English Blues maestro Robin Trower released his latest studio album, “Come And Find Me” in 2025. Before release, we spoke with Trower about the record and how he once “rudely” picked up one of Jethro Tull’s spare guitars at a sound check and discovered the “human voice” of a Strat.
Text: Anne-Marie Forker
Photography: Rob Blackman
Hello Robin. Thank you for joining us today! Congratulations on the new album. The press release said that each new album is a “snapshot of your situation and worldview at the moment”. I was wondering, what is your world view at the moment?
Well, I’ve definitely got the feeling that we’re in quite a dark place at the moment, in the world. I think that’s reflected in some of the lyrics I’ve written for this album.
You definitely get that feeling, but as usual with your playing, you get the whole range of human emotion. I like the bold first line of «A Little Bit of Freedom» in particular, «I don’t need no-one to think for me». Why did you choose that as a single?
The record company chose it, actually. I did put it at number one – the opening track – because I liked it so much and thought it was a great way to make an entrance.
My favourite track is actually another single that you just released, «One Go Round». What was the inspiration for that track?
Well, I think musically I’m leaning quite heavily on my Howlin Wolf influences, but the lyric is sort of reflective, about life, really.
On another track, “I Would Lose My Mind” your guitar cleverly shadows Richard Watts’s vocal line. Richard sings so heartfeltly, it’s almost like he’s written them himself. How did you first meet him and come to work with him?
Well, I’ve known him since he was six or seven years old. He went to school with my son. His parents were family friends. I was at mass one day and he was doing the music and when I heard him singing I just immediately thought «that’s a great voice». It sort of blossomed from there, really.
Another singer who makes a guest appearance is Jess Hayes. How did she get involved for «Tangled Love»?
On our last UK tour her band was opening up for us. So, that’s how I got to hear her. I saw her from the side of the stage and I thought to myself «Wow. A very, very special voice, definitely”.
What was the inspiration for “Take this Hurt Away”.
Well, in actual fact, I started to think to myself, “Well, what, what would I come up with if they asked me to write a song for a James Bond film?” So, I started to fool around with musical ideas, and then obviously it progressed away from that once I’d kicked off, it progressed into sort of more of a straight rock and roll thing. But yeah, that’s how it started.
Are you a fan of James Bond yourself?
Yeah, I’m big fan of the Daniel Craig movies.
Which track was the most challenging to finish, and which was the easiest?
The most challenging, I think, was “Capture The Life Begun”. That was quite a difficult thing to get how I wanted it. Got there in the end.
What was tricky about it?
Just the mood of it, and the way we present it as a mix as well.
Which one came together the fastest and was the easiest to finish?
That’ll be “One Go Round”. That went down like a hot knife through butter.
That’s my favourite one. Do you have a favourite from the album?
That “One Go Round” I would say that’s my favourite.
Newbury Studio 91 has been the setting for all of your recent solo albums. What’s its appeal for you?
Well, it came about that I first tried it because it wasn’t far from where I lived. So that’s how it started off. But then I’ve built up such a fantastic relationship with Sam [John], the engineer and owner of the studio we’ve been continuing to do great work together.
It’s well known that you use a Fender Stratocaster. Jeff Beck said the strat covered the complete spectrum of human emotion and I wondered, why do you like to use a strat?
I first got into it because, to me, it had a quality that was akin to the human voice. And I think that’s it – it’s my voice, if you like.
It does feel like an extended limb of yours. How did you first discover the strat? Was there a guitarist using one that inspired you?
Well obviously Hendrix played the Strat. But really what happened was that, when I was in Procul Harum, we were on tour with Jethro Tull, opening up for them, and Martin Barre, their guitar player, had, as a spare, a Strat. When I came to sound check one day, it was on the side of the stage and very rudely I picked it up without asking. I plugged it into my amp and I thought “Oooh, yeah. I like that.” And that’s where it started and I went and got one.
What a great story. Could you talk us through the specification on your signature strat?
Yeah! First of all, I chose to have the larger headstock, what they call the 70s headstock, because I was thinking a bit more wood might add to the resonance, which I think it does. And I’ve got large frets, which are different to the vintage strats. I’ve got three different pickups. On the neck is a 50s reissue, the middle is a 60s reissue, and the bridge is what they call a “Texas Special” which is a little bit hotter, I think. I don’t think there’s very many other changes. It’s just those few, little things that make it right for me.
Toto’s Steve Lukather said “Robin’s guitar hit my soul – the touch, tone, and feel was so incredible.” And you can hear that human emotion, that human voice. Looking forward, in contrast to that real human emotion, there’s now so much machine-generated AI music. I was wondering, what do you think of AI’s role in music?
Obviously it makes life a lot easier for people. But it’s all about the end result. I think quite a lot of what I would call popular music sounds a bit thin to me. That’s because, you know, emotionally, it’s a bit thin. I think in the digital side of recording, it has made a difference, it’s sounding so good now, and the things you can do, you know, cut and paste and what-have-you, it’s all very useful. But I’m still trying to recreate a happening on every track, so it sounds like it’s really happening then and there, you know?
You do have that live feel on a studio record – you strike that balance brilliantly.
Thank you.
Speaking of live, how many of the new tracks are you going to play on the upcoming tour?
I think there’s only a couple of new songs in set. There’s so many older ones that I love to play as well.
You have a 50th anniversary reissue coming up for “For Earth Below”. What is your strongest memory from making that record 50 years ago?
I think it was quite a difficult album to do. I made the wrong judgment in thinking it would be great to record it in L.A. and I think it made it quite difficult. But you know, the end result was good. Very good. I particularly like the track “For Earth Below”, I think that’s got a bit of magic about it. Big Jimmy’s vocals on that are wonderful.
Thank you so much for your time today, Robin. It’s been an absolute pleasure.
It was my pleasure indeed!
(Interview originally published in NRM 2025 #2)