One of the more dazzling musical transformations in the early '70s was Robin Trower's emergence as a gutsy, bluesy guitarist to be reckoned with in an artsy pop group not noted for a guitar-oriented sound - Procol Harum.
In fact, Trower says today, that was one of the reasons he decided to leave the much-admired British band, famous for the organ playing of Matthew Fisher; the piano and vocals of Gary Brooker; the quirky, out-of-the-blue lyrics of Keith Reid and, to be blunt about it, "A Whiter Shade of Pale." Trower's guitar work wasn't indiscernible; he'd get a lick in here and there, or contribute an ominous rumble to Procol's fun-but-perverse atmospherics.Then in 1970 came the album "Home." Right off the bat, in "Whiskey Train," fans knew something was up - a rowdy, growling lead guitar. The whole album announced Trower's arrival . . . and his imminent departure, after one more album.
"I started having more influence on the band," said Trower. "I was having a couple of songs of my own on the albums, and I think I also had more influence on the sound and style. I started to really be getting into danger of pulling them away from their signature sound."
So he went solo. Sort of.
Robin Trower the man became the leader of Robin Trower the group. And, still the focus of a band by that name, he's on the road again, playing as he likes to do and promoting his new Atlantic Records album, "In the Line of Fire." He and his mates will perform at Rafters, 485 W. 4800 South, on Tuesday, April 10. The doors open at 7:30 p.m.
He's already been out about four or five weeks, hitting clubs and small theaters, Trower said during a telephone interview from Albuquerque. Even after 20-plus years, he still gets a charge out of making albums and playing live.
Trower said he prefers the intimacy in clubs. "You can see the people, and the people are much more involved in what you're doing. You're much more likely to have some of those magic moments - and it's more like fun than work."
Eric Clapton's latest album is called "Journeyman," maybe reflecting the years and years of paying dues and polishing a craft. Trower, however, doesn't see himself fitting that "journeyman" description, even though he and Clapton are similarly steeped in the blues.
"I like to think of myself as an artist rather than a craftsman because I'm being creative," Trower said. "It's the creation of music that's the real energy that keeps me going, the love of creating music . . . and even to a certain extent recreating music I've already written, live."
And Trower has a hefty personal library to choose from. He figures he has 15 or so albums under his belt. He counted them once, but now isn't sure exactly how many he's put together.
Trower began playing guitar as an Elvis-idolizing teen. But by the time he was 18 or 19 in the early '60s he'd discovered B.B. King, James Brown - and the blues. "And that stuff has been with me ever since. That's still the music I love the best."
Out on his own, Trower - emphasizing the blues in his rock - hooked up with bass player and bluesy vocalist James Dewar for a powerful combination. Their mid-'70s albums, like "Bridge of Sighs" and "For the Earth Below," soared into the top 10. Later Trower teamed with Cream's Jack Bruce on the albums "B.L.T." (Bruce, Bill Lordan and Trower) and "Truce."
In the '80s and '90s, and again heading a band bearing his name, he's tempered the blues ever so slightly, but the roots still show on the album "In the Line of Fire." Trower's guitar remains the star in a sharp contemporary rock set.
Davey Pattison's vocals are the other main ingredient. He's a Scot, Trower said, and this is his third album with the guitarist.
Dean Johnson is on drums. "He's a young American, lives in California. He's played around in quite a few bands, but we saw him in a band that was supporting us. Glen Letsch is on bass; he's a friend of Davey's. They were in a band together some years ago called Gamma."
All the others live in and around San Francisco. But not Trower. He's still resident in England.
And he's pleased with the album, which features "Turn the Volume Up," an obvious crowd-pleaser; rock-ballads like "If You Really Want to Find Love" and "All That I Want"; and even a heavy-duty remake of the Baby's biggest hit, "Isn't It Time."
"It works," Trower said, and the basic blues still filter through the updated sound. "I think that's probably come about because I wanted to make a more rocking album. So I got down to a more simple approach to my playing on this record. I'm very pleased with it."