramounts, which would eventually evolve into the progressive rock band Procol Harum. The Paramounts lone hit was a cover version of The Coasters classic, “Poison Ivy” (1964 #35 U.K Singles Chart). The Paramounts split-up in 1966. PROCOL HARUM was formed in 1967 by The Paramounts Gary Brooker, lyricist Keith Reid, Matthew Fisher, Ray Royer and Dave Knights. After the immediate success of their Top 40 hit single, “A Whiter Shade of Pale” (#5 U.S. Charts), the band added former Paramounts drummer B.J. Wilson and Robin Trower who replaced Ray Royer on guitar. The new lineup strengthened the band musically in preparation for touring. Ex Paramount Chris Copping joined the band by Procol Harum’s fourth release. The group scored Top 40 commercial success again in 1972 with the hit single, “Conquistador” (#16 on Billboard’s Hot 100). Progressive rock pioneers Procol Harum familiarized the world with their eclectic mix of symphonic rock, blues and R&B music. Robin Trower recorded five studio albums as a member of the group … Procol Harum (1967), Shine on Brightly (1968), A Salty Dog (1969), Home (1970) and Broken Barricades (1971). Robin Trower later appeared on The Prodigal Stranger (1991) and The Long Goodbye (1995). Trower left Procol Harum to form his own band. He teamed up briefly with singer/songwriter Frankie Miller, drummer Clive Bunker (Jethro Tull) and bassist/vocalist James Dewar (Stone The Crows) to form Jude. The group never recorded an album and soon disbanded. THE POWER TRIO: In 1973, the inception of a new power trio would epitomize what would become Robin Trower. James Dewar on lead vocals and bass, Robin Trower on guitars and Reg Isidore on drums launched their brilliant debut album entitled, Twice Removed From Yesterday. Most of the songs on the album were written by Trower and Dewar. The album was the first of many recorded on the British Chrysalis Record label created by Chris Wright and Terry Ellis (Jethro Tull). Robin Trower’s guitar styles were immediately correlated with Jim Hendrix. Critiques hurried to dub him “The White Hendrix.” I say to those critics … You didn’t listen closely enough to the music. From the very beginning, Trower developed a very unique style of his own. Trower’s ingredients included a heavy dose of hypnotic rock with progressive, blues, acid rock and R&B overtones. The metaphysical lyrical content was delivered by the commanding voice of James Dewar. The mesmerizing musical qualities of Trower and Dewar instantly transported the listener’s mind musically into other worlds and dimensions. Of course there were guitar techniques that were similarities to Hendrix but Trower grasped the means and created a brave new style. Twice Removed From Yesterday established many of Trower’s touring setlist classics … the hypnotic “Daydream,” the unyielding “I Can’t Wait Much Longer,” the blues standard, “Rock Me Baby,” and my personal favorite track “Ballerina” spotlighting the haunting vocalizations of James Dewar. The album became certified gold. Robin Trower’s next album, Bridge of Sighs (#7 on the U.S. Charts) became a huge commercial success and one of the most critically acclaimed albums in rock history. It was now evident that the band had created a certain musical mystique and allure over its listeners. Every song on the album was brilliantly composed and performed. The title track, “Bridge of Sighs” would become Robin Trower’s anthem. In 1975, Robin Trower released For Earth Below. A magnificently engineered album produced by Procol Harum bandmate Matthew Fisher. Fisher also produced the first two Trower albums but this would be his last. Drummer Reg Isidore was replaced with Bill Lordan (Sly & The Family Stone). Long Misty Days was released in 1976. The album reflected vintage Trower arrangements while the single, “Caledonia” actually found its way onto mainstream radio playlists. The album, Robin Trower Live was also released that same year. In 1977, Rustee Allen (Sly & The Family Stone) was brought in to play bass so James Dewar could relax his role as the bands lead vocalist. The group also established itself as a mega concert attraction selling out arenas and stadiums worldwide and appearing on national television and radio syndicated music shows. In City Dreams, their fifth studio album was also released that year and became the bands fifth consecutive certified gold album. Subsequent albums with James Dewar on vocals … Caravan to Midnight (1978), Victims of the Fury (1979) and Back It Up (1983). Robin Trower Live releases … Robin Trower Live (1976), Beyond The Mist (1985), Live In Concert (1992), In Concert (1996), King Biscuit Flower Hour Presents Robin Trower (1996), This Was Now ’74-’98(1999), Living Out Of Time (2005), RT @ RO 08(2008), Robin Trower at The BBC 1973-1975(2011). In 1981, Robin Trower began a musical collaboration with Jack Bruce (Cream vocalist and bassist) with their debut album B.L.T. (Bruce - Lordan -Trower). Subsequent albums featuring Jack Bruce on vocals and bass … Truce (1981), Seven Moons (2008) and Seven Moons Live (2009). The 1983 release Back It Up brought in Dave Bronze on bass and Alan Clarke on drums. It would also be the final album featuring their legendary vocalist James Dewar. In 1987, longtime Trower lead vocalist and bassist James Dewar became disabled after a medical error damaged his brain. A new Trower lineup was announced that included vocalist Davey Pattison of the Ronnie Montrose inspired rock band Gamma. The band released the album Passion. Subsequent albums with Davey Pattison on vocals … Take What You Need (1988), In the Line of Fire (1990), Living Out of Time (2003), Another Days Blues (2005), RT @ RO 08(2009) and The Playful Heart (2010). Robin Trower began a musical collaboration with Bryan Ferry (Roxy Music) in 1993 on the album Taxi which he also co-produced. Subsequent albums with Bryan Ferry… Mamouna (1994) and Dylanesque (2007). In 1994, Robin Trower released 20th Century Blues featuring Livingstone Brown on vocals and bass. In 1997, Someday Blues spotlighted Robin Trower singing lead vocals. Subsequent albums featuring Robin Trower on vocals … Go My Way (2000), What Lies Beneath (2009) and roots and branches (2013). Robin Trower’s incomparable vocalist and bassist James Dewar died in 2002. Longtime Trower drummer Reg Isidore died in 2009. I had the great pleasure of chatting with Robin Trower recently about his latest album roots and branches and about an amazing music career that has spanned over five decades. He’s a soft spoken gentleman and just a really nice guy. It became evident to me that his love of writing music, creating new ideas and playing the guitar, always has and will forever be his passion. He also hinted about another new Robin Trower album. Robin had recently celebrated his 68th birthday. Here’s my interview with guitar virtuoso/singer/songwriter/ producer … ROBIN TROWER. Ray Shasho: Hello Robin …happy belated birthday to you! Robin Trower: “Hello Ray and thank you very much.” Ray Shasho: How’s the weather in London? Robin Trower: “Very cold and a lot of snow about, not as much here in Hampshire but in Sussex they’ve had a helluva lot of snow.” Ray Shasho: Your manager Derek Sutton called me earlier to make sure I was onboard with the time change. I consider Derek one of the very few geniuses left in the music industry. He sounds like a great guy too; it must be a pleasure to work with Derek. Robin Trower: “Yes, fantastic, he looks after me and made it possible for me to make the music that I want to make and the records that I want to make.” Ray Shasho: British artists I’ve interviewed tell me, while growing up in England; it was difficult to find radio stations to listen to early American blues and rock and roll. In fact, there weren’t many radio stations at all? Robin Trower: “It was difficult, especially to get a hold of black music. Basically we only had one radio station and that was the BBC, they didn’t play rock and roll until they brought in Radio 1. But there were people who would bring music in and buy records from America. I was lucky enough to know a guy that had a communication with somebody at a record store in Memphis, and he used to send him a lot of stuff. So I was really lucky and got to hear music that a lot of other people weren’t hearing in Britain.” Ray Shasho: I heard that black music… or early American blues, were only heard on underground radio stations. Robin Trower: “Music like Howlin’ Wolf and Muddy Waters, when they first came out in America, it was not released in Britain. So we got it a bit later. Also a guy named Guy Stevens opened up a specialist label called Pye International and he used to bring in stuff like that and release it in Britain.” Ray Shasho: Robin, I understand that you were heavily influenced by R&B music, who was your favorite artist? Robin Trower: “Early James Brown was a very big influence for me; he’s still my favorite artist even now, especially his live albums like, ‘Live at The Apollo’ which is exceptional and so inspired me. He set a standard with his band and his music and took it to a whole new level, it became a benchmark. Not only that, obviously there was a lot of other music, like I said …Howlin’ Wolf, Muddy Waters, B.B. King, Albert King being my favorite blues guitar player, Jimi Hendrix my favorite rock and roll guitar player … there’s a lot of people who are important to me. But I was definitely inspired by rhythm and blues and popular music from America.” Ray Shasho: Music critics always used to compare you to Jimi Hendrix … maybe some of your techniques were similar but I always heard a totally different sound and style. Robin Trower: “Obviously he was a big influence on me, especially early on when I first started my band. But I always felt the songwriting and music I wrote were definitely my own.” Ray Shasho: I really enjoyed your new release roots and branches and especially the way you added your signature sound to those classic cover tunes that obviously meant a lot to you. Robin Trower: “Yea, these are some of the songs that got me interested in music, wanting to play guitar and all that kind of thing when I was young and they’re still some of my favorite songs, just great songs.” Ray Shasho: My favorite song on the album was not a cover tune; it’s a brand new composition entitled “See My Life,” an incredible tune that wails Trower Power! Robin Trower: “That’s the only song on there that was actually done live. Actually the whole thing went down in one take. Most of it was recorded in the same studio apart from some of the overdubs; the organ was done at a different studio and I did a couple of vocals when we were mixing at Livingstone Brown’s Studio.” Ray Shasho: My favorite cover tune on the album was “That’s Alright Mama” …just fantastic! Robin Trower: “Thank you very much. With that one and “Hound Dog” I was more thinking about the original versions … the original, “That’s All Right” being Arthur “Big Boy” Crudup and the original, “Hound Dog” was Big Mama Thornton. With all the old songs that I’ve done versions of I didn’t go and listen to them, I just did them roughly from memory because I didn’t want to be influenced at all by the original version. I just used a skeleton idea of the song and came up with my own music for it, more or less like I’ve written the tune myself and came up with it.” Ray Shasho: It’s amazing how many artists have made a living recording and playing mostly cover tunes. I think in your case it’s the complete opposite, that’s why this latest album is so rare and different. Robin Trower: “I’ve been very fortunate …I continue to write and continue to come up with ideas. I’m very lucky in that way. I’ve obviously written a lot of songs and I’m still churning them out. The engine is my love of playing the guitar, that’s what drives the whole thing along.” Ray Shasho: You’ve also stayed motivated, which is difficult to do, especially as we get older. How do you continue to stay so motivated? Robin Trower: “The thing is …you always think the next thing you do is going to be great. That’s it! I’m going to do something great one day. Keep trying to do that thing that you’re going to be really-really happy with.” Ray Shasho: Robin, you’ve already done so many great things. Robin Trower: “I’m not ready to give up yet though. This morning I finished the arrangement for the eleventh new song, which I feel there’s enough for a new album.” Ray Shasho: What is your process for writing new material? Robin Trower: “I just write on guitar. I’ve got one of these Sony professional handheld recorders and I use a notepad to jot down all the ideas as I go. I’m continually updating it as I improve an idea until I’m happy with the material.” Ray Shasho: There’s a new Jimi Hendrix album out entitled, People, Hell and Angels with twelve unreleased studio recordings and featuring guest artists. I was wondering if you listened to the album and also I understand you met Hendrix, but only briefly. Robin Trower: “I haven’t heard it … but I’ll have to look out for it, if you say it’s good. I met Hendrix briefly while playing with Procol Harum; we were on the bill with him in Berlin. It was just a hello and goodbye sort of thing and that was it.” Ray Shasho: In my opinion, James Dewar was one of the greatest rock voices the world has ever known, and an awesome bass player. The musical chemistry between you and he was so incredibly powerful, and the songs were mesmerizing. Robin Trower: “Well, hopefully that’s what you hope to achieve with music, to make people feel like it’s taking them somewhere, that’s the ideal effect you should have with music. Jimmy was very gifted and he had a wonderful voice. We had a fantastic relationship, we were like brothers. We worked very-very well together; he was such a sweet guy.” Ray Shasho: Not a lot is mentioned about how Jimmy Dewar left us. What I’ve read was a medical error left him handicapped and then years later he had a stroke that ended his life. Robin Trower: “I’m not really sure and I don’t think anyone is really sure what happened. I spoke to his wife after it happened and she didn’t even seem certain about it, it’s just one of those things you know … but something happened.” Ray Shasho: Do you still speak with Jimmy’s children? Robin Trower: “Whenever I’m touring in Britain, I usually play Glasgow and see all three of his daughters. They’re all in their late 30’s or so now.” Ray Shasho: I’d have a hard time visualizing Robin Trower playing acoustic guitar onstage, has it ever crossed your mind during your career? Robin Trower: “Not really. I’m not very good at acoustic guitar playing really (laughing). I enjoy working on it because it gives you a different texture and maybe pushes you in different areas. But I play electric guitar, that’s my instrument.” Ray Shasho: I heard you had a reunion with your old bandmates The Paramounts? Robin Trower: “Yea, actually four years ago we did a Christmas show at one of the little Pubs we used to play in when we were together. It was a lot of fun and I really enjoyed it. The Paramounts were a good little band. We never broke through into the mainstream but we did quite well.” Ray Shasho: Then of course many of your Paramount bandmates morphed into Procol Harum. Robin Trower: “Gary Brooker started writing and that was really the core of Procol Harum … his composition.” Ray Shasho: Procol Harum is a great band but I’m so glad that you left; the world may never have found out who the real Robin Trower was. Robin Trower: “I wouldn’t have found out. (All laughing) They were writing so many songs and pieces and there wasn’t any room for me, so I had to leave.” Ray Shasho: The first time I heard you sing I was completely blown away because you never sang. I think the only time I ever heard your voice during the James Dewar days was on the beginning of “Twice Removed From Yesterday” correct? Robin Trower: “Yes, I did a talking thing, and that was the only vocals I did while Jimmy was with me. I hadn’t been singing because we had such great singers. But I did sing in Procol Harum.” Ray Shasho: “I think you’re a great singer.” I became a fan of Robin Trower as a singer on the album Go My Way, especially the tracks “Breathless” and “Go My Way.” I thought the album was exceptionally good. Robin Trower: “Thank you! I think what’s interesting when you are singing is that you’re writing is different and I think that’s given me a different outlet musically, because I’m working on the voice rather than coming up with a melody idea. It’s been a completely different thing and that’s been very interesting and in particular with this new batch of songs I’ve come up with, it definitely led me into some different areas.” Ray Shasho: How about a sneak preview of what we may expect on the next album once it’s completed? Robin Trower: “It flows on from roots and branches, that’s what I would say. I think roots and branches have opened up an avenue in terms of the writing and I’m really enjoying the moment, its seeming to come together really great.” Ray Shasho: Robin, I ask this question to everyone that I interview. If you had a ‘Field of Dreams Wish’ like the movie, to play, sing or collaborate with anyone from the past or present, who would that be? Robin Trower: “I would play with James Brown.” Ray Shasho: “I figured it would either be James Brown or Jimi Hendrix.” Robin Trower: “No, I wouldn’t play with Jimi Hendrix, he’s too good. (All laughing)” Ray Shasho: Thank you Robin for being on the call today and more importantly for all the incredible music you give to us. Go on tour soon and please don’t forget about Florida dates. Robin Trower: “I sure will it’s been nice talking with you Ray … Cheers!” Robin Trower official website www.trowerpower.com Order roots and branches Robin Trower’s very latest release at amazon.com Very special thanks to “The Great” Derek Sutton and David Maida. Contact classic rock music journalist Ray Shasho at [email protected] Purchase Ray’s very special memoir called ‘Check the Gs’ -The True Story of an Eclectic American Family and Their Wacky Family Business … You’ll LIVE IT! Also available for download on NOOK or KINDLE edition for JUST .99 CENTS at amazon.com or barnesandnoble.com - Please support Ray so he can continue to bring you quality classic rock music reporting. ~~Pacific Book Review says Ray Shasho is a product of the second half of the 20th century, made in the USA from parts around the world, and within him is every trend in music, television, politics and culture contributing to his philosophical and comically analytical reflections collected in his fine book of memories. I found Check the Gs to be pure entertainment, fantastic fun and a catalyst to igniting so many memories of my own life, as I too am within a few years of Ray. So to all, I say if you have a bit of grey hair (or no hair), buy this book! It’s a great gift for your “over-the-hill” friends, or for their kids, if they are the history buffs of younger generations trying to figure out why we are the way we are. © Copyright rayshasho.com. All Rights Reserved

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