Flippantly we discuss too many creative talents as if their best days are long behind them. Those glory days when we first heard, read or watched them via whatever medium they worked in will always mean more to an individual. I get that. Often that’s because we came upon them when still young and something about that movie or book proved influential, if not inspirational to us at a formative stage. Hear the right record at the right time and its uplifting chorus will be your mission statement for the rest of your life.

I heard about Robin Trower before I ever heard anything by him. When I did, it was his Inner City Dreams album rather than the classic Bridge Of Sighs, that recently got celebrated with a 50^th anniversary edition. So, rather than the blistering blues rock he played in Stateside stadiums I first enjoyed Trower’s funkier flowing soul rock excursions. There was a long period that the guitarist didn’t record under his own name, performing sessions for the likes of Bryan Ferry and seemingly in semi-retirement. Or maybe I hadn’t got addicted to the internet back then. It was a visit to Stratford-Upon-Avon, and noticing advertisements for the likes of Wilko Johnson, Mountain and Trower at the then Cox’s Yard venue that slowly rekindled my own interest in such acts.

The last ten years or more, Robin Trower’s made more earnest strides about redeveloping at foothold in his homeland. He’s toured here between covid lockdowns and personal health issues, while producing a steady flow of blues based albums and a couple of excursions with other singers. The solo albums have found him at the microphone. He’s not a bad singer, and when his songs reflect aspects of his personal life, from what we know of it, they cut quite deep.

Come And Find Me strikes an attitude from the get-go.

“Musically, there’s a strong R&B flavour behind it, but it’s obviously rock ‘n’ roll,” Trower explained. “Lyrically, I think the world has become a lot darker in the last ten or twenty years. But there’s always hope. There’s more good people in the world than there are bad.”

Opening with ‘A Little Bit of Freedom’, the first few bars offer soul-fired licks that you could take and apply each as a song’s repeated riff, Trower casually shrugs them off, knowing he can get serious in that area later. Rather his rhythm section brusquely set their shrugging template, for this bruised, soulful manly sexy blues.

“I don’t need no one to think for me, or tell me what’s on my mind” sings the guitarist, more assured and a tad more forceful than on previous albums. The croon is there but more raggedly expressive. There’s a stridently stoic attitude: been there, done that, and I don’t need no quango-funded behavioural studies quack to tell me how to live my life. It’s not pushy, not indifferent to others points of view, but doesn’t need others’ agendas pushed down one’s throat so, politely for now, Trower is telling you to leave him alone so he can get on with the things that mean something to him in ‘A Little Bit of Freedom’. This is prime time Clint Eastwood lone rider cool.

Aside from not being harassed, it’s apparent on this album there are other things Trower wants to get off his chest. The past still counts that’s felt – the loss of his wife a few years ago feels touched on without being explicit, his own recent health concerns, while musically there’s a return to that more psychedelic rock of his in some of his exploratory soling stylisations. There are hopes and dreams too. This is a man looking to the future as much as what’s gone before. Maybe he’s taking stock. Whatever, the songs are beefy blues cakes, catchy tunes and there are some amazing tonal sounds emitting out from his Stratocaster.

If there’s a fault maybe it’s that many of the tunes could be said to move at a steady mid-pace, though make no mistake he can rip up and down his guitar neck when he wants to, and there’s still a lot of variation in that steady beat.

The bass is often bolshie but not over- prolific, Trower himself taking care of the instrument save for two tracks played by Glen Letsch, whereas Chris Taggart’s drums fill out and force the changes. I’ve latterly read that Richard Watts sings on the album, which tracks I’m unsure of, possibly those with a fuller voice.

‘One Go Round’ is a Cream-come-Hendrix slow apocalyptic heavy blues that frankly if it was down-tuned could have appeared on an early Sabbath album. Getting a little funkier with an early ZZ Top ass-dragging attitude ’I Would Lose My Mind’ comes next – Lyrically I’m still trying to figure out if this is about the worry of losing a woman or a story from yesteryear about a manager running off with all the gig receipts.

Title track ‘Come And Find Me’ proves a more inward looking psychedelic number. Its opening lines are “come find me when winter comes to your backyard” and it gets bleaker, akin to some pagan black metal prayer to Odin, only for it to turn 180 degrees; guitar bleeding loud and clear above unfolding chords and upbeat rhythm as redemptive lyrics begin: “When your world turns upside down” he’ll turn it around. Is it akin to finding god or simply hope? You decide. A short song but possibly the pivotal one on the album.

‘Take This Hurt Away’ is broad stroked, brutal and haunting but also somewhat mysteriously empowering for this listener. His voice higher pitched, a little rawer; here anguish comes through even as the lead guitar cuts through the miasma and halfway in makes its statement in the first of two holistic solos, the tone of his guitar being remarkable. ‘The Future Starts Right Here’ is a hypnotic blues riff with a lovely walloping bass line, the whole thing becoming more forceful, and a song of cathartic temperament, following the previous track.

‘Tangled Love’ is a pleasant surprise, being night-time slow disco blues. Guest chanteuse Jess Hayes appears on this one, and it’s obvious Trower works well with female singers, his previous long player, Joyful Sky, having featured Sari Schorr throughout. Hayes’ voices differs. It’s sweet for the most part but when she starts belting out the whole affair gets hot, wet and sticky as Trower entangles wah-wah infused notes in and around the song. On ‘Capture The Life Begun’ Trower’s voice is deeper toned and breathy – Thus you can’t help but call to mind Jamie Dewar on a song that could as easily have sat on Side 2 of his Inner City Dreams album. It’s possible Watts sings on this but I wouldn’t swear to it. Pitched somewhere between the title track and ‘Little Girl’. It’s another song that doesn’t outstay its welcome, guitar heroics put to one side for the most part as he captures the lyric’s narrative. Another, moving on to pastures anew song.

Coming on like early Free with subtle funk asides and some wah-wah infused electric wailing for good measure is ‘Without A Trace’. It’s like necking brandy and coke; warming the cockles of the disenfranchised heart while preventing them gritting their teeth too much. Sultry, shuffling, but with a little bit of the peacock in its jazzy walk, ‘I Fly Straight To You’ is a sexy come-on with promises to be true; perhaps stay out all night long, but never truly go astray, because the cat knows where the cream is. Mad as it sounds, I’d love to have heard the late Howlin’ Wolf sing this. The solo drops notes of exquisite sound, holds them and makes them squeal oh so succinctly. ‘Time Stood Still’ steps forward dressed like Hendrix’s ‘Little Wing’ but takes a different turning, becoming a love story taking a stroll down Memory Lane that rests wearily on a park bench, perfectly content, in no rush to get back home. A near perfect ending to the album with the poignant refrain: “As we held each other close time stood still” echoing in the mind long before you press replay.

Trower’s guitar knows what it wants to say on Come And Find Me and does so creatively, generally succinctly, with such wonderful tone, and beside the main lead work, there are numerous minor background guitar sounds that embellish the sound too. Throughout, he’s tasty and tasteful, offering a masterclass in how to make a single note magical.

The word legendary gets tossed around too flippantly these days, Robin Trower’s had that mantle pressed on his shoulders before and despite his quiet reserve he deserve. What’s more important, is that a man reaching his eighties has recorded such a potent record.

• Reviewed by Paul H Birch.
• Come And Find Me is released via Provogue/Mascot Label Group on 16th May 2025.
• Official Website | Facebook | Instagram | YouTube Channel

Track List:

1. A Little Bit of Freedom
2. One Go Round
3. I Would Lose My Mind
4. Come And Find Me
5. Take This Hurt Away
6. The Future Starts Right Here
7. Tangled Love
8. Capture The Life Begun
9. Without A Trace
10. I Fly Straight To You
11. Time Stood Still