Timeline 3
The Experimental Period - Different Licks

With the music Trower released from 1973 to 1976 establishing him as one of the world's premier players, he then undertook an experimentation with softer, more subtle music. This effort was a combination of two things: the writing of more unconventional songs that sounded mysterious and chimeric; and the incorporation of more exotic guitar effects.

Altough this phase was fairly brief, lasting only two or three years, it did result in some interesting material. The core of the band still included Trower, Dewar and Lordan, but Rustee Allen took over on bass for a couple of LPs, freeing up Dewar to concentrate on singing only.

Some would argue that this period marked the end for Trower as a big name superstar, and they are probably correct. Most Trower fans preferred him at his grittiest best, as in the 'Bridge of Sighs' era, but every artist has a licence to create, and Trower exercised that right with a couple of fine albums.

In City Dreams

1977's 'In City Dreams' marked a sharp departure from Trower's traditonal blues-with-an-edge style. In this LP, he moves almost completely into a softer, gentler sound. Sweet Wine of Love and Bluebird are spacy, airy songs that encapsulate the mood for this release. As far as a critique goes, some fans love this album, some don't. It's probably best for the listener to decide.

Caravan to Midnight

Caravan, out in 1978, follows in the footsteps of 'In City Dreams'. Actually, it improves on that album, with songs such as Lost In Love, I'm Out to Get You and the title track refining Trower's neo-psychedlic flavour. Guitar effects abound: flange, phase-shift, chorus and reverb. 'Caravan To Midnight' proves that Trower is an artist with not only a prolific imagination, but the talent to break new ground.

Victims of the Fury



The only reason 1980's 'Victims of the Fury' is lumped with Trower's experimental period, is that it deosn't fit anywhere else. It stands, and is recognized by many fans, as an attempt to get back to his roots. Many would deem that it is not among his best work, but closer inspection reveals a raw, gritty performance that is refreshingly honest. James Dewar returns to his bass for this album, but it is the last featuring the old line-up and definitely marks the end of an era for Trower.