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Day Of The Eagle
Bridge Of Sighs
In This Place
Fool And Me
Too Rolling Stoned
About To Begin
Lady Love
Little Bit Of Sympathy
Who would have thought that Robin Trower, the “backroom” guitarist with the stately keyboards-led Procol Harum, would become one of the great blues rock guitarists?
It was the second of his power trio’s superb trilogy of back-to-back albums in the mid-70s that sealed his reputation. Beginning with the stuttering riff of Day Of The Eagle, the album combines urgency with gravitas. ‘A cold wind blows and gods look down in anger on this poor child,’ sings bassist James Dewar as the title track unfolds with a vast, slow momentum, like a planet drifting through the void.
It’s a beautifully balanced, dynamic record filled with quality songs, masterful playing from Trower (Bridge Of Sighs, Too Rolling Stoned) with his overdriven, reverb-drenched, swirling psychedelic sound and Hendrix inflections, plus some outstanding performances (About To Begin, In This Place) from the peerless Dewar.
Bridge Of Sighs peaked at No.7 in the US and remains one of the pillars of Trower's repertoire to this day.
Every week, Album of the Week Club listens to and discusses the album in question, votes on how good it is, and publishes our findings, with the aim of giving people reliable reviews and the wider rock community the chance to contribute.
Other albums released in April 1974
- Ragged Old Flag - Johnny Cash
- Second Helping - Lynyrd Skynyrd
- Big Fun - Miles Davis
- Carolina County Ball - Elf
- Standing on the Verge of Getting It On - Funkadelic
- Okie - J.J. Cale
- Exotic Birds and Fruit - Procol Harum
- Hamburger Concerto - Focus
- Houston (I'm Comin' to See You) - Glen Campbell
- Positive Vibrations - Ten Years After
- Road Food - The Guess Who
- Secret Treaties - Blue Öyster Cult
- Unconditionally Guaranteed - Captain Beefheart & the Magic Band
- Sweet Fanny Adams - Sweet
What they said...
"At his best, Trower's gauzy sheets of oozing, wistful sound and subtle use of wah-wah combine with Dewar's whisky-soaked soul-drenched vocals to take a song like the wistful ballad "In This Place" into orbit. "Too Rolling Stoned," another highlight and one of the most covered tracks from this album, adds throbbing, subtle funk to the mix, changing tempos midway to a slow, forceful amble on top of which Trower lays his quicksilver guitar."(AllMusic)
"The song ideas are strong, and Dewar’s vocals are impressively sturdy, but ultimately it is Trower’s virtuosic touch, the nuanced tone of his Strat and the intrinsic skill of the 'bends and wobbles' that Robert Fripp so admired on which the success of Bridge Of Sighs rests." (Uncut)
"Throughout you can almost play 'name that Jimi' (try the last third of Too Rolling Stoned, where you can namecheck maybe four passages you've heard somewhere before), but with the raw bluesy voice of bassist James Dewar and Trower's writing the album manages to find its own voice. On the slower About To Begin the guitarist leans more towards Peter Green and a whiff of Carlos Santana's purity of tone." (Elsewhere)
What you said...
Adam Ranger: Such a good choice! As teenagers, my friend and I listened to Trower a lot. We could not understand why he was not talked about in the same terms as Hendrix, Page, etc. Very underrated outside of certain circles.
The Hendrix style is unmistakable at times, especially on Day Of The Eagle and Little Bit Of Sympathy. The power trio format may help that impression.
That said, he is no Hendrix tribute act. He has a wonderful style of his own. I love the way he often avoids obvious guitar licks and builds atmosphere instead (a good example is the title track). But when he lets himself go, it's a joy to listen to.
Special mention to James Dewar's bass and vocals. He has a wonderful voice for this style, low but melodic. Maybe comparisons with Cream are as valid as the Hendrix ones? The cover art always put me in mind of stirred cream.... A brilliant blues rock album that scores highly for me.
Philip Qvist: In the mid 2000s, as established South African radio stations started to shun rock music, record companies started to issue CD compilations of rock music from assorted artists, with a collection of songs from the usual suspects such as Deep Purple, Rainbow, Boston and Kansas. And believe it or not, it was on one of those compilations that I was first introduced to Robin Trower, via a live version of Too Rolling Stoned.
I had never heard of this guitarist and songwriter until then, and it's only after that moment that I started to listen to a couple of his songs, even if they never made it onto my playlist of essential songs.
So listening to Bridge of Sighs this week is my first real introduction to Robin Trower the solo artist, and I thoroughly enjoyed it. Too Rolling Stoned, Bridge Of Sighs and Day Of The Eagle are my picks, but in truth there aren't any duds on this record.
Special mentions must go to singer and bass player James Dewar for his soulful singing, and drummer Reg Isidore for maintaining the pace. An 8/10 from me; I'm just glad that I finally got to listen to Bridge Of Sighs (named after a racehorse, I believe, and not the structure in Venice).
Jackie Craig: I bought this when it was first released. Re: the title track, when that riff comes in for the first time it still has the same mesmerising effect on me all these years later; probably more so now that I'm so much older. Day Of The Eagle is a great opener, and in fact the entire album is an absolute feast. 10/10.
John Davidson: Great album. Bridge Of Sighs is a fantastic track, but Too Rolling Stoned is the one I listen to most often.
I recall Trower being criticised for aping Jimi Hendrix, but while I can hear a little of his inspiration on some tracks, it's not overdone. The vocals are another highlight, and the bass and drumming complete the set. It's perhaps not groundbreaking, but it's very accomplished and a thoroughly enjoyable album.
Mark Herrington: My first introduction to Robin Trower was hearing the meaty Victims of the Fury on the radio in 1980, and buying the single. Intrigued, I bought the album, probably his hardest-rocking LP. From there, I was hooked on his bluesy psychedelic style.
Then I picked up a second-hand vinyl copy of Caravan to Midnight for £1, a much more languid, dreamy offering. Gradually, I worked backwards through his albums, until probably his best work, Bridge of Sighs (1974).
Trower excels in his expressive, psychedelic, and soulful bluesy guitar, dovetailing naturally with James Dewar's deep, emotive vocals. I gravitate to his slower, more expressive tracks such as Bridge Of Sighs and In This Place, where every note seems to linger and carry meaning. But I also love the muscular virtuosity on tracks like Too Rolling Stoned.
He is a master at bringing the guitar to life and giving it a voice, underlined by his live performances, where he seems to mouth every note he plays. Overall, probably Trower's finest work.
Mike Canoe: A classic blues-rock album. The title track is still the most amazing and astounding thing here, but the rest of the album is enjoyable too. Much as when we reviewed Twice Removed from Yesterday in the club's second year, I am struck by how bassist and singer James Dewar is the band's not-so-secret weapon. While Robin Trower is deservedly the name above the title, Dewar's gruff but melodious voice complements Trower's playing perfectly. He doesn't overemote or ape other blues singers; he just sings. The overall restraint of the musicianship is impressive, and the songs are songs first and not just showcases for guitar wankery.
Come for the title track, stay for In This Place, Too Rolling Stoned, The Fool and Me, and Lady Love.
Greg Schwepe: If you’re looking for another album to add to your “1970’s Rock Guitar Album Time Capsule” (there is such a thing, right?) before you bury it, look no further than Robin Trower’s Bridge of Sighs to throw in there with a few other good ones. How often have you heard an album called “dated?” Well, this one is. Sounds just like 1974, and meant to be that way!
This has all the hallmarks of a classic 70’s guitar-fest album; the tasteful guitar tones of Robin Trower, the soulful vocals (and bass) of James Dewar, and the grooving drums of Reg Isidore. Ah yes, the Power Trio. It’s been proven many times, you only need three guys to make an awesome racket.
The clarion call of Day Of The Eagle leads off the one-two punch of Sighs. The galloping and repeating riff gets your attention. And then, right at about three minutes in, the tempo slows to a halt, but your attention does not. Trower’s bluesy soloing finishes out the song. They are not the first band to change tempos and time signatures for effect, but they do it with authority.
The title track is next, and Trower’s trilling hammer-on note that fades in changes to a sparse three-four note repeating groove that is spacey, atmospheric, pulsing, and undulating, all at the same time. The layered repeating guitar sections at the end with the blowing wind sound effects make for a trippy end to the song.
I had read in liner notes how some thought Trower was a bit of a “Hendrix Clone.” Yes, he played a Strat through a Marshall, and used many of the same effects (Univibe, Wah-Wah, Leslie) as Jimi, but he had his own style. I think I also read that Trower said that if you’re going to be accused of copying someone, Hendrix wasn’t a bad person to be compared to.
Too Rolling Stoned is another riff-filled monster where Trower’s wah-wah pedal and Univibe get quite the workout. Once again we have a ton of riffs that then hit the brakes at about the 2:45 mark. Dewar’s vocals and the bluesy riffs finish out the rest of the song. Extended guitar solo anyone? Yes indeed. Along with a thumping drumbeat to keep you engaged.
I did a deep dive on Robin Trower’s catalogue several years ago after hearing Bridge of Sighs on the radio after not having heard it in years. While I had certainly heard of Trower before, his music was not a regular staple on the radio where I lived. “Oh yeah, I have got to check him out.” A compilation CD led to purchasing most of his catalogue. Which then turned into another “Wow, what have I been missing?” moment. 9 out of 10 on this one for me. Come for the title track, stay for the rest.
Final score: 8.91 (59 votes cast, total score 526)
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