|A1||Day Of The Eagle||5:04|
|A2||Bridge Of Sighs||5:05|
|A3||In This Place||4:28|
|A4||The Fool And Me||3:57|
|B1||Too Rolling Stoned||7:29|
|B2||About To Begin||3:43|
|B4||Little Bit Of Sympathy||4:20|
|CHR 1057||Robin Trower||Bridge Of Sighs (LP, Album)||Chrysalis||CHR 1057||UK||1974|
|CHR 1057||Robin Trower||Bridge Of Sighs (LP, Album)||Chrysalis||CHR 1057||Canada||1974|
|PV 41057||Robin Trower||Bridge Of Sighs (LP, Album, RE)||Chrysalis||PV 41057||US||Unknown|
|50999 5 01845 2 1||Robin Trower||Bridge Of Sighs (CD, Album, Club, RM)||Chrysalis||50999 5 01845 2 1||US||2007|
|CHT 1057||Robin Trower||Bridge Of Sighs (Reel, 4tr Stereo, 7" Reel, Album)||Chrysalis||CHT 1057||US||1974|
Bridge of Sighs is the second solo album by the English guitarist and songwriter Robin Trower. Released in 1974, it was his second album after leaving Procol Harum, and was a commercial breakthrough for Trower. Songs such as "Bridge of Sighs", "Too Rolling Stoned", "Day of the Eagle" and "Little Bit of Sympathy" became live concert staples. The album was produced by organist Matthew Fisher, formerly Trower's bandmate in Procol Harum.
Bridge Of Sighs (LP, Album). The old records are left to mold in the. This album, or rather the first four Robin Trower albums, from "Twice removed from Yesterday" in 1973 to "For Earth Below" in 1975," and especially "Live," also from 1975, are essential in any collection of early '70s hard rock.
I just thought, 'Wow, what a great title for a song. So, when I started to work on the lyric, I incorporated that. He said that's Robin Trower dude. I was immediately hooked and went out and bought every album I could find. Still a huge fan 30 years later. Phil from San Jose, CaRobin Trower and band is terrific! James Dewar was the Pavarotti of Rock, great deep voice. Trower is underated in my opinion, to many unfair comparasions to Hendrix.
Guitarist Robin Trower's watershed sophomore solo disc remains his most stunning, representative, and consistent collection of tunes. Mixing obvious Hendrix influences with blues and psychedelia, then adding the immensely soulful vocals of James Dewar, Trower pushed the often limited boundaries of the power trio concept into refreshing new waters. The concept gels best in the first track, "Day of the Eagle," where the opening riff rockingly morphs into the dreamy washes of gooey guitar chords that characterize the album's distinctive title track that follows.