One of the most valuable lessons I have learned from my mother’s brother was the progression by which to establish a deep appreciation for the classic rock, or AOR, idiom. For most folks, the term “classic rock” more than likely stops at the standards such as the Beatles, Rolling Stones, Led Zeppelin, Hendrix, Bowie, The Who, Pink Floyd, Billy Joel, Deep Purple, The Allman Brothers, Lynyrd Skynyrd, Black Sabbath, Jethro Tull, Bad Company, Clapton. Maybe the more adventurous might throw in The Kinks and The Faces or maybe even the old Jeff Beck Group.
My Uncle George exposed me to all this stuff practically out of the cradle, first by playing me riffs of “Over the Hills and Far Away” and “Ironman” on his acoustic guitar when I would invade his room as a tot in our old family house in Levittown, NY. Then it came to playing me the actual records, classics like Houses of the Holy, Let It Bleed, The Stranger, Ziggy Stardust, Machine Head, Fresh Cream, Lola Vs. The Powerman and Moneygoround. Whenever they would come on the television he would put on The Kids Are Alright or Let It Be for us to watch.
Next, it was taking me to actual record stores and head shops in our neighborhood where he used to get all of this stuff (in addition to copping free LPs as a perk of his job managing the local Record World at the Mid-Island Plaza). After that, it was throwing in used records he had doubles of into my Christmas or Birthday cache, stuff like Frank Marino and Mahogany Rush’s first album or Alice Cooper’s Killer or Johnny Winter’s Still Alive and Well.
But then there’s the AP style education in AOR my uncle held off schooling me on until I was in college, the records that are only known by the hardest of the hardcore classic rock heads and musicians well versed in such works but perennially fail to replicate their sounds (cough, Wolfmother!, cough cough, Bad Wizard!). I’m talking about West, Bruce and Laing’s Why Don’tcha, the Beck, Bogert and Appice album, John Phillips’ John, The Wolfking of LA, Ronnie Wood’s I Got My Own Album To Do, Roy Buchanan’s eponymous debut, any of Rory Gallagher’s albums from the 70s (but especially Live in Europe and Irish Tour).
And at the top of Uncle George’s deep AOR list was Bridge of Sighs, the second solo album from Procol Harum guitarist Robin Trower. Released in 1974, the album was a monster hit, reaching number 7 on the Billboard Top Ten. According to critics of the time, Trower’s massive control of his Fender Stratocaster reminded many fans of the work of Jimi Hendrix, whose untimely and unnecessary death still shook the foundation of the music world nearly five years after the fact. The comparison was more than accurate, even though the lily-white, astutely English, flamboyantly dressed, page-boy-coiffed Trower was the total opposite of Jimi’s strong black psychedelic gypsy.
Sighs, which remains to this day Trower’s singular masterpiece, is a phenomenal amalgamation of the soulful heavy blues of Cream. This is thanks in full to the eerily similar Jack Bruce-ian howl of bassist/vocalist James Dewar, and a wicked brew of rippling sheets of wailing fuzz, subtle wah-wah funk and caterwauling blues cries. The album truly did evoke the might of Hendrix’s power at the height of his Band of Gypsys era but at the same time was a style that was entirely indicative of Robin Trower.
Originally issued as an eight-track LP, the solo-heavy Sighs was more like a scream following Trower’s complaints that the music he recorded with Procol Harum left him no room to rip. Each song features its own outstanding, lengthy guitar solo, which was the prime reason why this album is still cherished by legions of aspiring guitarists making the ranks today. The best solos appear on the sultry slow blues of the album’s title cut and the tempo-shifting seven-minute-plus arena monster “Too Rolling Stoned”. Other tracks here display Trower’s prowess at constructing a seriously mean riff, and the ones he doles out on “Day of the Eagle” and “Little Bit of Sympathy” are right up there with the meatiest, beatiest Page and Blackmore hooks currently monopolizing your “Two-fer” Tuesdays.
Of course, no true guitar god can ever truly put in a true day’s work without a rhythm section of equal dexterity. And the excellent teamwork of bassist Dewar and completely underrated rock drummer Reggie Isidore, who so ferociously combined the fury of Tony Williams and the steady hand of Buddy Miles to provide the throbbing core of this most essential LP (and would fortunately be replaced shortly after the release of this album).
This very worthwhile 2007 reissue of Bridge of Sighs doubles the length of the original LP with two outstanding John Peel sessions from May of 1974 and January of 1975. These contain scorching live versions of several tracks from the album as well as some impressive performances of cuts that would appear on Sighs’ more-formulaic follow-up For Earth Below, most notably “Confessin’ Midnight” and the burning “Gonna Be More Suspicious”.
They don’t make guitar rock like they used to, although groups like the Mooney Suzuki and The Sword do their absolute damndest pose to convince the youngsters otherwise. My personal suggestion is to listen to my uncle and his generation about this kind of stuff. Sure, they might not know a damn about politics or the environment or urban sprawl or globalization or corporate imperialism or whatever other hell that last tail of the Baby Boom generation hath brought upon this earth. But one thing is for damn sure; they can spot a tasty lick from a mile away.
My father is the one responsible for getting me into music and he did so by showing me some of the best from his era, that era being the 1970’s. He showed me albums like Led Zeppelin IV, Boston, Sticky Fingers (Rolling Stones), and this album, Bridge of Sighs by British blues guitarist, Robin Trower. This used to be one of my favorites as a kid and I hadn’t listened to it again until recently. Listening to it again, now with more of an open mind to different kinds of music, I feel like I can say that I can fully appreciate this wonderful record. It’s a very fun listen with enough flashy licks to satisfy the guitar player.
I knew as a kid that this was certainly a great offering upon hearing the title track, “Bridge of Sighs”. Through listening to this song, I felt that I knew what a guitar should sound like. Robin Trower’s guitar roars (literally) through the surreal soundscapes set by the ambient textures. Vocalist and Bassist James Dewar does great in both of his respective departments; his singing perfectly complements the hypnotizing guitar line and his skills as a bassist shouldn’t be overlooked as he is definitely technically proficient and does well alongside drummer Reg Isidore. That being said, Reg definitely ain’t a slouch on the kit. Yeah, this song is slow, but going slow on the kit isn’t quite as easy as most would think. Most musicians’ ideal tempo is around 112 beats per minute and this song is around 45-50 and he does it quite nonchalantly to say the least. You’re probably thinking now, “Man, if this song is so slow then how in the world could I possibly listen to it without nodding off or something?” That my friend brings us back to those ambient textures I love to rave about. Without any ambiance or reverb behind the song it would surely be a dozer but these “sonic decorations”, if you will, keep the listener on edge.
“Bridge of Sighs” was written about a bridge in Venice, Italy of the same name where criminals waited to cross to their imprisonment; getting their last glimpse of the outside world. Truly heavy stuff if you ask me. This album certainly provides for the “Goldilocks principle”, as the songs are never too indulgent and fall just correctly within the realm of good songwriting. In a matter of speaking, Robin Trower and co. certainly knew how to stir the porridge on this release.
As far as riffs go, “Bridge of Sighs” is packed with them. Trower plays with a jazzy flare and is never too flashy as all the licks are there simply to provide for the music instead of showing off his chops (cough Yngwie Malmsteen cough). Both “Day of the Eagle” and “Too Rolling Stoned” feature a very catchy funk laced riff and how could anybody forget the aforementioned title track’s main riff? “The Fool in Me” features a funky stomping rhythm section which is a perfect partner to Trower’s riff-age. The solo in this song is probably my favorite off the album behind “Bridge of Sighs” on the “just right” scale. Trower enters with a chaotically strummed set of 9th chords and then proceeds to tear the face off the listener with his guitar expertise. Even on the more jamming tracks, “Bridge of Sighs” doesn’t falter or fail in anyway.
However, this album really shines when the group goes softer. “About to Begin” is a perfect change of pace from the rocking tracks. The track features a waltz-y rhythm from the drum set, mellow tones from Trower and some emotionally charged vocals from James Dewar. Dewar’s voice though sometimes having an imposing masculinity on other tracks really calms down on this one. If placed anywhere else in the tracklist, this song wouldn’t have the effect it has. “In This Place” also provides more room for Dewar to shine as well as effectively changing the pace from the title track before it.
In conclusion, with “Bridge of Sighs”, Robin Trower succeeds, but he didn’t do it alone. Without James Dewar or Reg Isidore this would have been a different release. On most songs, Trower is the highlight though on some tracks like “The Fool in Me”, the rhythm section really shines. Overall, this is a wonderful release. If you’re a fan of cool guitar riffs or just a fan of classic rock in general, this is definitely a release for you.
Alright, perhaps I did make one too many comparisons to other artists in my original review of Robin Trower’s Twice Removed From Yesterday, which explains all the negativity in the comments section. I should have explained the album in detail like I normally do. I’m not sure why I didn’t do that originally.
Anyway, here’s a better review of Twice Removed from Yesterday.
What instantly strikes me about this album is the mood. It’s dreamy yes, but underneath the beautiful guitar playing and vocal melodies I sense a fairly melancholy and depressing vibe. It’s like being in heaven alone.
“Daydream” contains shades of Jimi Hendrix in the guitar solos and atmosphere, but what blows me away is how HUGE the music sounds. This is definitely different from most 70’s hard rock bands. When I say “huge” I mean it sounds like some important grand statement, like this is how a beautiful song is supposed to be written. Hendrix never quite reached a level *this* awesome.
One key difference between Trower and Hendrix is that Robin Trower tends to really dig into your emotions with his guitar playing, whereas Hendrix occasionally goes for emotion, but also had his moments of showing off. I also feel that Hendrix’s music is more immediately enjoyable whereas Trower’s guitar skills take time to absorb.
I can imagine how magical this song must have sounded when it was originally released, and even today it still sounds pretty cool. I believe Rainbow was influenced heavily by this song because “Catch the Rainbow” contains a strikingly similar flow and atmosphere.
“I Can’t Wait Much Longer” has a surprisingly soulful vocal melody. I like the way the verse melody builds with emotional intensity until the incredibly sad “Cuz every day gets stronger, and every day grows and grows, and I can’t wait much longer” lines comes in. The guitar riff even seems to follow with the vocal melody, and it’s a perfect moment of songwriting really. It’s truly amazing. The feeling matches the album cover, too.
“Hannah” features a slow-moving but very powerful guitar riff in the beginning until James Dewar really blows me away with just as much passion here that he illustrated in the two previous songs. I can’t recall another hard rock band that utilized so much soul. The guitar solo seems hard to notice at first since it’s covered in a thick layer of haze, but with repeated listens you can make out most of it.
A song like “Rock Me Baby” would have been in danger of becoming just another attempt at the blues by a 70’s rock band, but luckily some quality guitar licks save what would have otherwise been an average song because the vocal melody fails to make an impression on me. Dewar sounds like he’s disappointed while singing it, like he wants to put some soul into it but forced to restrain himself and sing a simple blues pattern instead.
“Sinner’s Song” starts out innocently enough with a decent verse melody before totally catching me off guard with a fantastic guitar solo. It feels more like a freak out jam, though. It’s *awesome*. Anyone who likes this guitar jam absolutely must hear Santana’s Love, Devotion & Surrender album. It contains the same kind of guitar intensity but stretched out much much longer.
What an eerie way to end the album with “Ballerina”. Is it pretty? Yeah. Is it dreamy? Yes it is. Does it feel unsettling? Absolutely!
Anyway here’s my older review and you know, I still stand by most of it, but an album of this quality definitely deserved a more detailed review.
People keep comparing Robin Trower’s guitar playing to Jimi Hendrix, but to me, his first album closely resembles the classic period of Cream. He doesn’t necessarily have Eric Clapton’s guitar style, but the mood is similar to the psychedelic period of Cream.
I’d say Trower’s guitar playing reminds me of a slower, and more atmospheric Ritchie Blackmore with a vocalist that isn’t much different from the singer of Bad Company.
The songwriting on Twice Removed From Yesterday is pretty strong. Back in the 70’s hard rock bands didn’t just rock out- they could also back it up with strong songwriting, and that’s exactly what this album delivers. I really like it. The way the album was recorded is really cool too, because it feels like everything’s a dream. I recommend it.
Robin Trower‘s debut solo album, Twice Removed From Yesterday, has finally been reissued on compact disc courtesy of IconoClassic Records. I’ve sung the praises of Trower and Twice Removed before, and am happy to have a digital backup to my well-worn vinyl copy of this underrated album. And, the CD is stacked with a bonus track, “Take A Fast Train.”
Twice Removed is moody, melodic and a revelation to those who had heard Trower only in his more supportive role as Procol Harum‘s guitarist. In Procol, Trower had the chance to spread his six-string wings on tracks such as “Whiskey Train,” but the band’s biggest successes relied on Matthew Fisher‘s organ stylings (“Whiter Shade Of Pale”) and lush arrangements (“A Salty Dog”).
Eventually, Trower’s desire to merge the blues with rock was too much to deny and he struck out on his own, not knowing if he would ever be part of another recording. But, as the CD liners quote Trower, “Procol Harum were a keyboard band, and musically I was going off in a different direction. I had to find my own way to pursue that, and so I decided to form my own band.”
With little more than faith and the help of bassist/vocalist James Dewar and drummer Reg Isidore, the trio went to work recording a set of original material along with a stomping version of B.B. King’s “Rock Me Baby.” The songwriting – a partnership primarily of Dewar and Trower – showcased Trower’s controlled fire across some of the strongest material of the guitarist’s career. The brooding opener, “Can’t Wait Much Longer,” reunited Trower with Procol-mate Matthew Fisher (who also produced the original recording).
For me, it is Trower at his best. One of the coolest parts about Trower’s playing is his ability to create “circular-sounding” riffs from a handful of notes. Unlike Tony Iommi, who would bludgeon and trample listeners with brontosaurus-like chords, Trower would paint mysterious musical pictures drenched in feedback and heavy in atmosphere. The compositions are not complex, but they drip with the pure emotion of the blues and imbue a sparkle to rock.
Dewar on the mike was the perfect foil for Trower’s potent compositions. His bluesy-soaked voice, often compared to Paul Rodgers, gives tracks like “Can’t Wait..,” “Hannah” and “Daydream” a gritty glimmer that’s hard to imagine bettering. And Isidore’s drumming is heavy yet smooth as quicksilver.
Success would follow Trower and Twice Removed, when Bridge Of Sighs was released a year later, but his first solo album remains the benchmark for Trower and the many hopefuls looking to meld blues and rock.
A recipe for rock immortality, Too Rolling Stoned is not even the lead track off of Robin Trower’s 1974 epic Bridge of Sighs from Chrysalis. In fact, it lies right in the middle, a musical lion lying in wait while the album’s “rock and roll meets the mystic” atmosphere percolates around it. Over 30 years later, Bridge of Sighs remains legendary, powerful, and the masterwork of Trower’s psychedelic blues career.
It’s an essential piece of rock and roll history for music fans, especially those of the 1970s FM radio era. You couldn’t turn on the radio without hearing Robin Trower [b. 1945-] for the better part of the decade for good reason.
Bridge of Sighs was his second album after leaving Procul Harum and it’s the album where his sensibilities and influences came together. It’s perhaps one of the best template albums for how the power trio (guitar/bass/drums) can interact and build atmosphere together. It’s guitar based, with a heavy filter of British blues and psychedelic ruminations on the nature of life, love, and man.
It even contains “more cowbell” (see Lady Love). The lyrics can be a tad hippy dippy and date the album some, but it is the power and passion behind the performance that brings the album to classic status (five stars) and its deserved place in the rock pantheon of the last 50 years.
Though Trower’s guitar atmospherics are the linchpin that holds the music together and drives the album towards 37 minutes and 19 seconds of rock immortality, behind that is a very human influence; that of James Dewar (1942-2002) on bass and vocals, with Reg Isidore on drums. These two guys form a tight, strong, yet supple background and foundation for Trower. They rock, they swing, and they levitate the music in places. As a power trio, they epitomize the definition. Without Dewar’s vocal abilities, it is a safe assumption that the album would not have been as successful in my view.
Dewar has a soulful voice with a touch of world weariness to it; it is the kind of voice that takes the lyrical bromides beyond the cliche territory and into areas of universal truth where they resonate with the audience. Both he and Isidore do much more than just support Trower within the confines of the power trio language. They make the tracks sparkle with nuanced exchanges and hum with powerful support.
They make it possible for Trower’s guitar to float above and, yet, also inhabit the songs from within. His guitar is everywhere, all at once, and yet it lends an ethereal eloquence to Dewar’s vocal phrasing.
Bridge of Sighs remains very much in the moment over 30 years later. These tracks have a timelessness about them that keeps them universally relevant today. It is a must have for any serious rock fan’s collection.
When Robin Trower left Procol Harum in 1972, his future was anything but certain. As the guitar player in a keyboard-dominated band, his name was virtually unknown outside of a very limited audience. That all changed dramatically in 1974, with the release of Bridge Of Sighs. But Bridge was Trower’s second album.
His often overlooked debut, Twice Removed From Yesterday, came in 1973 and served as something of a blueprint for what was to follow. After being out of print for years, a new reissue label calling themselves Iconoclassic Records are releasing a remastered version of Twice Removed From Yesterday, which adds a rare non-LP track as a bonus.
The power trio of Trower (guitar), James Dewar (vocals, bass) and Reg Isidore (drums) came together rather quickly, and proved to be the most commercially successful incarnation of the group. Before the massive sales of Bridge, Twice Removed From Yesterday was seen as something of a surprise hit. In the beginning, expectations were pretty low on the part of Chrysalis Records.
To boost their profile, the trio were given prime spots on tours with Jethro Tull and Ten Years After. But all the exposure in the world wouldn’t have helped if the music wasn‘t there. Fortunately, Robin Trower delivered the goods with Twice Removed From Yesterday.
The original nine-track album opened up with “I Can’t Wait Much Longer.” This slow blues contains the patented heavy chording that would later gain fame as the basis of “Bridge Of Sighs.” As with all of the songs, Trower also gets off a furious extended solo midway through. One of the criticisms leveled at the guitarist over the years is his overt reverence for Jimi Hendrix.
Frankly, I could think of worse crimes. Be that as it may, however, “Daydream” nods in the direction of one of Jimi’s most delicate tunes, “Little Wing.” “I Can’t Stand It” is a much more pronounced Hendrix acknowledgment, sort of the Trower band’s “Purple Haze.”
The funkiness the trio were to pursue later on songs such as “Day Of The Eagle” is also foreshadowed here with “Man Of The World.” This was the lone single from the album, with the non-LP B-Side “Take A Fast Train.” The single sank like a stone, but the rare “Take A Fast Train” is included on this reissue. The lone cover version is “Rock Me Baby,” from blues master B.B. King. The grit these Brits bring to the song is amazing. Dewar’s voice is as authentic as it comes, and Trower’s guitar smokes.
There was still a bit of hippie-hangover in 1973, as the title cut proves. It is an interesting track, and Dewar really tries to sell it, but this is not one of Trower’s finest moments. “Sinners Song” makes up for it though. This is my favorite on the record, and features what the band did best: heavy blues rock, with some truly lyrical soloing from their namesake. Another notable element of “Sinners Song” is how Dewar and Isidore get their moments in the sun as well.
Twice Removed closes with a ballad titled “Ballerina,” which is one of Trower’s finest songs. It has remained in his repertoire on and off ever since. In retrospect, the debut of the trio that called themselves Robin Trower is one of the stronger albums released in 1973.
It is highly recommended for fans of Bridge Of Sighs particularly, as well as for those who just enjoy the sound of some great electric blues guitar.
This is still widely regarded as Trower’s masterpiece. Actually, I fail to see why – I mean, I, too, believe that it’s among his best albums, but it’s somehow put on a very high pedestal, far higher than anything that surrounds it, and this is strange, because the songs sound exactly like they sounded a year earlier on Twice Removed and exactly like they would sound a year later on For Earth Below. Same band lineup, same guitar sound, same raw R&B edge, same stately majesty. Oh, yeah, there’s one exception: the tunes are generally far more solid and well-written than on the 1973 and 1975 albums. But since when do diehard fans take into account the actual melodies when it’s the guitar tone and the finger-flashing they’re mostly worrying about? No, I truly don’t understand why Bridge Of Sighs is given such unjustifiable honours.
So let’s give it some justifiable honours instead. Eight songs on here, all written according to the formula worked out the previous year. Gargantuan majestic epics alternating with funky rip-roaring rockers alternating with dreamy atmospheric ballads, all of them based on the damn same guitar tone. But from the very first number, ‘Day Of The Eagle’, something goes into a more right and true direction than previously. ‘Day Of The Eagle’ is a steady and well-calculated rave-up, with a complex multi-chord riff and a pretty catchy vocal melody; it also changes tempo near the end of the song in order to give Robin the opportunity to play some slow sly ‘restrained’ licks as a graceful outro to the song. It’s the same style as Twice Removed, and yet, not the same style – there’s a certain precision in the playing and a certain self-demanding approach to songwriting that’s been lacking before.
The title track, as has been said before, recycles the riff of ‘I Can’t Wait Much Longer’, not for the last time, but it also improves on that song, with cleverly placed effects and Dewar’s impressive vocal delivery as he recites the depressing, dark lyrics that fit the song’s mood perfectly (for comparison, the simplistic love lyrics to ‘I Can’t Wait Much Longer’ never really fit the song’s ‘royal stature’). The combination of Trower’s moody playing with the howling of the wind and Dewar’s sad, angry intonations makes up for a truly atmospheric listening – and was deservedly a stage favourite.
And that’s just the first two tracks. But most of the rockers on the record are equally deserving as well, being really catchy – this is one rare Trower record that breaks the basic rule of R&B (never write a memorable melody, just howl as much as needed and more). Could one say that ‘The Fool And Me’ is not catchy, for instance? That’s hardly possible. It’s catchy as hell, indeed, at some points I’m becoming afraid that the main melody is way too simplistic for Trower and almost nursery-rhymish in structure… hah hah. Isn’t it a nursery trick when you end every line with the phrase ‘the fool and me’? It’s fun.
Of course, this is the album that features the ‘quintessential’ Trower song – the anthemic ‘Too Rolling Stoned’. Quintessential or not, this is one great number, worth it for the opening bass line alone: thousands of hard and soft rock bands alike would kill, steal and borrow for such a magnificent bass riff that drives the track along like a ‘stone keeps on rollin’, well, more like a couple choo-choo trains than just some stupid stone. Then there’s the slow part – actually, the fast part may be regarded as just an intro for the slow boogie that follows, over which Robin is intent on displaying all of his playing techniques. Funny thing, I’ve never bought much into that second part… and shame on me, pr’aps, but I recognize quite a lot of lines that go back to as far as ‘Whiskey Train’ off Procol Harum’s Home. Okay, enough dirtying up Robin’s reputation coming from the impure mouth of a ‘wannabe rock star’ like somebody gently christened me after I’d unintentionally offended Tales From Topographic Oceans or something like that.
‘Lady Love’ and ‘Little Bit Of Sympathy’ are also solid slabs of boogie, though a wee bit inferior to the other rockers on here, but there’s one more track that could be raved about: the wonderful ballad ‘About To Begin’. It sounds very personal, with Trower using only a moderate amount of echo and drawing the listener somewhat closer into the actual experience than he usually is. Dreamy, gorgeous and short – three and a half minutes, with just a very economic amount of soloing. The other ballad, ‘In This Place’, is just okay.
I’m not really sure if the sudden rise in song quality has anything to do with the fact that Trower is mostly credited as sole author to all of the songs on here; I think that Dewar was primarily the ‘lyrics man’, although I could be wrong. More probably, the band was just solidifying its sound and tightening up all the bolts, because despite all the professionalism, Twice Removed still sounded too loose. Here the band is just an unstoppable monster, and in tightening up the sound, they also manage to improve song structure and ‘catchify’ their chord progressions. Thus, Bridge Of Sighs captures “Robin Trower” (the band!) at a relative peak – with the band in a state of perfect balance. Naturally, this peak couldn’t last long; by the time of their third album, they’d already fallen back on formula.
The liner notes to this CD (I have the edition paired with Bridge Of Sighs, which makes up for the best Trower collection ever, and probably the only one you’ll ever neeed) actually say: “Robin Trower is: Reg Isidore (drums), James Dewar (bass and vocals), Robin Trower (guitar)”. Which is supposed to mean that “Robin Trower” was a band? Like “Argent” or “Alice Cooper”? Whatever. Well, that’s up to the purists to figure out. What’s much more necessary to stress is that Trower’s debut LP, if not tremendously groundbreaking, still presents him in a light quite different from his usual Procol Harum stylistics, and establishes a distinct subgenre of “Trower-rock” that he would carry on for years without any particular development, for better or for worse.
James Dewar is quite a decent vocalist and stands up as a songwriter (all of the compositions here are co-written with Trower, sometimes with further collaboration with the drummer). But it’s clear that this time around Trower is going to dominate everything, and he does; no more half-measures, as with Procol Harum’s Broken Barricades. Trower’s guitar sound is ‘Gargantuan’ in its stature – this is a further bit of Hendrix heritage: the guitar must overshadow everything, including the rhythm section, and be estimated as an absolute value. Everything else is just like that, pro forma; GUITAR SOUND is what matters. So Robin distorts his poor instrument, lays on tons of echo and tremolo effects, picks up the fuzzbox and the wah-wah, abuses vibratos and staccato solos, and ultimately succeeds: when the record’s over, all you remember is POWER. Not even the melodies – just POWER, pure POWER.
As every self-assured debut album, this one sounds fresh and quite convincing; it’s said to be overlooked, but that’s often the fate of Album number One. Many of the numbers are winners, and Trower seems to pull out every ace out of his sleeve already on the first three tracks, all minor classics. ‘I Can’t Wait Much Longer’ welcomes the listener with a dreamy, majestic sound – the song’s spacey riff that seems to be coming from deep down under the earth is among Trower’s very best, and, in fact, he’s often imitated it since, repeating the same trick with minor variations on such tracks as ‘Bridge Of Sighs’ and others. How the hell he actually managed to procure such a fantastic guitar tone, not to mention reproducing it in concert, is way beyond the understanding of mortals.
‘Daydream’, on the other hand, is far softer, with much less distortion but the same type of sound overall: overwhelming and keeping one in deep awe. This is the “philosophic” aspect of Trower’s playing style – playing minimalistic, economic guitar lines with lots of vibratos (in the solo parts, I mean) to produce the required stately effect. I do consider the song slightly overlong, though.
Finally, “Hannah” returns us to the ‘gruff’ Trower, but this time around it’s not just ‘gruff’: it’s ‘gruff angry disturbed’ Trower, which means he’s not just subduing the audience but also brewing up a storm. This is where the overdubs and finger-flashing technique comes in: the instrumental part of the song rages along like mad, and it’s extremely hard to describe, but you certainly haven’t heard anything like it because it doesn’t sound like heavy metal, and it doesn’t sound like your average triple guitar interplay of Lynyrd Skynyrd and the like. It’s… well, a musical thunderstorm in the purest sense of the word; I’m actually free to draw on analogies with pouring rain – Lynyrd Skynyrd do not sound like pouring rain, while the instrumental bit in ‘Hannah’ does. Get the idea? Probably not, but it’s the best I can do; now you’ll just have to go and buy the record.
It gets seriously weaker from then on, though – after you’ve been hit by these three openers, Trower doesn’t leave a lot of surprises. The other six songs are not bad, but… well, they’re okay. Loud, abrasive, with more guitar pyrotechnics and stuff; sometimes Trower really rips it up, like on the old blues cover ‘Rock Me Baby’ or the stunning instrumental passage on ‘Sinner’s Song’, and sometimes he’s rather quiet and timid, like on the ballad ‘Ballerina’, but it’s still hard to feed on guitar wizardry alone, and the melodies are only so-so, not much more. In addition, Trower certainly does not care about traditional riffage: it would be very hard to notate a Trower composition because he doesn’t like repeating the same guitar line twice. Trower on guitar is like Elton John on piano: all over the place, half-improvising in the studio by building on a theme but never sticking to it note-for-note. The melodies are thus extremely hard to ‘decipher’, and often give the feel of being completely non-existent. I can’t really tell if this feel is true or false, but fact is, very few of the compositions are memorable, even if all of them are sonically impressive. Well, that’s the way it goes with Trower.
In any case, Twice Removed From Yesterday is Robin’s first record, and it has all the advantages of being a first. The style is new and fresh, the energy is unbeatable, and you can’t yet accuse Robin of ripping off himself; I easily give it a nine if only because of those factors. That said, his second record would be a lot more successful – apparently, Robin was the kind of artist who’d only strike it big on the second record, with the first being a careful treading of water.