We had the opportunity to meet Robin Trower just a few days before the release of his latest studio album: the English guitarist shows no sign of feeling the weight of his 60-year career. On “Shine”, his guitar continues to shine, confirming his desire to keep composing music and keeping his creative streak alive.
We can hear your distinctive phrasing on “Shine” too: was your songwriting process different or similar to that of your previous albums?
Actually, I always work to more or less the same routine. I start with a guitar idea, which I then turn into a song idea. I refine the arrangement, then work on the melody, the vocals, and perhaps at the same time develop some ideas for the solos, before moving on to the lyrics. This is more or less the formula I’ve been using for quite some time now.
You have a great feeling with Chris Taggart and Richard Watts: what makes this line-up so close-knit and perfect for your sound?
Well, first of all, I think they’re both wonderful musicians, truly top-class. Richard has a beautiful voice, and Chris has a wonderful feel and exceptional technique on the drums. But I think perhaps the key ingredient is that they will take direction, and they’re willing to go along with what I’m trying to do
Your sound is very direct; you don’t use keyboards nor other instruments, but focus on the rhythm, with guitar and vocals to the fore: is that correct?
Yes, when I write a song, I usually think of the bass part first; I have also Richard’s voice in mind as I write the lyrics and melody, and I always think of a drum part. So I already have a fairly complete arrangement even before I bring the lads in.
Does that mean that when you’re composing, you think specifically of Richard Watts’s voice for each track?
Exactly: I like to write for what I call his ‘best register’, his optimal vocal range, you see? I can hear the sound of his voice in my head.
There’s also a song on your album, ‘Truth’, sung by a woman: who is she and what led you to make that choice?
The singer is Jess Hayes. About three years ago, her band were supporting us in the UK: I heard her voice and liked it, so I simply wanted to work with her. In fact, we’d already recorded a song called ‘Tangled Love’ on my album ‘Come and Find Me’: given the positive response it got, I thought, ‘Well, I’ll see if I can write another song for her.’ And she did a brilliant job again.
What drives you to pick up your guitar practically every day and write new material?
I have to tell you that, if I can, I like to play every day. I usually spend most of my time working on new material. That’s what keeps it interesting, I think: always having new material to experiment with.
Robin Trower (photo Rob Blackham©)
Many people admire you because, rather than just playing your old hits, you keep writing new music: what is the main source of inspiration behind your new albums, both in terms of lyrics and sound?
I think there’s a natural progression: for example, when it comes to the guitar sound, I’m always working on the tone and trying out different things. As for composing new material, I try to develop the new ideas that come to me and think: ‘Well, this is something a bit original’. That appeals to me more than something I feel I’ve already covered in the past. I like to think I can bring something new to the table.
During your live gigs, do you play both new and old songs?
Yes, I like to play some new songs – I usually draw on those I’ve recorded on my last three albums – and then, of course, the classic tracks; the audience still loves them.
I know you’re a Christian, and it seems to me that your single ‘Live Your Time’ encourages people not to let the world’s tensions or bad news hold them back, but to live their lives to the full.
Yes, we’re certainly living in very dark times; there’s no doubt about that. That’s why I like that lyric and others too: it’s a very positive message that we all really need at the moment. I think worrying is negative anyway: when you worry about things, especially those you can’t change, it’s actually a waste of energy – energy we could be using to try and live better lives.
The combination of a Fender Stratocaster and a Marshall amp (played at high volume) has been your trademark for a very long time now: have you always believed in this pairing?
Oh yes, those are my foundations, even though I often enjoy experimenting with other things to see what I can get out of them. But my music undoubtedly stems from the combination of the Strat and the Marshall: the sound they produce works for me, there’s no doubt about it. Those really are my fundamentals.
Comments are closed