Excessive on any listing of ’70s guitar-rock albums is Robin Trower’s six-string masterpiece, Bridge of Sighs. 2024 marks 50 years since its arrival.

Rising to prominence as a member of Procol Harum (although he didn’t play on “Whiter Shade of Pale”), by 1973, the British guitarist was directing a trio with singer/bassist James Dewar and drummer Reg Isidore. They launched themselves to the world with Twice Faraway from Yesterday, a promising debut that blended blues-tinged onerous rock propelled by Trower’s guitar and Dewar’s soulful vocals.

Earlier than the album was recorded, the band had but to play a stay present collectively. However that wasn’t the case when writing started for Bridge of Sighs, which displays how touring made them a a lot tighter unit.

“Bridge was all written to riffs – the entire album relies round guitar concepts and guitar components,” Trower recalled for VG. “We performed ‘Bridge of Sighs’ stay earlier than we even had two verses; Jimmy used to sing the one verse twice (laughs). Finally, the lyrics got here collectively, and some songs had been performed stay earlier than we went into the studio. That had fairly a bearing on the best way all of it turned out.”

With producer Matthew Fisher on the board, periods befell in ’73 and ’74 at two London studios – Olympic and AIR. “Two tracks had been recorded at Olympic, however the most-important had been carried out at AIR, and we had been very, very fortunate to have Geoff Emerick document it. He created a sound that hadn’t been carried out earlier than. I feel that was a part of why it was so potent – the sound of the tracks – due to his idea of recording guitar. He and Matthew made a great mixture.”

Trower remembers the method being clean and environment friendly.

“We didn’t do many takes – two or three more often than not. The three of us laid it down then Jimmy would overdub vocals and I’d overdub solos. There’s some stuff that has stay soloing that went down with the bass and drums – ‘Little Little bit of Sympathy’ was stay, and so was ‘Too Rolling Stoned.’”

Trower performed a brand new Strat and two 100-watt Marshall heads paired to 2 4×10 slant cupboards.

“I additionally had a Univibe, which is the ‘Bridge of Sighs sound,’ a volume-boost pedal {that a} good friend constructed for me, and a Dunlop Cry Child wah.”

Dewar’s setup was a Precision Bass working into an Ampeg.

Although unquestionably Trower’s strongest, most-consistent album, 50 years have pushed a number of songs to “favourite” standing.

“Clearly, ‘Bridge of Sighs’ is the most-potent observe I’ve ever made. I additionally like ‘In This Place,’ which follows it. I feel it’s lovely, how the songs stream collectively. ‘Little Little bit of Sympathy’ is one other one I like due to the guitar taking part in.”

The album’s best-known composition stays the opener, the Hendrix-like “Day of the Eagle.”

“That got here from the guitar riff, and I got here up with the guitar preparations and lyrics inside a few hours. It got here collectively in a short time and really simply within the studio, as effectively, as a result of we had performed it stay by the point we took it to the studio. The part that joins ‘Day of the Eagle’ to ‘Bridge of Sighs’ – the place it goes into the half-time factor – was a jam that occurred that day. It wasn’t rehearsed.”

And whereas Trower’s guitar work stays the album’s point of interest, he has all the time been adamant about recognizing his band, particularly Dewar’s vocals.

“The [performance] I discover most shifting is ‘In This Place.’ James’ vocal on there’s world-class. He had an exquisite instrument and he was an exquisite musician. Magical.”

Isidore, he added, had a really feel he’d by no means skilled with one other drummer.

“Reg was a pure and every little thing he did got here naturally to him. His really feel was magical, fantastic.”

Dewar handed away in 2002, Isidore in ’09. Each had been 59.

Launched April 20, 1974, the album’s title was supposedly nicked by the guitarist from the identify of a racehorse, although that phrase was additionally the identify of a bridge in Venice. The basic cowl artwork was provided by “Funky” Paul Olsen, who created psychedelic posters within the ’60s and was later concerned with function movies. The album grew to become a shock hit within the U.S., peaking at #7 on the Billboard album chart and has since earned gold certification.

Did its success shock Trower?

“It did and it didn’t. We knew it was a really sturdy album and had an incredible efficiency that we thought may do effectively. And the truth that we had been out supporting Jethro Tull and Ten Years After when it was launched made an enormous distinction by introducing us to an enormous viewers. That was a giant a part of the success.”

As quickly because the album hit, rock-music publications started evaluating Trower’s type to Jimi Hendrix, which grew to become a relentless all through his profession. To this present day, he doesn’t thoughts.
“I all the time admitted he was an affect, and to be talked about in the identical breath with a genius is actually fantastic. The one drawback I had was that whereas individuals had been noticing, I feel they had been lacking what I used to be bringing – my very own factor. However, truthful sufficient.”

Extra importantly, as Trower displays on Bridge at present, he stays happy.

“I feel it stands up very effectively. However I’m not the one to evaluate, as a result of it’s music I like. I’m definitely not embarrassed by it 50 years later.”

This text initially appeared in VG’s July 2024 problem. All copyrights are by the writer and Classic Guitar journal. Unauthorized replication or use is strictly prohibited.