Robin Trower Displays Genuine Elegance On ‘Come And Find Me’ (ALBUM REVIEW)

Robin Trower’s self-designed cover art for Come And Find Me is pretty similar to the graphics of his predecessors in recent years. Still, there’s an edge to the music on this Provogue release that’s quite distinct from the more insinuating likes of 2023’s Joyful Sky or the previous year’s No More Worlds To Conquer. 

The latent aggression in tracks such as “A Little Bit Of Freedom” belies the acceptance that permeates much of this roughly forty-minute album. As a result, the album title turns into something more of a dare than a mere invitation: Trower’s guitar snarls on this fitting opening track, suggesting a vigor that’s as surprising as it is captivating.

Long-standing vocalist Richard Watts reliably maintains the edge of the lyrics and the guitar lines when he sings songs like “Take This Hurt Away.” Guest singer Jess Hayes is no less commanding, albeit in a much smoother tone during “Tangled Love.” (where Glenn Letsch plays bass as he also does on “I Fly Straight To You”–Trower himself plays on the remainder).

The contrast in the voices mirrors the varied nature of the material here. Nothing gets too far from the blues, and while “One Go Round” admittedly derives from the fertile ground the ex-Procol Harum guitarist began exploring with his first two solo albums (Twice Removed From Yesterday and Bridge Of Sighs, respectively), there’s no sense of ennui afflicting such performances.

Of course, much of the potency lies in the straightforward expression of emotion in such original compositions of Trower’s. He’s never aimed for verbal profundity and doesn’t start here, but a genuine eloquence resides in solos like the one adorning “I Would Lose My Mind.” Before it’s over, Robin is wailing, albeit without overplaying. 

Having clearly distilled these numbers to their essence, Trower and company maximize the technical expertise of Studio 91’s owner, Sam Winfield. His engineering and final mix offer clarity that results in a mesmerizing rather than monotonous effect. 

This discerning approach doesn’t wholly obviate that so many numbers proceed at the same medium-to-slow tempo. Still, the ingenuity of the arrangements, plus the sequence of tracks, alleviates the tedium. “Capture The Life Begun” features wisps of background vocals and thus conjures a certain dream-like aura, while “The Future Starts Right Here” radiates a similarly rhapsodic air. 

During both these less-than-three-minute selections, the drumming of Chris Taggart remains as steadfast as anywhere else on Come And Find Me. And when the atmosphere again turns ominous for “Without A Trace,” it becomes apparent how he manages to swing no matter the pace. Of course, Robin Trower’s rhythm guitar on “I Fly Straight To You” evinces the same subliminal forward motion: for all this music’s recognizable touchpoints–not the least of which is the guitar hero’s regular use of the wah-wah effect–there’s a definite sense of rediscovery permeating most cuts.

Perhaps that’s because the song and the musicianship capture a moment in time triggered by the epiphany described in “Time Stood Still.” There’s no denying Robin Trower’s writing and playing with a freshness that bespeaks deliverance on Come And Find Me.