Robin Trower has never sat still. His tenure with the band Procol Harum from 1967 to 1971 was cut short because he simply kept coming up with musical ideas that sat outside of the band’s realm. So he struck out on his own and the creative output has never slowed. In 1975, having just come off the heels of Bridge of Sighs, a critic’s darling, he released For Earth Below, his third studio album. It was a commercial success, reaching Number 5 on the Billboard chart, and it single-handedly confirmed that his decision to break out on his own was the right decision for us all. 

To celebrate the 50th Anniversary of this classic, Chrysalis Records has released an expanded edition of the record that features a newly remastered version, a recently discovered stereo mix of the entire record, a disc of outtakes, rarities, and BBC sessions, and finally, a newly mixed concert taped live in Los Angeles from the For Earth Below tour that was never before available in its entirety. The package is completed with a booklet featuring newly written liner notes by journalist David Sinclair.

For Earth Below is the first record to feature drummer Bill Lordan, who replaced Reg Isadore. His approach to percussion brought a new dimension to Trower’s sound and is often referenced as a key component to the album’s success.

Robin Trower, For Earth Below, CD box set.

Copper caught up with Trower to talk about what made the record so special. We also had a chance to discuss his lifelong love affair with Fender Stratocasters and the immeasurable value each pedal and effect he uses brings to his signature sound.

He is also out on a tight summer tour of back-to-back dates, and his spur of the moment decision making in building set lists is sure to keep fans on their toes. At the age of 80, Trower shows no sign of slowing down. This anniversary release simply reminds us all of how, when, and why his rocket ship really took off.

Ray Chelstowski: When you were headed into the studio to record For Earth Below you were coming off a very well-received record, Bridge of Sighs. That’s seems like a lot of pressure.

Robin Trower: I don’t think that I was feeling that much pressure because I was just looking forward. That’s been something I’ve always done, just look forward. I’ve always thought that the next thing is going to be better. We had quite a few good songs already written and we had decided to record in Los Angeles, mainly because I was out there because I was looking for the particular kind of drum sound West Coast studios were getting at the time. So we all came over and started working at the Record Plant.

RC: If Reg Isadore hadn’t left and been replaced by Bill Lordan would we be talking about a very different record?

RT: I think so. Reg had a magic about what he did. He made things work with simpler patterns. It put things in a completely different place.

RC: Matthew Fisher (of Procol Harum) produced. What was it in what he did with Procol Harum that kept you going back to him to handle these duties?

RT: It made me feel comfortable because I knew what a really gifted musician he was. [Matthew Fisher played the famous organ part on “A Whiter Shade of Pale” – Ed.] That made me feel confident. If he passed it, if he thought it was a good take then we knew it would be. It was a very good relationship. I think that he just used to sit back and let me go.

RC: What was most special about that concert at the Shrine?

RT: I just remember the energy of the night being really powerful, and I think it shows on that recording. We were really in high gear. You never know how things are going to turn out and it came out great.

Robin Trower in 1975. Courtesy of (c) Larry Schorr.

RC: You are a Stratocaster loyalist. Do you ever stray from that, even if it’s just within the confines of your home?

RT: No. I don’t have anything else (laughs). I only play Strats. I’m very fortunate to have what is called a signature [model]. For the last 60 years I’ve only played [the Robin Trower] Signature model. At the [Fender] Custom Shop they put together this specific details of what the perfect Strat is for me. For the last 60 years I’ve only played the signature model. It’s a great honor to have one. It’s got the ingredients I worked out with the Custom Shop. Every one is really great.

RC: You have a unique tone. You’ve had signature pedals, put Marshall amps on plywood, and played through Uni-Vibe effect pedals. What can’t you live without?

RT: All of the above (laughs). Obviously it all starts with the Strat; the sound, the tone. But the overdrive pedals and the Marshalls, they’re all key.

RC: What is your practice regimen like?

RT: I actually play every day because I’m usually working on new material. That’s what I call “practicing.” I love coming up with new arrangements.

RC: You have a new album, Come and Find Me, that’s already getting rave reviews. What is it about the lineup of Chris Taggart, Glen Tetsch, and Richard Watts that has worked so well for so long?

RT: Well, they are hand-picked to start. They are also absolutely terrific musicians. When I’m making something new it makes things so much easier. They are always game to give things a go. There’s a bit of magic here. We’ve been working together for so long now that there’s almost a telepathic thing that goes one between us.

RC: Many of the songs on the new record have social and political themes. Was that always the plan?

RT: These songs are not preconceived. They are the same as all of the songs that I write. In other words, it all starts with a guitar part and then I work up an arrangement. At the same time, I’ll be working on the top line, the vocal melody and then as I’m working through it ideas will pop into my head and that typically is what sets the tone of what the lyrics should be about. Then I just try to create something that’s interesting. But obviously if it social or political in nature that’s the result of something going on in my brain. That’s how it all comes together really.

RC: Are there any up and coming guitarists you are listening to now?

RT: I can’t say that there are. I don’t really listen to modern music. I’m sure there are some great people out there. But what I mostly do hear today is a bit thin. I think a lot if it turns out like that because of the concept of recording today. Maybe musicians feel that they have to turn out something that can be in the Top 20, and that might be keeping them from missing out on their own real talent.

RC: You are about to head out on a busy schedule of dates. How will you treat the reissue on this tour specifically?

RT: When I play live I tend to play what I like to play. Recently I’ve been putting in a lot from No More Worlds to Conquer. So when you bring new songs in, old songs get kicked out. There’s still some older stuff in the set. I’m also doing some from the new album. There are really two criteria. It has to work in a three-piece; that’s key. And, I have to love to play them. That’s how songs end up in my set.

Header image courtesy of Blackham Images.