At age 78, Robin Trower remains at the top of his game, musically – still offering smoldering solos from his Strat on his latest offering, Joyful Sky. Featuring vocalist Sari Schorr, the combination of Schorr and Trower is a winner, evidenced by tracks like “The Distance” and “Peace of Mind.”
Trower spoke with Vintage Guitar shortly after the album’s release.
How did Joyful Sky come about?
My manager, who is also Sari’s manager, asked if I would write something for her. I hadn’t heard her sing, but she sent tracks. And I was immediately knocked out because she’s such a great singer. The first thing I thought was that I’d love to arrange a song from my last album, I Will Always Be Your Shelter, for her, to see how she’d work with my guitar. So, I did a demo and sent it to her. She tried it and sounded great, so I started to write things for her, and recorded a few. As we got deeper into recording, I had tracks that I’d recorded, and Sari loved them, so she sang on those, as well.
How did working with her compare to other vocalists you’ve worked with?
Obviously, it’s completely different working with a female – the keys are different, and that was a bit of a challenge because I tend to write in keys I’m comfortable with on guitar. For Sari, I had to get out of my comfort zone and write things that were right for her, vocally. But it was fun – just a little different.
Are there certain tracks you came to especially appreciate for the guitar parts?
There’s a few that I’m proud of; “I’ll Be Moving On” is probably my favorite, and I really like the instrumental section of “The Circle Is Complete.”
“Peace of Mind” also stands out.
That was a song I already had, and it was about to go on my next album, but I thought it was worth trying Sari on it. She so loved the lyric, and did a great job on it. It’s another song I’m proud of, definitely.
“The Distance” is another highlight.
That’s another song I already had. Again, somehow, Sari managed to key into the lyric and make it something she could relate to – as though it was her own song. And she delivered it that way.
What gear did you use for recording?
As far as amps go, I always use two of my Marshalls, usually in combination – either a 30-watt combo, a 50-watt head on a 2×12, or a 100-watt head on a 2×12. The guitar is my signature model Stratocaster, and the effects are all made by Fulltone. I use several overdrives/distortion pedals, a Clyde wah, and a Deja Vibe. Also, I use a pedal that Mike Fuller made for me – a wah, but the effect is on a Tone control and you can set it at one point. It’s a neat thing to kick in every now and again.
Looking back, who were some of your guitar influences?
The first big influence on me was Scotty Moore, who played with Elvis. Because of his playing, I wanted to play guitar. The next big influence would be B.B. King Live at the Regal. I played that hundreds of times. The Albert King album Born Under a Bad Sign, and Jimi Hendrix is a big influence – especially Band of Gypsys because it’s got a soul/rhythm-and-blues vibe. The bass and the drums have a completely different pulse. Particularly “Machine Gun” – that’s one of my all-time favorite guitar tracks.
Did you ever get a chance to meet Hendrix or see him perform live?
Yes, I did. When I was in Procol Harum, we were on the same bill in Berlin, and I did go back and say hello, but didn’t get to chat with him. When I saw him live about a year after that, I wanted to think about giving up the guitar (laughs). He was so great.
What can we expect on your next album?
It will have Richard Watts on vocals. I’m looking to do more of a rock-and-roll album. Obviously, Joyful Sky is my signature music, but my head is trying to go toward a rock-and-roll thing.
This article originally appeared in VG’s March 2024 issue. All copyrights are by the author and Vintage Guitar magazine. Unauthorized replication or use is strictly prohibited.
