CD Review: Robin Trower "Roots And Branches" Release Date: 19 February 2013

'An artist's first responsibility is to himself.' - Miles Davis

Most of the songs on Roots And Branches are created around tight formal structures. The drums, bass and keyboards create a fine and subtle steady pulse throughout, which allow Robin Trower to perform some passionate and thoughtful soloing. Five of the eleven tracks are original compositions by Robin. The remaining six tracks are Robin's versions of songs that have inspired his appreciation of music, guitar playing and song writing.

From the opening track 'Hound Dog' it is evident that Robin continues to explore fresh ways of making music. In a sense, making music which enables Robin to escape from repeating himself in the studio, with the aim of furthering his musical development and, just as important, change. It is refreshing to hear Paul Jones soloing on harmonica over an ensemble which includes Luke Smith on keyboards. Robin's vocals remain a moot point. On this album, however, he sings with increased confidence, richer phrasing, and the end result is in harmony with the music.

Robin is definitely 'on the prowl' both in terms of vocals and playing on 'Little Red Rooster.' His guitar playing is alive with short incisive phrases during the verses, which create a wondrous crying sound. His guitar tone complements the hypnotic atmosphere sustained throughout the track. During the soloing Robin's performance is inspiring and bears all his memorable hallmarks: wide string bends, vibrato, slurs, and brooding phrases steeped in the blues. When Robin hits high notes with incredible vibrato during this track the outcome is moving and soulful. Truly a track of depth and brilliance.     

The track 'Shape of Things to Come' (placed at the center of the album) is, for me, a 'classic' Robin Trower song due to its intensity, atmosphere, and strident pulse. The rhythm section of Livingston Brown (bass) and Chris Taggart (drums) drive the song along as Robin solos with sustained vitality and depth.

The presence of 'That's Alright Mama' and 'Save Your Love' fall short of the standard set by the other tracks on the album. On 'That's Alright Mama' the clarity of the performance is hindered by the continued dialogue between Robin's guitar, the harmonica, keyboards, and rhythm section. I would have preferred a stripped down version of the song with the same pulse, emotion and structure. The restraint of 'Save your Love', while exuding a smooth sound, doesn't rise above slow standard twelve-bar blues.

The track 'See My Life' is a great climax to the album. Robin's guitar soloing highlights his range of feeling and improvisational skills at their finest. The addition of wah-wah to the effects adds to the lyrical and passionate sound.

Overall Roots And Branches contains moments of genuine inspiration and passion combined with a wide emotional range. I hope that Robin will tour sometime in the future and include some of the tracks of this album in his set list.                 

  

Tracklisting

01. Hound Dog  (J. Leiber & M. Stoller)
02. The Thrill Is Gone  (R. Hawkins & R. Darnell)
03. When I Heard Your Name (Robin Trower)
04. Little Red Rooster  (Willie Dixon)
05. I Believe to My Soul  (Ray Charles)
06. Shape of Things to Come  (Robin Trower)
07. That's Alright Mama  (Arthur "Big Boy" Crudup)
08. Save Your Love  (Robin Trower)
09. Born Under a Bad Sign  (W. Bell & Booker T. Jones)
10. Sheltered Moon  (Robin Trower)
11. See My Life  (Robin Trower)

Musicians:

Robin Trower: Guitars and Vocals
Livingstone Brown: Bass Guitar
Richard Watts: Bass Guitar and Vocals
Chris Taggart: Drums
Luke Smith: Keyboards
Paul Jones: Harmonica 

 

Robin Trower Official Site

Listen to song samples and buy CD/MP3s at Amazon

CD Review: "Robin Trower - At the BBC 1973 -1975" - [2 CD Set] - Release Date: 7 February 2011


This 'Double CD' collection contains most of Robin Trower's BBC sessions from 1973-1975 recorded for John Peel, Bob Harris, and the 'BBC In Concert' series. The tracks highlight the genesis of a group destined to create memorable music both in the studio and in live performance. Illustrious music destined to help mark out the lives of people fortunate to hear it. In fact, it has become an essential part of some of the lives of Robin's fans throughout the world.

The recordings emphasize the importance of having outstanding songs: a 'collective gift' to built on their foundation with sensitive, soulful singing; melodic, emotional guitar playing; and excellent, illuminating, drumming to produce music of power, soul and passion that words alone fail to portray. The music, itself, engenders a mixture of feeling and recall - not unlike poetry - where each melody is remembered by those who love them.

The BBC Radio 1 Live In Concert  CD released by Windsong International in 1992 was a disappointment due to falsified crowd noise and the absence of "Two Rolling Stoned" which was included in the original broadcast. The inclusion, however, of a full version of "Rock Me Baby" made purchase of the CD irresistible. I'm fortunate my brother taped the original broadcast of the radio. It remains one of my favourite recordings of the Robin Trower Band in concert. A true classic.

The collection is a must for any fan of Robin Trower, Jimmy Dewar, Reg Isidore, Bill Lordan, or any affectionate of classic rock and blues at its finest: soulful, passionate, emotional, sincere, moving.  Robin Trower remains one of the greatest exponents of blues and rock guitar on this planet. Jimmy Dewar was an outstanding vocalist both in the studio and live. All the tracks are testament to Jimmy's beautiful, soulful voice, and Robin's fluid, melodic, dreamy guitar playing. 

I believe the overdubbing of guitars on the John Peel Sessions, especially on "In This Place" (CD1) and the four songs on (CD2), was unnecessary given the profound depth and emotion each song already embodies. It would have been magical to hear "In This Place" played live without guitar overdubs.

Bugbears: Did anyone proofread the CD liner notes? The misspelling of 'Alethea' and other typos' ... It's not too much to ask, is it? The absence of a photograph of the late Reg Isadore - a genuine oversight, or not - is shameful.

The music still sounds haunting, magnificent, with a magic heart at its core. Enjoy.

CD1

1. Twice Removed From Yesterday (John Peel Session)
2. Man Of The World (John Peel Session)
3. Daydream (John Peel Session)
4. Sinner's Song (John Peel Session)
5. Day Of The Eagle (Bob Harris Session)
6. Little Bit Of Sympathy (Bob Harris Session)
7. Lady Love (Bob Harris Session)
8. Daydream (Bob Harris Session)
9. The Fool And Me (Bob Harris Session)
10. Alethea (Bob Harris Session)
11. Too Rolling Stoned (Bob Harris Session)
12. I Can't Wait Much Longer (Bob Harris Session)
13. Bridge Of Sighs (John Peel Session)
14. In This Place (John Peel Session)
15. Alethea (John Peel Session)
16. Little Bit Of Sympathy (John Peel Session)

CD2

1. Fine Day (John Peel Session)
2. Confessing Midnight (John Peel Session)
3. It's Only Money (John Peel Session)
4. Gonna Be More Suspicious (John Peel Session)
5. Day Of The Eagle (BBC In Concert)
6. Bridge Of Sighs (BBC In Concert)
7. Gonna Be More Suspicious (BBC In Concert)
8. Fine Day (BBC In Concert)
9. Lady Love (BBC In Concert)
10. Daydream (BBC In Concert)
11. Too Rolling Stoned (BBC In Concert)
12. I Can't Wait Much Longer (BBC In Concert)
13. Alethea (BBC In Concert)
14. A Little Bit Of Sympathy (BBC In Concert)

Album and MP3s of songs available at Amazon

Tribute to Gary Moore - A Great Guitarist, Musician and Songwriter (1952-2011)



The sudden death of Gary Moore on 6 February 2011 will shock and hurt his family, friends and fans worldwide for a long time. Gary was a musician, songwriter, and guitar player who truly deserves the accolade of "rock and blues great". He was one of the "few" guitar players in the world who combined a beautiful guitar tone with creative, melodic licks, beautiful vibratos, and lightening fast leads where each note of the melody could still be heard.

When I first saw Gary with Skid Row at the Ulster Hall, Belfast in the late 1960s I was surprised he was only seventeen. His virtuosity and gift were on clear display. It left many aspiring guitar players in the audience wondering if they should forget about trying to play the instrument. Of course, his guitar playing skills evolved through the years to a level few musicians attain.

The following video shows Gary at his finest: playing fluid guitar with genuine emotion, alternating between slow, melodic licks and lightening-fast runs. This 'live' version of "Parisienne Walkways" speaks for itself. A tenderness and brooding sorrow hangs over the song. The guitar sound and phrasing are beyond imitation. Many guitarists endeavour to copy Gary's unique style and sadly fail.

Gary played two nights at the Ulster Hall in 1984. The balcony area was closed to fans to house extra filming and lighting equipment for recording purposes. Segments of each show - including Gary's Dublin gig - were included on the Emerald Isles - Live in Ireland 1984 Video/DVD. I attended the first show in Belfast with my wife who was three months pregnant with twins.

During "Shapes Of Things" the floor of the Ulster Hall began to vibrate with such energy my wife felt nauseous. However, after some fresh air, a glass of water, we were kindly shown to seats in the balcony beside Gary's relatives who we were introduced to and talked with. It made the concert extra special. Gary was in top form, as were his band. When I heard Phil Lynott joined Gary on stage at the second gig in Belfast I felt disappointed to miss such an event.

Looking back I'm glad my wife and I attended the first night. The music went off like a flashbulb and Gary's variety of tone colours and playing made you gaze in wonder. While the music was loud, the overall sound made you feel warm, invigorated and confirmed you were in the presence of a guitar genius delivering limitless inspired guitar licks, riffs and melodies.

Gary will remain a guitar legend who belongs in the rock & blues hall of fame. May he rest in peace.

Gary Moore Official Website

CD Review: Robin Trower - A Tale Untold: the Chrysalis Years 1973-1976 [3 CD Box set] - Release Date: July 26, 2010

A 3 CD Box Set containing Robin's five Chrysalis albums released between 1973 -1976 [including bonus tracks: B-sides; previously unreleased tracks] was released on 26 July 2010.

Robin Trower fans will have most of the tracks on vinyl, CD and MP3. However, the collection is a valuable insight into the songwriting, music and superb guitar playing of Robin Trower. The recordings highlight the exceptional vocals of James Dewar which were important in the creation of so many musical  masterpieces. Jimmy's ability to compose strong lyrics, and his musical bass playing, are on clear display. 

The drumming styles and techniques of the late Reg Isadore and Bill Lordan smoothly integrate into the song structures and provide a hypnotic rhythmic feel which make the songs timeless and unforgettable.

The essential message is that the songs on this selection capture a musician and guitar player at the top of his game creating music which is compulsive listening from start to finish. Each track sounds remarkably fresh rather than jaded. Few artists or bands - past, or present - deserve this accolade.

I am still taken aback by the soulful vocals of James Dewar. They have a deep spiritual dimension which take hold of the listener the way sunlight takes hold of each flower, each tree, all things on this earth: life enhancing and breathtaking.

The end result is music of high quality, lyrical, other-worldly, passionate, and memorable. Each melody, guitar solo, lyric, remains woven in my memory, and provides a river I can bathe in, as I wish.

Rock and blues at its finest.

CD 1
  1. I Can’t Wait Much Longer (2010 Digital Remaster)
  2. Daydream (2010 Digital Remaster)
  3. Hannah (2010 Digital Remaster)
  4. Man Of The World (2010 Digital Remaster)
  5. I Can’t Stand It (2010 Digital Remaster)
  6. Rock Me Baby (2010 Digital Remaster)
  7. Twice Removed From Yesterday (2010 Digital Remaster)
  8. Sinner’s Song (2010 Digital Remaster)
  9. Ballerina (2010 Digital Remaster)
10. Take A Fast Train (B-side of ‘Man Of The World’) (2010 Digital Remaster)
11. Day Of The Eagle (2007 Digital Remaster)
12. Bridge Of Sighs (2007 Digital Remaster)
13. In This Place (2007 Digital Remaster)
14. The Fool And Me (2007 Digital Remaster)

CD 2
  1. Too Rolling Stoned (2007 Digital Remaster)
  2. About To Begin (2007 Digital Remaster)
  3. Lady Love (2007 Digital Remaster)
  4. Little Bit Of Sympathy (2010 Digital Remaster)
  5. Day Of The Eagle (Single Edit) (2010 Digital Remaster)
  6. Shame The Devil (2010 Digital Remaster)
  7. It’s Only Money (2010 Digital Remaster)
  8. Confessin’ Midnight (2010 Digital Remaster)
  9. Fine Day (2010 Digital Remaster)
10. Alethea (2010 Digital Remaster)
11. A Tale Untold (2010 Digital Remaster)
12. Gonna Be More Suspicious (2010 Digital Remaster)
13. For Earth Below (2010 Digital Remaster)
14. Too Rolling Stoned (Live) (2010 Digital Remaster)
15. Daydream (Live) (2010 Digital Remaster)
16. Rock Me Baby (Live) (2010 Digital Remaster)

CD 3
  1. Lady Love (Live) (2010 Digital Remaster)
  2. I Can’t Wait Much Longer (Live) (2010 Digital Remaster)
  3. Alethea (Live) (2010 Digital Remaster)
  4. Little Bit Of Sympathy (Live) (2010 Digital Remaster)
  5. Same Rain Falls (2010 Digital Remaster)
  6. Long Misty Days (2010 Digital Remaster)
  7. Hold Me (2010 Digital Remaster)
  8. Caledonia (2010 Digital Remaster)
  9. Pride (2010 Digital Remaster)
10. Sailing (2010 Digital Remaster)
11. S.M.O. (2010 Digital Remaster)
12. I Can’t Live Without You (2010 Digital Remaster)
13. Messin’ The Blues (2010 Digital Remaster)
14. Long Misty Days (7″ Edit) (2010 Digital Remaster)
15. Let Me Be The One (Outtake/B-side to ‘Long Misty Days’) (2010 Digital Remaster)

I'm pleased this is not an anthology. A Tale Untold mirrors the extraordinary gift Robin Trower has to produce music that is magical, exhilarating and which is capable of raising the human spirit on each hearing. For that, I remain thankful.

Track samples and order available at: Amazon

Link to articles about Robin on Your Way To Music: Robin Trower

http://www.trowerpower.com/

CD Review: Crest of a Wave - The Best of Rory Gallagher (Release Date: 25 August 2009)

I'm not a fan of compilation CDs or DVDs whether the artistic form is rock, blues, or classical music. It brings out the worse in those involved in the music business: record companies, managers and marketers. In essence, everyone except the artists who created and recorded the music in the first instance. This is not the first compilation to be made using Rory Gallagher's name or 'brand'.

The Best Of Taste - Amazon - (16 tracks)

Big Guns: the Very Best of Rory Gallagher - Amazon - (15 tracks)

Crest of a Wave: The Best of Rory Gallagher - Amazon - (24 tracks)

This current double disc highlights Rory's tremendous musicianship, outstanding guitar playing and artistic passion. In the music business these attributes do not always equate with happiness and success. Rory was a cult hero to his fans. In fact, Rory attracted extraordinary affection and warmth; a mutual bond with his audience which few musicians attain throughout their career. While Rory always pushed himself to the limit on stage, I believe he never reached the pinnacle of success he sought, or deserved. It takes a rare talent, courage and extreme energy to create the music, sing the songs, play the guitar, and to be the main focus of a band over decades.

CD Tracklisting  

I'm thankful that Rory received a degree of success. It must be hard to survive in the music business without moments of despair, and the mental and physical exhaustion that comes with creativity and the pressure of live performance.

It's great for Rory's many fans that the Internet exists. Sites such as YouTube and Rory Gallagher's official website enable individuals to share footage of Rory and Taste in concert. New listeners can explore Rory's outstanding musical talent on videos posted by his many fans worldwide. The live performances capture a phenomenal guitar player who was truly inspired on stage. And who took his audience with him to indescribable heights of elation during each concert.  

Concert Review: Jeff Beck - Ulster Hall, Belfast - 30 June 2009

Belfast is anything but dull. The city centre oscillates between menace and refurbished high culture. The recently renovated Ulster Hall is a fitting venue for Jeff Beck's first concert in Ireland. The Victorian Hall has played host to some of the finest artists and groups to grace this planet, including Rory Gallagher, Taste, Led Zeppelin, The Kinks, and Fleetwood Mac with Peter Green.

I'm sitting in the sixth row - centre stage - I give in to nostalgia, and think of some of the great concerts I have experienced at this venue. I visualise the artists, and hear fragments of their music with each beat of my pulse. After the support act, I believe the absence of a vocalist will not be missed when the main act takes to the stage. The auditorium is silent, in semi-darkness; the stage looks larger. I gaze at the red backdrop which creates a sunken world of calm and expectation. The lights dim.

Tonight a sold-out audience is treated to an absorbing performance by Jeff Beck and his powerhouse of a band incorporating drummer, Vinnie Colaiuta; keyboardist, Jason Rebello; and bass guitarist, Tal Wilkenfeld. Time to forget the 'Credit Bubble', the Internet, DVDs, CDs, vinyl: most fans want to see their musical heroes in the flesh. And there is no substitute for the atmosphere, tension, and emotion, an inspired and engaging band can generate live in concert.

The success of Jeff's recent release, 'Jeff Beck: Performing This Week - Live At Ronnie Scott's' on DVD, Blu-Ray and CD, the celebrated performance at the "Crossroads Guitar Festival' in Chicago, 2007," Jeff's induction into the "Rock and Roll Hall of Fame" on 4 April 2009, and new management - Harvey Goldsmith - have helped to invigorate Jeff's career, and standing in the music industry.

Tonight, Jeff walks onto the stage dressed in black, with a white scarf draped around his neck, and cradling his cream and white stratocaster. The applause is deafening, heartfelt. I believe Jeff and the band are genuinely taken aback by the warm reception. The band starts the performance with 'Becks Bolero' and it is clear the sound balance is excellent, and each band member is crystal clear in the mix. Somehow, Jeff and his band make the music sound fresh, as if woven for the first time.

What makes a good performance? Perhaps, dialogue between the musicians on stage. While creating their own voice and space - each musician, tonight - seems to bend and shape the music to maximum effect, and the combined output goes straight to your emotions, your soul. Something, not all musicians achieve.

Vinnie and Tal begin the hypnotic rhythm to 'Pump', and Tal's bass sound is beautifully warm; you could listen to it all night. A lot of people comment on her playing - which speaks for itself - but the diverse tones she gets from her bass, amps, and effects pedals are astounding. During the sixteen-number set it is evident the deep intuitive skills displayed by Vinnie, Tal, and Jason, provide a strong canvas for Jeff to paint a colourful array of sounds from his guitar.

Jeff plays with warmth, finesse, and an impish quality which permeates the group, and creates an extraordinary bond with the audience. The band truly seem astounded by the warm reception after each song, and exchange smiles. A great version of 'You Never Know ' follows, which sets the high standard of musicianship, and sound, that Jeff and his band reach during the rest of the performance.

Who could not be moved by the sublime 'Cause We've Ended as Lovers' - beautiful sounds and melodies emanating from Jeff's guitar, and inspired soloing by Tal. It digs deep into the twilight room of the soul, creating a dizzy sense of magic.

Does music get better than this? I doubt it. During the set Jeff moves around the stage, sometimes changing direction when the music changes course. Periodically, he exchanges a cheerful smile with a fellow band member, and continues to play his guitar with a naturalness few guitarist's attain. Each song was a highlight.

Jeff and his band were visibly moved by the two 'five minute' standing ovations they received.

After the concert Jeff, Tal, Jason and Vinnie are generous with their time and in great spirits. The warm and passionate reception they received tonight will be just as engaging if they return to Belfast again. I hope they do.  

Jeff Beck's Set List, Belfast

Jeff Beck Signing the Set List

Tal Wilkenfeld and Ronnie Kerrigan - Stage Door , Belfast

Tal Wilkenfeld

Transformation CD (2007)

Concert Review: Robin Trower - The Brook, Southampton - 28 May 2008

 

Sentimentality, or nostalgia, does not bring me back to listen to Robin Trower’s music or to witness his ‘live’ performances – it is his art, humility - and, above all, it is one of the joys in life. My brother, John, and I flew in from Belfast on the day of the concert.

The Brook is a great venue to see and hear a band.Tonight it was evident the sound system and stage monitors were operating at optimum level; the vocals and individual instruments were well balanced (Laurie Brace at the sound desk deserves praise). The venue was filled to capacity and tonight there was a wealth of smiles, shaking heads and clapping hands - and that was before the music started – must be the water in Portswood!

Robin's playing and soloing, the band - Pete, Glenn and Davey - the fans, the venue, and staff all contributed to one of the best concerts I've attended. After the Paris gig I thought the dizzy heights the band reached that night would not be attained again on this tour – I was, thankfully, mistaken. The RTB were given a great, warm welcome when they arrived on stage, and from the sound of Twice Removed From Yesterday you knew it was going to be an exceptional night. The whole band seemed to be in great spirits; each number in the set was played with enthusiasm and zest.

Robin played like only a virtuoso can, accompanied by an excellent band that generated warmth and intensity. I believe when Huddie William Leadbetter “Leadbelly” said “No white man ever had the blues” he was mistaken. Robin is a blues guitarist of the highest calibre, capable of creating music that touches your soul - most fans tonight, I’m sure, felt totally connected to the music. Performances this magical never leave the memory. Pete and Glenn provided a superb rhythm section for Robin to fly above with his solos. Tonight Davey’s vocals could be heard clearly and were great on Shame the Devil, Day of the Eagle, No Time and For Earth Below. Robin seems to be playing with greater zeal during the solos on this tour – how he achieves it at 63 is beyond me? – long may it continue.

The vibe and soloing during The Fool And Me, No Time and Rise Up Like The Sun was exceptional. A welcoming cheer and clapping always accompanies the trill at the beginning of Bridge of Sighs – tonight it is a roar. The band and the crowd are as one. Robin’s playing is so spontaneous; he just feels the vibe and goes with it. During the solo he indicated to the band to take it up a notch and he began to make his guitar wail for a few minutes gradually falling to a whisper - enthralling.

While it’s great to listen to the studio version, or one of the numerous recorded live versions, nothing beats hearing this song played live when you are there. I believe it only truly exists each time Robin plays it – when the sound is hitting you from the stage, and Robin is completely lost in his art. To me great music and guitar playing – as evidenced tonight - provides release from conscious thought, engenders tranquility, and has a wonderful therapeutic value.

Thanks to Robin, Pete, Davey and Glenn for a truly riveting concert. Also, thanks for enhancing the evening after the performance by your friendliness. It was the icing on the cake. Also, Laurie for being Laurie. Some great photographs and memories. It was great to meet up with Angie again – hope you enjoyed the Guinness? Also, Alan Howard, Jim Pearce and John Waters.

Thanks also to Dylan Clarke, Manager at The Brook,whose kindness and co-operation helped to make the concert special for my brother, John, and I. It’s a great venue with great staff and facilities. Just wish it wasn’t so far away. It will be hard to beat tonight’s concert, atmospheric crowd and venue.

Setlist: Twice Removed From Yesterday, Shame The Devil, For Earth Below, No Time, The Fool And Me, Roads To Freedom, Islands, Day Of The Eagle, Bridge Of Sighs, Rise Up Like The Sun, Victims Of The Fury, Gonna Be More Suspicious, Hannah, Little Bit Of Sympathy, , Too Rolling Stoned,Go My Way Another Time Another Place,

Concert Review: Robin Trower - Astoria 2, London - 23 May 2008

The musical legacy of Robin Trower is equal to that of his musical contemporaries in the so-called “upper echelons” of blues and rock. Yet, I feel it has never been fully absorbed by the wider musical public for various reasons, which include, lazy musical journalism.

Time Out - London has the gig listed as 'Former Procol Harum guitarist headlines with his Hendrix-esque power trio.' See what I’m getting at? I believe Robin still possesses the creativity to create further great musical works, unlike some musical journalist’s whose mediocrity damns them to be forever a critic, never an artist.

After the mid -‘70s Robin’s earlier success in the UK seemed to take one step forward and two steps back – does anyone know the full story except Robin, and his manager(s)? – nevertheless, the music press continued to write album reviews and articles about Robin, but appeared to fail to hear or listen to the music. A primary requirement some musical journalist’s disregarded in their search for new [sic] talent to help sell their tired, once bona fide magazines.

There will always be musician’s who seek out and listen to those who make the most money based on imitation and copy it. Such musical careers are usually short-lived, as are those of the chroniclers’. Counterfeit music and playing, like counterfeit goods, are eventually exposed for what they are by the naked eye and ears.

Robin has been endowed with certain talents which happen to include being a truly creative guitarist and great songwriter. Just don’t expect the UK media to write or talk about Robin’s guitar virtuosity and the substantial catalogue of music he has compiled.I attended the gig tonight with my wife, Sylvia, and friend Bobby. It was dark and packed; the venue has a reasonable sound system and it’s a good place to see a band. Sylvia and I stood at the front and it was nearly impossible to move – Bobby made his way to the balcony where the vocals were clearer in the mix.


The set list was the same as the US tour and right from the opening of Twice Removed From Yesterday Robin, backed by Pete Thompson (drums), Davey Pattison (vocals) and Glenn Letsch (bass), played music that was beautiful, creative and, at times, breathtaking. It was difficult at times to hear Davey’s voice except on the slow songs but he sung his lungs out – I know, they landed on my head!

Robin’s guitar tone and playing tonight were sheer poetry - when he was really soaring you felt he was bearing his soul. Pete and Glenn provided a rock-solid rhythm section which give Robin space to ply his art. Tonight the fans were as one – a nest of singing birds echoing the lyrics flowing from the stage, monitors and PA. The set list didn’t include all the songs I wished for, or the coda of Too Rolling Stoned but it was still magical. Another great gig that will linger in the memory for a long time.

Thanks to Robin, Davey, Pete and Glenn for putting on a great show.After the gig Sylvia, Bobby and I went to the Coach & Horses in Soho for a few drinks. I asked them for their analysis of the performance. I just listened - and without revealing identities - the following comments were made:

* Dave Bronze’s bass style and fuller tone was sadly missed, and impacted on the sound.
* Glenn Letch’s bass style and funkier tone improved the overall sound of the band.
* Davey’s vocals at times were inaudible – maybe time for Robin to bring in a different vocalist.
* When the sound balance is perfect and the monitors are working Davey’s singing is good.
* Jimmy Dewar’s vocals sadly missed on Hannah Robin and the band played tight, and obviously enjoyed the warm reaction from the crowd.

We agreed that Robin's guitar playing remains remarkable, and pondered the success of lesser mortals who seem to have cracked the musical media code, and continue to build and maintain their careers and reputations on past glories. A great trick if you can pull it off, but maybe you lose your soul in the process?

Setlist: Twice Removed From Yesterday, Shame The Devil, For Earth Below, No Time, The Fool And Me, Roads To Freedom, Islands, Day Of The Eagle, Bridge Of Sighs, Rise Up Like The Sun, Victims Of The Fury, Gonna Be More Suspicious, Hannah, Little Bit Of Sympathy, Too Rolling Stoned, Go My Way Another Time Another Place.

Concert Review: Robin Trower - The Rescue Rooms, Nottingham - 15 May 2008

It is obvious by tonight’s gig that Robin Trower possesses a rare power and spirit that has not been diminished by his long musical career. His music and playing continues to have an indefinable purity – it blends blues, soul, funk, R&B, jazz, etc., with a passion and fire other musicians only possess in their dreams.

Over the course of the show, backed by Pete Thompson (drums), Davey Pattison (vocals) and Glenn Letsch (bass) Robin took himself, and the audience, on an emotional voyage of ecstasy, blissfulness, serenity, cool and just rolling with it; sometimes going from a whisper to a storm-force howl in an instant. I believe Robin and his management must now be aware a strong fan base exists in the UK that appreciates his great songs, great playing, and consider him to be one of the finest musicians to originate from England.

The sound mix was not the RTB’s friend at the start, but the flames of the opening "Twice Removed From Yesterday" was enough to ignite the audience. Davey Pattison has an impressive set of lungs (believed to be stored in a bank vault in Glasgow) but it’s a shame the sound quality and mix let him down – during the earlier parts of the set his voice, and also the rhythm section, were completely buried by the sheer volume of Robin’s guitar.

When Davey performed on the slow songs his quality shone through: ‘For Earth Below’, ‘Bridge Of Sighs’ and ‘Another Time, Another Place’. The expressive rhythm section of Pete Thompson (drums) and Glenn Letsch (bass) are proving more dynamic as the tour progresses and, on occasions, were so tight it was evident they were inspiring Robin’s guitar playing to greater heights of passion, soulfulness and intensity. He seemed to be pushing it as far as it could go – visible by his facial expressions and fervour.Although Glenn was experiencing difficulty now and then hearing his bass in the mix he provided some superb bass lines, especially the central section of ‘Hannah’, ‘The Fool and Me’, ‘No Time’ and ‘Gonna Be More Suspicious’ - the swing of the rhythm section made you wish these songs would go on forever.

Robin’s guitar tone and expressive, melodic licks and phrasing were outstanding during ‘No Time’, ‘The Fool And Me’, ‘Rise Up Like The Sun’, ‘Gonna Be More Suspicious’ and ‘Bridge of Sighs’. I closed my eyes a few times to listen solely to the music – spontaneous, yet ephemeral. Yes, it was L-O-U-D and the venue was hot, and sometimes you had to clench your teeth, but it was still an amazing gig. Thanks to Robin, Davey, Pete and Glenn & Laurie (road manager) for putting on a great show. Nice talking to you all after the show and also Dave from Derby who was transfixed by the music and musicianship he had witnessed.Me? – I headed back to the hotel, drained, but refreshed, if that’s not too paradoxical to imagine?


Setlist: Twice Removed From Yesterday, Shame The Devil, For Earth Below, No Time, The Fool And Me, Roads To Freedom, Islands, Day Of The Eagle, Bridge Of Sighs, Rise Up Like The Sun, Victims Of The Fury, Gonna Be More Suspicious, Hannah, Little Bit Of Sympathy, Too Rolling Stoned,Go My Way Another Time Another Place,

Concert Review: Robin Trower - Le Plan, Paris - 26 April 2008

My brother, John, and I walked to Le Plan from our hotel – and believe me it was a long-distance trek. No-one we asked knew what we were talking about, never mind where the venue was. 'Look for the circus,' someone said. At least I think that’s what they articulated. Tired, weary and hungry we arrived in a rural area – I believe I saw a few cows, but they couldn’t speak English - then we found a modest sign for Le Plan.

A large crowd had already gathered at the venue. We decided to go into the bar as it served food! I stopped chewing on my shoe, put it back on, and asked a waitress for a table – ecstasy. We eat and had a few drinks. We didn’t go into the main venue until the support band finished, and Robin was ready to come on. The waitresses were hospitable ... shame to leave. The crowd, en masse, were captivated by the Robin Trower Band from the moment they arrived on stage until they completed their final encore. The small, intimate, dark venue made for a great atmosphere.

Tonight the Robin Trower Band definitely had ‘je ne sais quoi’ giving those privileged to attend ‘joie de vivre.’ The opening chords of Twice Removed From Yesterday confirmed the venue had great acoustics, and that the sound system & balance were perfect. Each member of the band could be clearly heard for a change; especially Davey’s vocals, which was a welcome change.

Some talented musicians’ grow into maturity and then decline swiftly or slowly. Robin isn’t one of those. While the set list was the same as the recent US Tour – mostly comprised of early works – there was no discernible loss in quality. Pete’s new drum set-up sounded incredible, and added a new dimension to the band’s sound. He sat enclosed by an array of cymbals, different drums, different brands, which he played with finesse - a pact with the devil maybe? Robin looked around at Pete a few times during the gig and smiled obviously attentive to some of the great touches Pete was adding to the music.

In New York it had been difficult to hear Glenn’s bass properly in the mix. Tonight, however, his bass playing was audible - the tone of his bass and technique perfect for Robin’s music. It was evident he was enjoying the gig as Glenn and Pete engaged in diverse grooves to complement Robin’s playing, and Davey’s singing.

The crème de la crème was Robin’s soloing in the coda of Bridge of Sighs. His playing at times varied between soft whispers and wailing screeches; all skilfully controlled highlighting Robin’s virtuosity. I just gazed in amazement and surprise. Breathtaking . . .

Davey was in fine voice throughout the concert (he could actually hear himself) which allowed him to concentrate on his delivery, and interact with the crowd. Throughout the concert the standard of Robin’s guitar playing and soloing was the best I’ve witnessed. He seemed to be playing with more passion than usual; if that’s possible to envisage, and the spiritual dimension that Robin and the band created on stage seemed to engulf the audience.

Robin’s tone was beautiful tonight, totally beyond description – he was using a RT50 Cornell amp combined with a Marshall - only Robin knows how he gets his tone. I love the spiritual dimension Robin is able to deliver in concert; it evokes the sweet, aching agony of nostalgia and a unifying joy that stirs your heart, soul, spirit – call it what you will.

To summarise: Robin, Pete, Davey, and Glenn played their hearts out tonight, and showed they were - in terms of musical talent - par excellence.

Setlist: Twice Removed From Yesterday, Shame The Devil, For Earth Below, No Time, The Fool And Me, Roads To Freedom, Islands, Day Of The Eagle, Bridge Of Sighs, Rise Up Like The Sun, Victims Of The Fury, Gonna Be More Suspicious, Hannah, Little Bit Of Sympathy, Too Rolling Stoned,Go My Way Another Time Another Place

Concert Review: Robin Trower - The Brook, Southampton - 22 April 2005

I travelled from Belfast for my third gig of the 2005 tour - I have a very understanding wife. While collecting my ticket mid-afternoon at the venue I was delighted to meet Laurie Brace, Road Manager/Sound Engineer for Robin Trower, and Steve Russell, Backline. We discussed the success of the European tour, the high standard of musicianship of the band, the great sound balance at the gigs in Manchester and London, and their respective backgrounds in the music business. It was great to talk to them and a pleasure.

The venue doors didn’t open until eight o’clock. I was fortunate, however, to meet John and Martin from London who both helped the wait in the queue to be enjoyable even though the weather was quite cool. When the doors opened we made straight for the area in front of Robin’s pedals and stayed there throughout the gig.

Robin and the band took to the stage unannounced and for over one and a half hours captivated the audience who burst into bouts of applause and yells at the end of each solo, and sustained appreciation for the quality of the playing and material throughout the concert, even though it was apparent it was very warm for the group on stage. After the obligatory opening flurry of notes by Robin, the band started into "Too Rolling Stoned". It was apparent the band was again in great form and fully in sync with each other throughout the set.

Robin again demonstrated his capacity for incorporating impromptu licks in his guitar solos’ throughout the set. This is refreshing as some “major league” guitar players are content (restricted!) to reproduce in meticulous fashion at each concert every lick and guitar solo played on the original recording. This, in my humble opinion, makes the music generally lack - to a degree - a certain critical factor, namely ‘soul’. Even at the age of sixty there is no doubt Robin’s playing has reached a superior level, even exceeding his earlier periods in the 70’s and 80’s. It is, however, still delivered in his unique soulful and bluesy manner, evidenced by his formidable vibrato, awesome string bending, facial contortions (mostly with his eyes closed) and tremendous guitar tone.

The songs of the new album, particularly, “What’s Your Name”, “Another Time, Another Place” and the title track “Living out of Time”, went down a storm. I was slightly disappointed Robin didn’t include “Ain’t Gonna Wait” and “I Want To Take You With Me” from the new CD, but maybe in the Autumn (Part 2 of tour) ...?

Other highlights included a great version of “Rise Up Like the Sun” with Robin playing a great wah solo; a soulful and bluesy “Daydream”; “Day of the Eagle” and “Bridge of Sighs”. Robin played some outstanding blues licks on “I want you to love me” supported by Dave’s strong bass lines and great drumming from Pete. Once again the band finished with a blistering version of a “Little bit of Sympathy” and left the stage to well earned applause and shouts for more. The smaller type venue is definitely more intimate for Robin, his band, and the fans, and the atmosphere was electric at times. The encores included “Come to Me”, and “Secret Place” which proved a fitting end to the concert with its jazzy, bluesy chords and tempo. Robin’s guitar playing was at times amazing and truly emotional during this instrumental.

I would like to thank Robin, the band, and crew, for a memorable concert. I spoke to Robin afterwards and told him he should be proud of the standard of the songs on “Living Out Of Time”. I bought the re-mixed CD at the venue and got the whole group to sign it.

I would also like to thank Dylan and the staff of The Brook who were obliging beyond belief, and helped me obtain a poster, meet with Robin and the band, and obtain autographs. Indeed, a great venue in all aspects. Cheers to you all. Might see some of you on the second part of the 2005 tour in the Autumn. Here’s hoping it comes off.

Concert Review: Robin Trower - The Life Cafe, Manchester - 16 March 2005

I travelled from Belfast to Manchester with my wife, Sylvia, daughter, Emma, and son, Ricky, on the day of the concert. From my viewpoint I was wondering how the band would sound, the standard of playing, the nature of the set list (at least four tracks of Living Out of Time and two unrecorded tracks), and how a younger generation would assess the music and guitar playing of Robin Trower in concert?

It proved to be an exceptional performance from Robin and his band. They arrived on stage unannounced at 9.30pm sharp to a rapturous reception. Robin was handed his red and white Strat, and from thereon had the audience in the palm of his hand. Small venue, big sound, great atmosphere, and within six feet of Robin and his array of Fulltone Effect Pedals. Sure beats an arena any day.

It was apparent from the opening chord and flurry of notes by Robin, and the opening riff of "Too Rolling Stoned", that the sound and balance was great (a tremendous accomplishment by Laurie Brace, Sound Engineer for Robin Trower). Robin’s playing appears to have reached a higher level with an extensive array of incredible string bends, stunning use of feedback and tremolo arm, arpeggios, and long sustained notes - all played in his astounding soulful, bluesy, emotionally charged manner. And this was only the opening number.

While Robin has undoubtedly an extensive backlog of great songs, I was surprised at how well the new material sounded and was received: quite an accomplishment for Robin and the band. No artist of caliber should remain in a time warp. From the new album “What’s Your Name” - early in the set - was exceptional, if slightly short at three minutes. Next a great version of “Rise Up Like the Sun” of the 20th Century Blues album and Robin was really cookin’; soloing out with a great wah solo.

A soulful and bluesy version of “Daydream” followed: 11 minutes of mesmerising ecstasy; great bass lines from Dave Bronze, and drumming from Pete Thompson complimenting Robin’s playing. My wife, daughter, and son were astonished at the spiritual nature of the sound produced on stage (after the concert they expressed amazement at the emotion created, and Robin’s guitar playing style).

Just when I though things couldn’t get better the band burst into the title track of “Living out of Time”. Davey’s vocals were superb and Robin flashed several smiles at the other band members as he played the hypnotic riffs and chords; the band was definitely connecting and enjoying the performance. Great versions of “Day of the Eagle” and “Bridge of Sighs” (eleven minutes of pure soulfulness) followed, and were met by rapturous applause and ecstatic yells from the audience.

An unrecorded song followed called “Close Every Door” with great vocals by Davey, and a hard hitting wah lead by Robin at the end to the song was exceptional. Next “I want you to love me” of the 20th Century Blues album took the concert to new heights. Robin’s bluesy licks and passion, supported by Dave’s strong bass lines, and great drumming from Pete, made this a favourite with the crowd.

“Another Time Another Place” provided a wonderful vehicle for Davey to show his vocal skills with Robin providing great fill-ins throughout the song. The band finished with a blistering version of a “A Little bit of Sympathy” and left the stage to thunderous applause. The crowd was truly appreciative of a great performance by Robin and his band. The encores included an unrecorded song called “Come to Me” with its catchy wah riff, and bass lines which allowed Robin to solo using all his guitar playing arsenal and passion.

“Secret Place” proved to be a fitting end to the concert with its jazzy, bluesy chords and tempo. Robin’s guitar playing reached new heights of emotion and soulfulness which fully connected with the crowd.

I would like to thank Robin, the band and crew for a memorable concert.