Robin Trower is, in every sense of the word, a legend, possessed of an exceptional talent on the guitar and blessed with song-writing skills to match. His voice, worn but still powerful, has aged perfectly, and it fits the music like a glove Recorded at Studio 91 in Newbury with engineer Sam Winfield, Coming closer to the day is the latest in a line of inspired albums that began with 2014’s Something’s about to change, running through 2016’s where you are going to and 2017’s time and emotion; and it showcases Robin on rare form, eclipsing even those aforementioned releases, and delivering something truly special.
Opening with Diving bell, a slinky number underpinned by sanguine bass, Robin plays with loose-limbed soul, his guitar work beautifully raw and captured with a tone to die for. It’s a fantastic opening track – one that sets the vibe of the album and draws the listener in – and the wonderful clarity of the production only helps in this regard, making it feel like the band are set up in the listener’s living room. Next up, the funky truth or lies could easily slot into Gary Clarke Jnr’s oeuvre, the track a slick-hipped delight that will get the dancefloor moving when Robin plays live. The title track, built around a riff that echoes The Beatles’ evergreen come together, considers mortality with overtones of Bob Dylan’s latter-day albums caught up in the gentle shuffle of the drums, not to mention Robin’s sensitive and beautifully-articulated guitar work. The theme of age remains on ghosts, a poignant and perfectly-structured blues that captures those fears that haunt you at the dead of night. Very much a case of less-is-more, ghosts is pared back to the bone, allowing Robin’s guitar work to shine, whilst the lyrics hit that sweet spot between subtle and evocative, painting a picture that is both uniquely personal to Robin, yet universal at the same time. Heading in a Hendrix direction, tide of confusion sees Robin articulate the feelings many aging people face as society continues to shift and evolve around them, and the riff has a hint of supressed anger that gives the track considerable frisson. The first half of the record concludes with The Perfect Wrong, a wired track with a blazing riff and taut beat that shows that Robin Trower could easily go head to head with the latest generation of gunslingers, such as Dan Patlansky, and more than hold his own.
Kicking off the album’s second half, little girl blue sees early King Crimson meet the blues, with a subtle, elegant melody perfectly augmented by Robin’s restrained soloing. In contrast, the steely groove of someone of great renown mixes up funk and blues to potent effect, before the spirit of Tom Waits is summoned for the dusty stroll of lonesome road, a track that features some of the album’s best guitar work… at least until the extended jamming of tell me sees Robin really working his way around the fretboard. With the album coming to a close, don’t ever change is a laid-back blues in the vein of Robert Cray, the guitar held in check as Robin sings the track’s refrain over a lightly funky backdrop. It leaves take me with you to close the album on a sparkling note, elements of Buddy Guy shot through the gnarled guitar-work that brings the curtain down on the set. It’s the conclusion the album needed, full of life and vigour despite the themes of mortality that abound, and a strong indicator that Robin has no intention of slowing down any time soon.
There is no question that Robin Trower’s work has been influential on many, and his recent run of albums has been a delight. Coming closer to the day is yet another fantastic record that calmly reasserts its author’s credentials. Never flashy, yet musically exquisite, the twelve tracks on offer here roam across the blues from funk, Robin’s obvious love of the genre in all its forms evident in every note. A beautiful blues album, coming closer to the day may be the pinnacle of Robin’s work to date. 9.5
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