RF: Did you feel the need to stretch your wings, so to speak, from “Procol Harum?” What led to leaving?

Trower: I was starting to write more and more music, songs, and there wasn’t space for it in “Procol Harum,” so I had to get on with my own thing.

RF: Why is “Bridge of Sighs,”which is your second solo album, a landmark recording?  I got a re-mastered version with  John Peel’s BBC radio sessions on it (the bonus tracks)  Why does it hold up as such a classic? Well, in my opinion, I’m sure in almost everyone’s opinion.

Trower: I think it was definitely a coming together, it was kind of like of peaking of everybody’s talents that were involved. That was the thing , the writing was very strong: The recording sound was sort of huge for that time. Everybody had a big part of it, and obviously the main thing is the songs and James Dewar’s vocals.

RF: Oh yes, fantastic vocalist, and Reg Isidore on drums had just an incredible sound on the recording, too.

Trower: He has a lovely feel, really lovely feel.

RF: I’m actually reading a book about Geoff Emerick and his production of The Beatles(“Here, There and Everywhere”)  How was it working with him?

Trower: It was great.

RF: You wrote in the liner notes of him miking  the instruments in different areas of the studio?

Trower: Yeah, I think he may be the first guy to  record“loud guitar” well and create that huge sound. He was and is a wonderful engineer.

RF: The band version with Dewar and Isidore,What made it so special? Was there any difference playing with Reg Isidore  or Bill Lordan ( Trower’s two drummers at different times)?

Trower: Yeah, there’s a quite a bit of difference. Bill was more technically gifted, if you like; he was quite more complex rhythmically. Isidore was a soulful drummer with a unique sound.

RF: Was it true that the album was recorded in two weeks?

Trower: Yeah, I think it was 17 days or something like that. A few of the tunes, we were already playing live, you see, so they were more or less complete.

RF: Also, when I’m looking inside the CD, was that picture taken by London Bridge?

Trower: Yes, on the Thames.

RF: Yes, a great shot, just a wonderful picture.

Trower: I think it was a TV show we were miming to.

RF: Were they great guys to work with? Were they great people, too?

Trower: Absolutely; they were really wonderful.

RF: That’s a nice combination, then

RF: Did you ever visit the Bridge of Sighs in Venice?

Trower: No, I never did.

RF: You did a big Shea Stadium show in 1976 with Jethro Tull and Rory Gallagher?

Trower: That’s right.

RF: Before that, I guess The Beatles and Grand Funk Railroad were the only  bands that had played Shea, which no longer exists. You have Citi Field, the new home of the Mets; but what was that experience like playing in this giant stadium ?

Trower: You’ve got to remember that we were already used to playing big places. For instance, when I was in “Procol Harum,” we did the Isle of Wight Festival (in England), which was huge. It wasn’t that much of an eye opener as it were. It was great; I remember it being a great night.

RF: When watching you play at B.B. Kings, I just have the impression that you really enjoy playing a lot. Now does it ever grow old? You really seem to be relishing it, and are  just very happy in the moment.

Trower: Yeah, that’s right. That’s the thing that keeps the whole machine running, the fact that I love to play so much

RF: Early influences on guitar: Were they many? A few?

Trower: Well, really, the first big influence on me was Scotty Moore (Elvis Presley’s guitarist )That’s really why I wanted to have a guitar in the first place, because I loved this playing.

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