A few hits of a drum, and then that familiar creamy guitar tone enters and greets you ears with a smile and a warm embrace. Robin Trower has a new album out, his 28th by my count since first departing Procol Harum way back in 1971. That figure doesn’t include the live albums or the work he did with Jack Bruce, or Bryan Ferry. Trower has been both prolific and consistent, creating wonderful, if familiar blues rock music. Familiarity and consistency are underrated virtues when talking about rock albums, here in the first quarter of the 21st century. I don’t buy a new Robin Trower album in 2025 to hear the direction music will be taking over the next decade. I buy a new Robin Trower album in 2025, because in the chaotic and turbulent era of history we have found ourselves in, it is nice to have something comforting and familiar, to show us that good things still exist, like old friends, good food, and god damn rock n roll!
I’m not here to tell you that Come and Find Me reaches the monumental heights of Trower’s earlier albums like Bridge of Sighs, Twice Removed From Yesterday, For Earth Below, or Long Misty Days. It doesn’t. But what it does offer is really good bluesy rock music that can sit proudly on a shelf next to those classics, while not diminishing their impact. It’s comforting to know that Trower is still out there, playing shows and making new albums all these years later. In an era where streaming is king, and entire albums seem increasingly unimportant to most listeners, why would anyone bother to go into a studio to bang out 11 or so songs, most of which will be unheard by most people. At this point, you do it because you love it, and because you know that for the people who will engage with your work, their lives will be enriched and their struggles set aside for a precious forty minutes of musical respite.
Come and Find Me, finds Robin Trower doing what he does. The songs are bluesy and soulful with plenty of the effects and pedal driven warm psychedelic guitar tone that he has honed and perfected over 50 years. Trower handles all of the guitar, of course, and most of the bass throughout the record. Vocal duties are given to Richard Watts, who is excellent, and on one track Jess Hayes, who is equally excellent. Chris Taggert holds down the drum chair.
A Little Bit of Freedom opens the record with a plea for independence. Trower’s words (I think), delivered by Watts, express the common desire we all have to live our lives our chosen way. Each verse ends with the simple but universal sentiment, “I’m not asking for the world, just a little bit of freedom. Freedom!”
One Go Round follows and its carpe diem message is a nice compliment to the theme of individual freedom expressed in the previous track. Trower and Watts tell us it’s “time to choose a life and bend it to your will.” They continue saying “hold it with all your might, cos it could fail you still.” With this comes wisdom. “Divide the things you found out into right and wrong. Show you can’t be drowned out. Every thought, a glowing sun.” The message is clear. We get one life, so get on with it, or as Trower has written, “Slide into the dark, or step into the light.” Thing is, in rock and roll, good lyrics can only get you so far. Fortunately, One Go Round’s wisdom is carried to our minds on the gorgeous ethereal tone of Robin Trower’s wah pedal and guitar.
Take This Hurt Away is a brooding blues, with some wonderfully expressive lead guitar. The Future Starts Right Here continues with more expressive guitar playing, but on this track I would argue that Trower’s bass work is just as good, rising in the mix prominent, articulate, and most importantly, funky.
That funkiness is the perfect set up for the sultry r & b groove of the album’s next track, Tangled Love. Tangled Love brings Jess Hayes to the microphone for a soulful vocal that had me wishing she was more involved in the whole record, with respect to Richard Watts. Lyrically the song is a pretty standard story about the pitfalls of love and unfaithfulness. Sure, it’s a story that’s been told millions of times, by millions of singers, but it’s the performance of everyone involved that elevates it and saves the tune from the pit of cliche.
The only criticism I would have of Come and Find Me is that it settles into a mid tempo groove and never really strays from it. I know that I began this review praising the comfort and consistency that a record like this offers, a view I maintain, I’d be lying if I didn’t admit to craving just one hard drivin’ Too Rolling Stoned type song; or one extended guitar solo that seems to tear a hole in the fabric of spacetime allowing the listener to temporarily peer into alternate dimensions. Trower is certainly capable of such moments. His career is full of them; see the performances of Daydream or I Can’t Wait Much Longer from Robin Trower Live. That said, Come and Find Me is never less than an enjoyable listen and another strong addition to Trower’s extensive discography.
Justin Griffin | Now Spinning Magazine
