Robin Trower -

Robin Trower (born March 9, 1945) is an English rock/blues guitarist with a musical career that dates back to the early 1960s. He first rose to prominence as a member of Procol Harum, with whom he played from 1967 to 1971. He made his solo debut with the 1973 release Twice Removed from Yesterday and has since issued more than 20 solo albums. During the early 1980s, he recorded two albums as part of a duo with ex-Cream bassist Jack Bruce.

Background

Robin Trower grew up in Southend-on-Sea, Essex, where he formed The Raiders in 1960 with his older brother, singer Mick Trower. Robin and Raiders bassist Chris Copping soon joined rising R&B/beatsters The Paramounts, which featured pianist/singer Gary Brooker and drummer B. J. Wilson. As the 1963 beat boom engulfed England, The Paramounts signed to Parlophone and scored a hit with their first single, “Poison Ivy” (UK #35). They issued five further singles before folding in 1966.

In 1967, Brooker scored a global chart-topper with “A Whiter Shade of Pale,” recorded as a one-off with a studio group dubbed Procol Harum. In light of the song’s popularity, Brooker wanted to make Procol Harum and ongoing concern. Preferring old mates over studio musicians, he summoned Trower and Wilson (and later Copping) into the band and they recorded Procol Harum, released in December 1967 on Regal Zonophone. Trower recorded four further albums with the band — Shine on Brightly, A Salty Dog, Home, and Broken Barricades — before leaving Procol Harum in 1971.

Before going solo, Trower assembled a band with Scottish vocalist Frankie Miller, ex-Jethro Tull drummer Clive Bunker, and former Stone the Crows bassist/singer James Dewar. This outfit was short-lived and broke up without recording any material. Retaining Dewar, Trower enlisted drummer Reg Isidore and they became the Robin Trower Band. Isidore played beforehand on Pete Bardens‘ pre-Camel solo work.

Twice Removed from Yesterday

Robin Trower released his debut solo album, Twice Removed from Yesterday, in March 1973 on Chrysalis–Capitol.

The album contains six Trower/Dewar originals and a seventh, “Hannah,” co-written with Isidore. The opener, “Can’t Wait Much Longer,” stems from Robin’s partnership with Frankie Miller. That song (and “Daydream”) feature organ by Trower’s onetime Procol Harum bandmate, Matthew Fisher. Side B contains “Rock Me Baby,” a B.B. King cover.

Twice Removed from Yesterday opens with “I Can’t Wait Much Longer,” which builds through thick, contoured blues licks over a swinging rhythm section, moving into a restrained guitar solo. “Daydream” unfolds as a slow blues ballad with extended, spacious phrasing and layered double-stops. “Hannah” shifts between a slow blues-rock riff and a psychedelic midsection accented by heavy reverb and organ-like textures.

The album balances more aggressive, succinct tracks like “Man of the World” and “I Can’t Stand It,” where sharp guitar riffs drive tight rhythmic shifts, with the shuffling pace and rhythmic complexity of “Sinner’s Song.” The closing title track introduces reverb-drenched vocals layered with Dewar’s clear delivery, while “Ballerina” fades out during an atmospheric guitar solo, maintaining a languid pace. Throughout, Trower’s tone combines distortion and delay to produce a fluid yet raw texture.

A1. “Can’t Wait Much Longer” (5:17)
A2. “Daydream” (6:19)
A3. “Hannah” (5:21)
A4. “Man of the World” (2:37)

B1. “I Can’t Stand It” (3:36)
B2. “Rock Me Baby” (4:15) originated as a May 1964 Kent Records a-side by B.B. King; co-written by Joe Josea and based on “Rockin’ and Rollin’,” a 1951 song by Texas bluesman Lil’ Son Jackson.
B3. “Twice Removed From Yesterday” (3:50)
B4. “Sinner’s Song” (5:15)
B5. “Ballerina” (3:40)

Fisher produced Twice Removed from Yesterday amid work on his own solo debut, Journey’s End.

Artist “Funky” Paul Olsen illustrated the cover, which shows a blue sky with a matching orb within a cutaway to outer space, presented from the opposite end (space) on the backside.

Chrysalis issued “Man of the World” with the non-album “Take a Fast Train,” a tenth Trower/Dewar song from the Twice Removed sessions.

B. “Take a Fast Train” (3:16)

Bridge of Sighs

Robin Trower released his second solo album, Bridge of Sighs, on April 20, 1974, on Chrysalis–Capitol.

Trower lone-wrote everything apart from two tracks (“The Fool and Me,” “Lady Love”) co-written by James Dewar. They recorded the album as a powertrio with drummer Reg Isidore.

Robin took the album title from a racehorse, despite its use in poetry (an 1844 Thomas Hood poem), music (a 1900 James Thornton song), film (1925, 1936) and architecture (an enclosed bridge in Venice, Italy).

Bridge of Sighs opens with “Day of the Eagle,” shifting from a driving first section into a slower, blues-weighted close, Trower’s guitar work alternating between sharp accents and sustained bends while Dewar delivers a full-bodied vocal. The title track moves at a measured pace, its fluid lines and sparse overdubs unfolding over Isidore’s restrained drumming, giving the piece a drifting, immersive quality. “In This Place” strips back to a minimal arrangement, with well-placed drum fills and space between bass notes framing Dewar’s vocal line, punctuated by Trower’s concise, blues-inflected phrases. “The Fool and Me” builds on a taut rhythmic foundation, the guitar’s clipped attacks interlocking with an energetic bass-and-drum pulse.

“Too Rolling Stoned” extends its initial punch into a drawn-out midsection, the rhythm loosening beneath stretched solo passages before returning to its opening figure. “About to Begin” maintains a slow, atmospheric weight, chords ringing with clarity beneath sustained leads. “Lady Love” pushes forward with a straight, unornamented drive, while “Little Bit of Sympathy” closes with a forceful rhythmic push and biting guitar tone. Throughout, Trower favors controlled sustain and tonal shading over speed, and the trio shapes deliberate, tightly executed shifts in intensity.

A1. “Day of the Eagle” (4:59)
A2. “Bridge of Sighs” (5:05)
A3. “In This Place” (4:27)
A4. “The Fool and Me” (3:55)

B1. “Too Rolling Stoned” (7:33)
B2. “About to Begin” (3:43)
B3. “Lady Love” (3:19)
B4. “Little Bit of Sympathy” (4:16)

Sessions occurred in the winter of 1973/74 in London at Olympic and AIR Studios, where Matthew Fisher produced Bridge of Sighs in sequence with his second solo album, I’ll Be There. Onetime Beatles engineer Geoff Emerick engineered Bridge ahead of 1974 titles by America, Cockney Rebel, Mahavishnu Orchestra, and Tempest.

“Funky” Paul’s artwork depicts a valve at a twist on an off-white surface, rendered in green-lit dark on the backside.

Bridge of Sighs reached No. 3 in Canada and No. 7 on the US Billboard 200. Chrysalis lifted “Too Rolling Stoned” as a UK single (b/w “Lady Love”). This was their final album with Isidore.

For Earth Below

Robin Trower released his third solo album, For Earth Below, in February 1975 on Chrysalis–Capitol.

The album contains six Trower originals and two songs (“Fine Day,” “Gonna Be More Suspicious”) co-written by James Dewar. This was their first album with American drummer Bill Lordan, a prior Gypsy member and a recent auxiliary for Sly Stone, Tina Turner, and Bobby Womack.

For Earth Below opens with “Shame the Devil,” where Trower drives a mid-tempo blues rock burn with thick bass, wah-wah swells, and controlled sustain, pushing solos that radiate heat. “It’s Only Money” slows into a stark, crystalline blues, each arpeggio spaced like a long breath, with Dewar repeating the title as Trower stretches notes into aching, drawn-out cries. “Confessin’ Midnight” tightens into a heavy, funk-tinged crawl, wah-wah churning under Dewar’s raw, almost Howlin’ Wolf-like delivery. “Fine Day” lifts into a bright, delicate pace shadowed by unease, its contoured lines suggesting joy edged with doubt.

“Alethea” snaps back with an urgent, saturated drive, wah-wah cutting through an implacable rhythm. “A Tale Untold” surges on a fast, funk-charged pulse, then breaks into a long, plaintive coda where Trower bends phrases like a slow exhale of grief. “Gonna Be More Suspicious” hits with Hendrix-leaning electricity and a pounding beat, before the title track closes in slow, vaporous blues—cymbals washing like mist over a valley, guitar lines fading into open space.

A1. “Shame the Devil” (3:34)
A2. “It’s Only Money” (5:38)
A3. “Confessin’ Midnight” (5:51)
A4. “Fine Day” (3:36)

B1. “Alethea” (3:02)
B2. “A Tale Untold” (5:28)
B3. “Gonna Be More Suspicious” (3:05)
B4. “For Earth Below” (6:05)

Sessions occurred at the Record Plant in Los Angeles, where Matthew Fisher produced For Earth Below in sequence with Funkist, the singular solo album by Snafu singer Bobby Harrison, who drummed in the initial makeshift Procol Harum that didn’t include Trower.

“Funky” Paul’s cover illustration depicts a protruding circular suction on a red metal surface.

For Earth Below reached No. 9 in Canada and No. 5 on the Billboard 200.

Robin Trower Live

In March 1976, Chrysalis issued Robin Trower Live, recorded at the Stockholm Concert Hall on February 3, 1975, for the Swedish Broadcasting Corporation.

Live features one number (“Alethea”) from the recent For Earth Below and renditions of three songs each from Twice Removed from Yesterday (“Daydream,” “Rock Me Baby,” “I Can’t Wait Much Longer”) and Bridge of Sighs (“Too Rolling Stoned,” “Lady Love,” “Little Bit of Sympathy”).

Live captures Robin Trower, James Dewar, and Bill Lordan in a tightly locked performance. The set moves with unhurried assurance, opening with “Too Rolling Stoned,” where Trower’s guitar arcs through sustained bends, phased swells, and abrupt dynamic drops. “Daydream” stretches into a headphone-absorbing haze, each phrase hanging before dissolving into reverb.

Dewar’s baritone shifts between a low growl and softened restraint, anchoring the sharper turns of “Lady Love” and the slow, deliberate build of “I Can’t Wait Much Longer.” The band gives “Rock Me Baby” a sturdy, full-bodied reading, while “Alethea” tightens into precise rhythmic jabs. The closing “Little Bit of Sympathy” drives forward with compressed urgency, Trower shaping his solo lines in sharp bursts and lingering sustains. Throughout, the trio maintains a lean, responsive interplay that leaves every shift in tone and pace exposed.

A1. “Too Rolling Stoned” (6:49)
A2. “Daydream” (8:04)
A3. “Rock Me Baby” (6:24)

B1. “Lady Love” (3:23)
B2. “I Can’t Wait Much Longer” (7:08)
B3. “Alethea” (4:13)
B4. “Little Bit of Sympathy” (5:30)

The SBC didn’t inform the band of the taping until afterward, a partial reason for the unbridled spontaneity of their performance.

Long Misty Days

Robin Trower released his fourth solo studio album, Long Misty Days, in October 1976 on Chrysalis–Capitol.

The album contains eight originals by Trower and James Dewar and a cover of “Sailing,” the Sutherland Brothers song popularized by Rod Stewart. Bill Lordan received third-writer credits on “S.M.O.” and “Messin the Blues.” Frankie Miller co-wrote “I Can’t Live Without You.”

Long Misty Days opens with “Same Rain Falls,” where Dewar’s voice rides a Hendrix-tinged blues-rock pulse while Trower threads sustained bends and wah-wah accents through the verses. The title track follows with dense, fuzzed rhythm layers and one of Dewar’s strongest performances, its slow, vaporous pace evoking overcast skies. “Hold Me” moves with a lighter step, its chorus touched by gospel-like harmonies and a fluid, singing lead break. “Caledonia” hits with a clipped, driving riff before Trower cuts in with quick, urgent solos that leave as abruptly as they arrive. “Pride” leans into a taut, funk-edged beat shaped by wah-wah textures.

Side two opens with “Sailing,” where Dewar delivers a clean, unforced vocal over spare guitar lines that follow the song’s contour closely. “S.M.O.” rides a hard, riff-driven pace, Trower pushing into sharper, more animated lead work before the fade. “I Can’t Live Without You” slows into a blues-ballad frame, guitar lines slinking between verses. The set closes with “Messin’ the Blues,” a straight shuffle pushed by bright, brassy guitar tone and tight vocal phrasing.

A1. “Same Rain Falls” (3:05)
A2. “Long Misty Days” (5:37)
A3. “Hold Me” (3:27)
A4. “Caledonia” (3:03)

B1. “Pride” (3:07)
B2. “Sailing” (3:12)
B3. “S.M.O.” (3:36)
B4. “I Can’t Live Without You” (4:18)
B5. “Messin the Blues” (3:16)

Sessions occurred in mid-1976 at AIR Studios, where Trower co-produced the album with Geoff Emerick, who worked in sequence on titles by Jeff Beck (Wired) and Gino Vannelli (The Gist of the Gemini). Krazy Kat soundman Jon Kelly co-engineered Long Misty Days with fellow AIR staffer Nigel Walker, also credited on 1975/76 albums by Mr. Big, Bryan Ferry, and Be-Bop Deluxe.

“Funky” Paul’s cover illustration depicts a red leaf at the slop of a vortex into outer space.

Long Misty Days became Trower’s third Gold-certified album in the US. Chrysalis lifted “Caledonia” as a single (b/w “Messin the Blues”).

In City Dreams

Robin Trower released his fifth album, In City Dreams, on June 15, 1977, on Chrysalis.

The album contains eight originals by Trower and James Dewar, plus the Bobby Bland cover “Farther Up the Road.” They recorded In City Dreams as a quartet with Bill Lordan and bassist Rustee Allen, whose presence allowed Dewar to concentrate on vocals.

In City Dreams shifts Robin Trower’s focus toward a late-night, restrained atmosphere, where spacey, flanged guitar lines and wah-inflected textures meet James Dewar’s blues-soul vocals and Rustee Allen’s pliant bass. “Somebody Calling” sets the tone with rotary-speaker shimmer over a steady, syncopated foundation before the voice enters, maintaining a relaxed but unbroken pace. “Sweet Wine of Love” carries a warmer sway, while “Bluebird” moves with a bucolic ease, its verses edged by searing bends and wavering sustain.

“Little Girl” holds a slow, undulating pulse, Dewar’s voice floating against watery chords. “Smile” follows a similar textural approach, pairing liquid guitar with a gently persistent rhythm. “Love’s Gonna Bring You Round” opens into a loose, soulful space punctuated by sharp guitar stings. “Falling Star” and “Further On Up the Road” inject a sharper attack closer to earlier blues work, before the title track closes with a subdued, Bolero-like build—guitar, bass, and voice circling in unhurried unison to fade.

A1. “Somebody Calling” (4:57)
A2. “Sweet Wine of Love” (2:56)
A3. “Bluebird” (5:32)
A4. “Falling Star” (2:47)
A5. “Farther Up the Road” (2:35) originated as a 1957 Duke Records side by Tennessee bluesman Bobby “Blue” Bland; co-written by Don Robey and Joe Medwick Veasey and covered by Eric Clapton on his 1975 live album E. C. Was Here.

B1. “Smile” (4:48)
B2. “Little Girl” (4:52)
B3. “Love’s Gonna Bring You Round” (4:39)
B4. “In City Dreams” (5:12)

Sessions occurred in Miami at Criteria Studios with veteran producer Don Davis, a soundman on 1976/77 titles by The Dramatics, Johnnie Taylor, and Marilyn McCoo & Billy Davis.

Allen — a late-period Family Stone member (post-Larry Graham) — also played on 1975/76 albums by Lenny Williams and The Temptations.

In City Dreams sports the final cover illustration by “Funky” Paul, whose image depicts matching chromed-winged marbles at the entrance of a mirrored corridor that opens to a mountain view.

Chrysalis lifted “Sweet Wine of Love” as a single backed with the album’s title track, followed by “Somebody Calling” (b/w “Bluebird”). In City Dreams became Trower’s fourth consecutive Gold-certified album.

Caravan to Midnight

Robin Trower released his sixth album, Caravan to Midnight, in August 1978 on Chrysalis.

James Dewar co-wrote everything apart from the album’s title track, a Trower solo composition. They retained the City Dreams quartet with Bill Lordan and Rustee Allen. Five tracks feature Paulinho da Costa, a prolific Brazilian session percussionist.

Caravan to Midnight shifts Robin Trower’s trio toward a smoother, late-’70s polish, trading some of the prior album’s sharper edges for slower tempos and lighter textures. “My Love (Burning Love)” opens with wah-wah-colored guitar over a steady, blues-rock pulse, Dewar’s vocal carrying the refrain. The instrumental title track layers airy effects and clean, sustained guitar lines into a relaxed, unhurried pace.

“I’m Out to Get You” moves from a misty guitar prelude into a supple funk rhythm, Dewar sounding energized against Trower’s biting leads. “Lost in Love” places liquid guitar runs against a higher-register vocal, its pace held in a slow sway. “Fool” follows with a mid-tempo blues-rock frame and bright guitar breaks, while “It’s for You” eases into a laid-back, blues-tinged ballad. “Birthday Boy” and “King of the Dance” keep the arrangements simple, the former spare and upper-voiced, the latter moving briskly with a repeated refrain. “Sail On” closes in subdued fashion, the trio holding a soft, drifting rhythm to the fade.

A1. “My Love” (3:17)
A2. “Caravan to Midnight” (5:01)
A3. “I’m Out to Get You” (5:24)
A4. “Lost in Love” (4:27)

B1. “Fool” (3:45)
B2. “It’s for You” (4:38)
B3. “Birthday Boy” (3:51)
B4. “King of the Dance” (3:10)
B5. “Sail on” (4:02)

Sessions occurred at Wally Heider Studios in Los Angeles, where Don Davis produced the album in sequence with titles by First Fire, The Skyliners, and Kidd Afrika.

Caravan to Midnight has a diagonal cover with an aerial isometric illustration of a city thoroughfare designed by Hipgnosis, the graphics firm behind covers to classic 1978 albums by 10cc (Bloody Tourists), Al Stewart (Time Passages), Alan Parsons Project (Pyramid), Be-Bop Deluxe (Drastic Plastic), Fabulous Poodles (Mirror Stars), and John Miles (Zaragon).

Chrysalis lifted “My Love” (subtitled “Burning Love”) as a single backed with “Sail On,” followed by “It’s For You” (b/w “Birthday Boy”). US copies contained an inner-sleeve that promoted the Chrysalis label roster with photos and discographies of Rory Gallagher, Racing Cars, Steve Hackett, Split Enz, Brian Protheroe, The Babys, Blondie, Steeleye Span, and Auracle.

Victims of the Fury

Robin Trower released his seventh album, Victims of the Fury, in April 1980 on Chrysalis.

Trower wrote two songs (“Jack and Jill,” “Only Time”) and co-wrote six with lyricist Keith Reid, the non-performing wordsmith of the now-defunct Procol Harum. James Dewar co-wrote “Roads to Freedom” while “Mad House” co-credits a Wally Dewar.

For this album, Trower and Dewar returned to the trio format with drummer Bill Lordan.

Victims of the Fury presents short, tight tracks performed with newfound sharpness. “Jack and Jill” opens with wah-wah-soaked guitar lines laced in feedback over a dense bass-and-drum drive. “Roads to Freedom” follows with slow-burning blues phrasing and unvarnished amplifier hiss, Dewar’s vocal moving fluidly between low grit and higher peaks. The title track leans into echo-laden guitar and clipped, tense drumming, its refrain half-whispered against an undercurrent of reverb.

“The Ring” charges forward with unrelenting force, the guitar tone thick and abrasive. “Only Time” pairs a dirty blues frame with fierce wah-wah accents, while “Into the Flame” strips the rhythm to bass and drums beneath Trower’s measured, space-filled soloing. “The Shout” lands as a hard blues punch, and “Mad House” closes with quick, urgent pacing and intricate cymbal work. Throughout, the trio keeps arrangements lean, the playing focused, and the guitar tone raw and immediate.

A1. “Jack and Jill” (2:43)
A2. “Roads to Freedom” (3:49)
A3. “Victims of the Fury” (3:43)
A4. “The Ring” (3:13)
A5. “Only Time” (3:52)

B1. “Into the Flame” (3:27)
B2. “The Shout” (2:33)
B3. “Mad House” (2:46)
B4. “Ready for the Taking” (3:02)
B5. “Fly Low” (3:04)

Sessions occurred at AIR Studios with Geoff Emerick, who co-produced amid work on titles by Cheap Trick, Gentle Giant, and UFO.

Chrysalis lifted “The Shout” as a single (“b/w “Jack and Jill”). “Victims of the Fury” appeared on Into the Arena, a 1980 UK Chrysalis comp with cuts by Linx, Michael Schenker, Pat Benetar, The Q-Tips, The Selecter, Stiff Little Fingers, and Trevor Rabin.

B.L.T.

In February 1981, Chrysalis released B.L.T., a collaborative album between Robin Trower and ex-Cream bassist/singer Jack Bruce. They recorded the album as a powertrio with Bill Lordan. The title refers to their three initials in alphabetical order.

B.L.T. contains nine Trower originals, including one solo composition (“Into Money”) and seven with lyrics by Keith Reid, plus one (“No Island Lost”) co-credited to the absent James Dewar. Bruce contributed the Side B opener, “Life On Earth.”

B.L.T. opens with the driving, riff-centered intensity “Into Money,” marked by forward-thrusting rhythmic variations. “No Island Lost” hits with gritty, hard-edged blues lines reminiscent of “Voodoo Chile.” On “End Game,” Trower layers heavy Chicago-blues phrasing over Bruce’s agile bass runs. Lighter tracks such as “Won’t Let You Down,” “It’s Too Late,” and the minor-key “Carmen” unfold with airy, contoured structures. “Life on Earth” returns to Cream-like guitar phrasing with angular bass lines that complement Trower’s lead. The album alternates between dense blues-rock and spacious, textural pop, balancing riff-driven power with intricate compositional touches.

A1. “Into Money” (2:53)
A2. “What It Is” (3:21)
A3. “Won’t Let You Down” (4:22)
A4. “No Island Lost” (3:48)
A5. “It’s Too Late” (3:38)

B1. “Life on Earth” (3:38)
B2. “Once the Bird Has Flown” (3:56)
B3. “Carmen” (3:37)
B4. “Feel the Heat” (2:50)
B5. “End Game” (5:10)

Trower produced the album in late 1980 at Konk Studios, the Kinks-owned London facility. The project occurred back-to-back with Bruce’s 1980 release, I’ve Always Wanted to Do This, recorded with Billy Cobham, David Sancious, and ex-Colosseum guitarist Clem Clempson.

B.L.T. appeared in a cover that spoofed the initials with a visual reference to their common acronymic use for the bacon-lettuce-tomato sandwich. This was the first album of Trower’s post-Procol career without James Dewar and the last of seven with Lordan.

B.L.T. reached No. 37 on the US Billboard Hot 100.

Truce

Robin Trower and Jack Bruce continued their collaboration with the January 1982 Chrysalis release Truce, recorded as a powertrio with Reg Isidore, the drummer on Trower’s first two solo albums.

Trower co-wrote “Gone Too Far” and each side’s bookend tracks with Keith Reid. Bruce co-wrote the interior songs with lyricist Pete Brown, whose Reid-like role as Jack’s non-performing wordsmith dates back to Cream.

The album’s title combines the surnames of Trower and Bruce and suggests a “truce” between Robin and his earlier drummer.

Truce continues the BLT approach, with Bruce’s bass weaving complex, contoured lines beneath Trower’s thick, riff-driven guitar. Isidore anchors the set with taut, precise drumming. Tracks like “Last Train to the Stars” and “Shadows Touching” feature angular interplay between bass and guitar, while “Fall in Love” hints at an extended solo space truncated by concise fade-outs. The album alternates between dense blues-rock riffs and sharper, more intricate passages, balancing forceful momentum with moments of subtle tonal variation.

A1. “Gonna Shut You Down” (3:01)
A2. “Gone Too Far” (3:47)
A3. “Thin Ice” (3:39)
A4. “Last Train to the Stars” (3:20)
A5. “Take Good Care of Yourself” (4:42)

B1. “Fall in Love” (2:39)
B2. “Fat Gut” (3:21)
B3. “Shadows Touching” (4:27)
B4. “Little Boy Lost” (3:33)

Trower and Bruce co-produced the album in 1981 at Parkgate Studios, Catsfield, East Sussex.

Back It Up

Robin Trower released his eighth solo album, Back It Up, in July 1983 on Chrysalis.

Back It Up reunited Trower one last time with singer James Dewar, who co-wrote “River,” “Benny Dancer,” and “Captain Midnight.” Trower composed the remainder apart from the title track, a co-write with musician Reg Webb (whose band, Fusion, included a young Nik Kershaw). Keith Reid penned the lyrics to “None But the Brave” and “Settling the Score.”

Dewar sings throughout but confines his bass to “River” and “Islands,” both recorded as a trio with Fusion drummer Alan Clarke (not the Hollies singer). Trower recorded the rest with Mickey Jupp’s rhythm section: bassist Dave Bronze and drummer Bob Clouter.

A1. “Back It Up” (3:55)
A2. “River” (3:50)
A3. “Black to Red” (2:56)
A4. “Benny Dancer” (8:54)

B1. “Time Is Short” (3:41)
B2. “Islands” (4:03)
B3. “None but the Brave” (2:37)
B4. “Captain Midnight” (3:09)
B5. “Settling the Score” (5:08)

Trower self-produced the album at Wessex Studios in London. Back It Up marked the end of his ten-year run on Chrysalis.

Beyond the Mist

In October 1985, Robin Trower released Beyond the Mist, an album with two new studio tracks and five live numbers from an April ’85 show at London’s Marquee Club.

A1. “The Last Time” (5:56)
A2. “Keeping a Secret” (4:16)
A3. “The Voice” (4:17)
A4. “Beyond the Mist” (5:30)

B1. “Time Is Short” (4:35)
B2. “Back It Up” (5:00)
B3. “Bridge of Sighs” (10:29)

Passion

Robin Trower released his ninth solo studio album, Passion, in April 1987 on GNP Crescendo.

A1. “Caroline” (4:00)
A2. “Secret Doors” (4:18)
A3. “If Forever” (3:36)
A4. “Won’t Even Think About You” (4:40)

B1. “Passion” (3:56)
B2. “No Time” (4:20)
B3. “Night” (3:57)
B4. “Bad Time” (3:26)
B5. “One More Word” (3:45)

Take What You Need

Robin Trower released his tenth solo studio album, Take What You Need, in April 1988 on Atlantic.

A1. “Tear It Up” (4:21)
A2. “Take What You Need (From Me)” (5:28)
A3. “Love Attack” (3:28)
A4. “I Want You Home” (3:47)

B1. “Shattered” (3:18)
B2. “Over You” (5:34)
B3. “Careless” (3:36)
B4. “Second Time” (3:39)
B5. “Love Won’t Wait Forever” (4:45)

In the Line of Fire

Robin Trower released his eleventh solo studio album, In the Line of Fire, in February 1990 on Atlantic.

1. “Sea of Love” (4:02)
2. “Under the Gun” (3:54)
3. “Turn the Volume Up” (3:48)
4. “Natural Fact” (4:44)
5. “If You Really Want to Find Love” (4:25)
6. “Ev’ry Body’s Watching You Now” (4:28)
7. “Isn’t It Time” (3:27)
8. “(I Would) Still Be Here for You” (3:56)
9. “All That I Want” (4:32)
10. “(Let’s) Turn This Fight Into a Brawl” (3:46)
11. “Climb Above the Rooftops” (4:14)

Discography: