Feature Photo: Courtesy of PPR Publicity/Robin Trower.
Robin Trower
Interview by Andrew Daly
Though Robin Trower had set the psych-rock world ablaze with Procol Harum, resulting in five classic records, Procol Harum (1967), Shine on Brightly (1968), A Salty Dog (1969), Home (1970), and Broken Barricades (1971), he felt creatively stifled. And that’s not surprising, given Trower’s bluesy nature, which Procol Harum had undoubtedly snuffed out as it sought to compete with other late ’60s psych acts. And so, after the touring cycle for Broken Barricades, Trower packed up his Strat and his Uni-Vibe and struck out on his own.
The first order of business was to assemble a band in line with his vision to dismantle and reassemble the blues, which he did, drafting in James Dewar (bass/vox) and Reg Isidore (drums). The second order of business was to get in a room and get cracking, which the newly formed trio did en route to recording what would become Twice Removed from Yesterday (1973).
Though Trower didn’t know it then, Twice Removed from Yesterday would set forth a chain reaction that saw the young British bluesbreaker go from psych sideman to Guitar God in one fell swoop. And all these years later, as Robin Trower is now releasing a remastered and goodie-filled version of Twice Removed from Yesterday, it is easy to see why, as the record has held up.
While promoting the 50th anniversary reissue of Twice Removed from Yesterday, Robin Trower dialed in with ClassicRockHistory.com to dig into the nuts and bolts of why his first solo record was so special.
An Encore Interview with Robin Trower
Feature Photo: Courtesy of PPR Publicity/Robin Trower.
Tell me about the reissue of Twice Removed from Yesterday.
It’s completely new and remastered for the 50th anniversary. It’s got some bonus tracks and stuff that we recorded live from around that time. It’s got some B-sides that have not been on any albums yet, one of which is called “Take a Fast Train.” There are plenty of things the record company dug up by going through old tapes, which was a nice bonus. I’m pretty happy with it overall.
Twice Removed from Yesterday was your first solo record. What led you to break out on your own?
When I was with Procol Harum, I didn’t write much music at first. But then, I began to write more, and I got to a point where I felt I needed to have my own outfit to fulfill my potential. I was lucky, though, as I was able to find guys that I clicked with. I don’t know what it was, but that group really gelled, and we were able to put it all together in rehearsal. We did a lot of writing then, and it was very easy from the get-go.
Feature Photo: Courtesy of PPR Publicity/Robin Trower.
Did writing for yourself as opposed to for Procol Harum change your approach?
The main thing was that I had been coming up with all these compositions on guitar, and I was very into rock ‘n’ roll. Yes, the blues influenced me, and that was my main thing, but I really wanted to try and come up with new material that encapsulated my love for both rock and blues. I think I did that once I got out on my own.
Your interpretation of the blues is different than the traditional approach, though. What brought that on?
I think that more than anything, the compositions, the sound of the music, and the guitar within the songs were more about vibe. I was significantly influenced by one particular Howlin’ Wolf track, “Smokestack Lightning,” with an incredible vibe throughout. I’d never heard anything like it before, and that was in my mind as I was looking to achieve and create my own sound. That Howlin’ Wolf song is probably what set it all up.
The swirling sound of the Uni-Vibe pedal can’t be discounted, either!
You’re very right about that! That effects pedal, the Uni-Vibe, did play a big part. I actually started to use the Uni-Vibe while I was still with Procol Harum, so I’d felt it out a bit. I liked the idea of fully incorporating it into my sound, and it absolutely became a big-time signature of mine when I went solo. I still use the Uni-Vibe to this day.
How did you stumble upon that effect?
I was trying out different effects pedals at Manny’s Music Store in New York City. In those days, there weren’t very many effects pedals, but I came across the Uni-Vibe, and I was immediately taken aback by its sound. It just fit me and made sense within what I was trying to do. It did become a huge part of my sound, though I didn’t know it would when I first came across it.
What other gear were you partial to back in those days?
I mostly used big 100w Marshall amps. And, of course, I was playing my [Fender] Strat, which paired so nicely with the Uni-Vibe; I mostly used the middle pickup. I loved the Leslie effect it gave me. Before the Marshall, though, I’d often used little Fender amps, but once the Marshall came along, I gave it a try, and I never looked back. The Marshall gave a lot more beef and a much sweeter sound. I got a lot more upper, mid, and top-end response, too. But really, I went for it because of the extra beef.
Feature Photo: Courtesy of PPR Publicity/Robin Trower.
Circling back to Twice Removed from Yesterday, did you know you had a great record on your hands from the jump?
No, I didn’t. I’ve learned that you can never know at the time, as you’re too close to it. I do recall being happy with it. But did I have any concept that it would be popular? No, not at all. I knew I liked it, but I was unsure about how it would be received. That said, “Hannah” stood out to me and still does. It’s got an incredible mood about it, and the vocal on it is just beautiful. I think it’s the standout song amongst the rest.
What tracks from Twice Removed from Yesterday proved the most challenging to put together?
Honestly, like I was saying earlier, that group of guys gelled so well; things came together so very easily. What I remember most about recording Twice Removed from Yesterday is having a ton of fun. It was maybe the most fun I ever had recording an album. The vocals are amazing, the drumming is great, and the guitars came out as I wanted. I loved that we touched on just enough psychedelic stuff to have the vibe on it.
Given the good feelings associated with the original mix, did you have any trouble remastering it for the reissue?
In truth, no. I left that to the record company. I didn’t have anything to do with the remastering side of this. The record company did it, but I had to approve it once they’d finished. So, I listened to it, gave it a passing grade, and allowed them to release it. So, I did not remaster it or have much to do with the technical side, but the remastered version has left the songs sounding more defined than the original. I had no issues with the original, but this new version sounds nicer and much cleaner. The vocals are more upfront, and the guitar’s tone is more defined.
When you look back on Twice Removed from Yesterday, what does it mean to you?
Without it, I wouldn’t still be making music today. It was a real breakthrough for me as a solo artist and guitarist, that’s for sure. It was very well-received, especially in the United States, which was huge, as I had not yet broken the States. Twice Removed from Yesterday opened the door for my later albums and left me in a position to do even greater things. To this day, the tracks on that record are as good as anything I’ve ever done. That stuff is right up there, and maybe I’ve never bettered it.
An Encore Interview with Robin Trower article published on Classic RockHistory.com© 2023
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![Rob De Luca of Spread Eagle, Sebastian Bach & UFO: 10 Albums That Changed My Life From humble East Coast origins to grandest stages worldwide, veteran bassist Rob De Luca has seen and done it all. De Luca first hit the local Boston rock and metal scene in the late 80s after meeting guitarist Paul DiBartolo, bonding over Van Halen before forming Bang. Regional success came quickly, but eventually, the members of Bang went their separate ways, with De Luca and drummer Tommi Gallo heading to NYC and hooking up with Ray West and, later, DiBartolo to form Spread Eagle. By 1990, Spread Eagle was on the fast track, with a contract through MCA Records and a self-titled debut album poised to crush skulls. But poor timing and MCA's sad indifference left Spead Eagle out in the cold despite being a hard-boiled answer to Guns N' Roses's West Coast sleaze. Spread Eagle's first chapter came to an end in '95. As for Rob De Luca, his nimble fingers and gift for melody and songwriting kept him moving forward. Soon, he found a gig with former Skid Row frontman Sebastian Bach and the legendary outfit UFO. And in 2010, after coupling up with Ray West and his cousin Rik De Luca, Spread Eagle retook flight. During a break from Spread Eagle's increasingly busy touring schedule, Rob De Luca dialed in with ClassicRockHistory.com to run through the ten albums that changed his life. But only after adding, "I made a playlist of these songs, including some I've written or co-written. Do you hear any of these albums' influence on me?" Listen here: https://open.spotify.com/playlist/3LWJuhDrE8JmzhsmTeIDUq 10) Gentlemen by Afghan Whigs (1993) Here's an entry that was so important to me. This may be the darkest break-up album of all time. Greg Dulli has been in many projects, but I feel Gentlemen is his zenith. Somewhat undefinable at times but always profound and honest. Listen to "Gentlemen," "Fountain and Fairfax," and "What Jail Is Like." 9) In on the Kill Taker by Fugazi (1993) By this time, I had been sucked in and spit out by the major-label record industry. Glam came and went; grunge was history, too. I was searching for new sounds. When I heard Fugazi's twin guitar approach, I knew this was what was missing. Fugazi may be considered a less polished sound than the albums above; however, once you "get it," it hits you like a ton of bricks, and there's no going back. From the moment I heard Fugazi, I went to every NYC show after. It's easily some of the best concerts of my life, and possibly my favorite bassist in Joe Lally. And their DIY ethics refused to charge us more than $5 a show! In on the Kill Taker is a powerful album demonstrated in songs such as "Smallpox Champion," "Great Cop," and "Public Witness Program." 8) Appetite for Destruction by Guns N' Roses (1987) I discovered many of these albums (sometimes long) after they were released. However, I was at the right place at the right time for this one. Steve Ostromogilsky had a Berklee College of Music lunch card and used to sneak out sandwiches for me. One day, he invited me to hang out at his place and listen to music. As we got off the train, he put Sony Walkman headphones on my ears and said, "Hey, check out this brand-new group." A song like "It's So Easy" was so different from the popular Sunset Strip sound at that time. Me and about 499 other informed rockers were lucky enough to see them on their first East Coast tour at the sold-out Paradise on Commonwealth Avenue, Boston (the same street Aerosmith started on). I saw Gn'R every tour after until I took a break when Buckethead joined. Gn'R is the band I've been lucky enough to see the most times live, almost 100! Everyone on this album is just stellar. Axl [Rose] had the tones, power, melodic sensibilities, and foresight to do what no other singer did then. Slash's playing was beyond memorable. Duff [McKagan] is one of the most underrated bassists in rock history, and learning his Appetite basslines is a masterclass. Steven [Adler] had the natural swing, and Izzy [Stradlin] was the secret weapon songwriter. Everything that's been heralded about this gem is deserved and true. Check out "It's So Easy," "Out Ta Get Me," and "Mr. Brownstone.' 7) Wish You Were Here by Pink Floyd (1975) Another contender for my favorite album and band of all time. Using The Beatles machine (same recording studio, engineer, record label), Pink Floyd made what I feel is their strongest, most cohesive album (my second favorite of theirs would be Animals). This list mainly consists of bands with an instantly recognizable sound. Floyd is certainly no exception to that! This album included a solid handful of undeniable rock radio classics, bookended by two halves of the mind-blowing song "Shine on You Crazy Diamond.' That song was written about former band member and founder Syd Barrett. It would be hard to live in a world without this album. Check out "Welcome to The Machine," "Shine on You Crazy Diamond (parts 6-9),' or even better yet, listen to the whole thing in one sitting! 6) Decade by Neil Young (1977) About this time, I started playing guitar. As a beginner, it was comfortable jamming to this album because the chord changes were simple—a great "first ten years" retrospective of Neil's stunning, unique songwriting. Neil is a treasure who always writes from the heart and stands up for what's right. Check out "Southern Man," "A Man Needs a Maid," "Down by The River," and "After the Goldrush." 5) Highway to Hell by AC/DC (1979) When I heard this album, I was firmly "me." My life would be 100% focused on hard rock music forever. AC/DC are like air; they're ubiquitous. Everyone knows them and their incredible songs. However, as a young teen in Wilmington, Delaware, I only had WMMR 93.3 FM Philadelphia and a few friends to inform me about the world of Rock outside my bedroom. AC/DC had not gone mainstream, and their albums were available primarily in the USA as imports. To put things more in perspective, I only knew two people in the world who had heard of AC/DC. A friend had an import that we played in Steve Buckley's basement, which sounded ripping. When Highway to Hell was released, WMMR started spinning the title track, and I immediately bought the album, listening to it every single day after school. Then WMMR announced AC/DC was coming to the Spectrum in Philly, supporting Ted Nugent! I liked Ted but loved AC/DC, so my good friend Mick Cummins and I bought tickets, and he drove us up to the Spectrum (where we saw most of our concerts). Bon Scott was in fine form, and the band went over great. Although the crowd knew Ted better, Angus [Young] wouldn't let anyone upstage him. I'll never forget it! Unfortunately, Bon would be gone in 6 months. Check out "Walk All Over You," "Touch Too Much," "Shot Down in Flames," and "If You Want Blood (You Got It)." 4) Toys in the Attic by Aerosmith (1975) By the time I heard this, I was now in my teens. I had a childhood friend up the street, Jim Linberg (we're still good buddies). His older sister had a great album collection, including Toys in The Attic. Once I heard that groove, my taste changed. I lost interest in rock music that didn't have some sort of "swing" feel to it. I think Rocks is a slightly better Aerosmith album (and possibly my favorite album of all time), but both are perfect or very close. Check out "Uncle Salty," "Adam's Apple," "No More No More," "Round and Round," and "You See Me Crying." 3) Alive! by Kiss (1975) When I was still a little kid, I asked for Cheech and Chong's Up in Smoke album for Christmas. The entire family came over for an enormous feast, and I dropped the needle. When my mother heard the content, she turned off the album and said I had to exchange it. My mom was cool, but I was young and knew much more about life than she suspected. Anyway, the next day, she drove me back to the store. In the music section, promoted on an "endcap" was a Kiss Alive! display. I had never heard of Kiss, but that cover picture told me I had to have it! My first foray into hard rock. Check out “Strutter.” I went through my Kiss phase very quickly, I believe in a matter of months because I discovered the previous entry, Aerosmith's Toys in the Attic. 2) Honky Chateau by Elton John (1972) When I was a wee lad, my parents bought a used Volkswagen camper van from my uncle Ozzie. My favorite Elton John album is Yellow Brick Road, but Honky Chateau is great and easily one of his best. It sent me down a lifelong rabbit hole of loving everything about the 1970s partnership between Elton and lyricist Bernie Taupin. The simple beauty of voice, the master songwriting, the perfect backing band, the clear, unobtrusive recordings, and always Bernie's incredible lyrics. The day this album was released, Elton became an unstoppable force that conquered the music industry. Check out "Mona Lisas and Mad Hatters" and "Rocket Man." 1) Sergeant Pepper's Lonely Hearts Club Band by The Beatles (1967) Another tape that was included in the VW Camper. The van had a bunch of music tapes, and one was Sgt Pepper. I was too young to understand the sophistication of the music, but that was one of the many skills of The Beatles. They attracted listeners at every level, even little kids. I still feel that immediate connection to Sgt Pepper; now, I hear so much more. It's an album that changed the world and the world of music. Check out "Lucy in The Sky with Diamonds," "A Day In The Life," and "Fixing a Hole."](http://www.classicrockhistory.com/wp-content/uploads/2023/11/Shutterstock_1815495569-1-300x200.jpg)
