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July, 1980
British Rock Guitar Veteran
By Jim Schwartz
RAW emotion and sheer power, few guitarists today can equal Robin Trower.
He literally compels his Fender Stratocaster to sing a timeless musical
language - a blues-rock vocabulary replete with multiple-string bends enhanced
by shimmering left-hand vibratos, sustain, effects, and controlled feedback.
Trower's often metronomic, slow-paced tunes at first seem simple, but that's
a deception. Anyone who's attempting to duplicate his licks quickly
discovers that they are much more than mere timing and technique:
His music exhibits a skilful combination of sound and soul in which pure
feeling dictates his melodies' tempo and tenor.
Born in Catford, London, England, on Match 9, 1945, Trower first began to play guitar professionally with the Paramounts in 1962. During the next three years as a member of the Southend-based R&B band he recorded a string of singles - including remakes of "Poison Ivy" and "Little Bitty Pretty One" - and toured with both the Beatles and the Rolling Stones. The Paramounts never quite caught on, and as their record company began coercing them into pop realms Trower found himself moving more towards the blues. He subsequently left the band in 1965, formed a short-lived group called Jam, and immersed himself in the music of B.B. King, Otis Rush, Hubert Sumlin, and others for the next six months.
Around this same time in another part of London former Paramount pianist Gary Brooker teamed with a lyricist - Keith Reid - and decided that they, too, wanted to get a group together. After advertising in British music publications and recruiting four more musicians they released their debut single "A Whiter Shade Of Pale," as Procol Harum in May of 1967. Shortly thereafter, personal and business matters compelled all but Brooker, Reid, organist Matthew Fisher (who was to later produce Robin's first two solo LPs, Twice Removed From Yesterday and Bridge of Sighs), and bassist Davis Knights to quit the group. Needing a guitarist and drummer, Procol Harum auditioned former Paramounts Trower and B.J. Wilson, and the band's line-up was set.
From his guitar work on Procol Harum in 1967, especially on cuts such as "Cerdes (Outside The Gates Of)," "Conquistador," and "Repent Walpurgis," it was clear that Trower had begun to assimilate the techniques and, more importantly, the spirit of those blues greats he had earlier studied . Throughout the next four years Robin's lack of formal training on the guitar was more than compensated for by an intuitive musical intelligence which transcended technical know-how. In almost all of Procol Harum's songs you can hear Trower's guitar climbing to the furthermost reaches of distortion and expression. Solos such as those on "Wish Me Well" [Shine On Brightly], "Crucifiction Lane" [A Salty Dog], "Still there'll be more" [Home], and "Song For A Dreamer" [Broken Barricades" - his tribute to the late Jimi Hendrix - proved to be stepping stones for an increasing desire to make guitar the focal point of the music (Procol Harum's emphasis on vocals and keyboards often left Robin duelling it out for leads with organ and piano).
Robin left Procol Harum after recording Broken Barricades in 1971 and formed Jude with ex-Stone The Crows bassist/vocalist James Dewar, vocalist/guitarist Frankie Miller, and Clive Bunker, who used to drum with Jethro Tull. Nothing of any consequence occurred with that line-up, so Trower with Dewar went off to form the Robin Trower Band in 1972, adding Reg Isadore on drums. After recording Twice Removed From Yesterday in 1973 and Bridge Of Sighs in 1973, Isadore was replaced by former Sly Stone percussionist Bill Lordan. and with the exception of two LPs - In City Dreams and Caravan To Midnight - where funk bassist Rustee Allen joined the band, Trower has retained a power trio format throughout all his solo ventures.
For nearly two decades the guitar has been Robin Trower's lifeblood, an artistic tool with which he melds past and present in offering listeners a musical bridge of feeling between yesterday and today. First featured in Guitar Player's April '74 issue, where he spoke about leaving Procol Harum and forming his own band, Trower here states some of the most important moments in his evolution as a guitarist, discusses equipment and effects, offers advise to would-be rockers concerning instruments and LPs, and comments on musical influences - including his debt to, and being compared with, Jimi Hendrix.
* * *
When did you first get interested in guitar?
I was messing about right from when I was 14. I had an old steel-string cello guitar - you know, with f-holes - and it was really cheap, it cost about 8 pounds, or something like that. I was very keen on people like Elvis, Carl Perkins, Jerry Lee Lewis, and Gene Vincent. Of course, I was only a dumb kid, but I was always a big Elvis fan. It was him playing guitar that first made me want to play. The image of Elvis holding an instrument and just being what he was, you know, made me think, "Well, I'm going to get a guitar, too."
Did you earn any money gigging early on?
I used to get together with a friend of mine at school, and we'd tune the strings down on the cello guitar and pretend that we had a bass. By this time I also owned an old solidbody electric, and we did stuff by a group called the Shadows. You know, just muck around with songs they used to do. We played a couple of little things where they passed the hat around and got about 2 shillings each. It wasn't anything serious, however, until we formed the Paramounts.
What style of music were you playing?
We were actually an R&B band, but the record company tried to make us into a pop group. All our material was like James Brown, Bobby Bland, and Ray Charles things; and we got quite a name for ourselves at the time, especially with the Rolling Stones. We toured with them and the Beatles, too, in the mid '60s.
How did it feel to tour with the Beatles?
Well, we were just kids then, and it didn't matter to us at all whether we were bottom or top of the bill. It was an experience, I suppose, being on a Beatle's tour. We did their last tour of Britain in '65, and the thing that blew me away about that was it wasn't sold out every night. And they weren't very good; I mean, the singing was great, but the playing was a bit weak.
What about working with the Stones?
We were the Stones' favorite group, actually. We supported them when they were just getting their first hit, called "Come On" [More Hot Rocks, London, 2PS-626/27]. We supported them and they loved it; they gave us all their work they were leaving with blues clubs. And then they used to put us on their shows, too, as they got bigger. But at the time I was just a daft kid, and I didn't take any of it in. In those days playing guitar to me was just something I did for fun. I wasn't a serious musician until I got well into this thing I'm doing now. I mean, I never used to practice anything - I never knew about practising.
How did you learn songs?
Just listening, you know. I didn't use to sit down and work out other people's material; I've never believed in that. And even while I was with Procol Harum, the only time I'd see my guitar was either when I walked onstage or in the studio. That's how serious I was about it then.
Have you had any formal training on guitar?
My grasp on musical theory is zilch, really, except for some knowledge of major and minor chords. I've never had lessons, and all the stuff I do is what I make up. Early on I never had any contact with other guitarists; I never sat down and had them explain to me all the different things you can do with the instrument. It wasn't until I met Bob Fripp six years ago that I began to practice seriously. He gave me some finger exercises which I worked on for about a year, and they really helped. I don't do them now, but I do sit and play to myself a lot more. I tried to give Bob some lessons on how to do my kind of thing, but musically we were worlds apart and never the twain shall meet, as they say.
Why did you leave the Paramounts?
I left them because I was getting more and more interested in blues, and the Paramounts weren't doing blues. So I more or less just sat at home and listened to all the blues players for about six months or so. I got into people like B.B. King, Otis Rush, Hubert Sumlin, Albert King - all of them, really. I think the one album that was my most influential was B.B. King's Live At The Regal [MCA, 724].
I listen to that today, and it still knocks me out; I think that's the most wonderful guitar playing I've ever heard. I love Otis Rush's thing as well. His very fast vibrato was a real eye opener.
What kind of equipment were you using during this time?
A number of different guitars; a Burns-Well solidbody electric, a Gretsch Country Gentleman, and a Strat that got stolen. The first time I ever played a Strat was with the Paramounts. I was using my Country Gentleman and we had a problem with a pickup, so I took it back to the store and they loaned me a Strat. But I just could not get along with it very well at all; I couldn't get anything out of it. One night it was in the back of our truck and got stolen, and it wasn't even mine. I went back to the music store, and they said not to worry. But they couldn't fix my Country Gentleman, so they gave me a Gretsch Chet Atkins solidbody which I used for some years after that and got along with quite well.
Your guitar sound on all the Procal Harum albums seems right on the edge of distortion. How did you get that?
It's difficult ti pin down when I started to get into distortion, but it was definitely before my Procal Harum days. I used to play through a Selmer Little Giant valve [tube] amp which had one tiny speaker in it, and I ran a jack lead off the speaker points into a small Fender. That way, I got some of the hardness above it from the Fender and all my distortion sort of smoothness from overloading the Selmer. But, unfortunately, when it came to playing bigger places needing a bigger sound, I tried running the Selmer through a Marshall, and it didn't work. When you start to wind up the wick a bit it used to start whistling; therefore, I had to break down and start all over again to get the sound I liked. But on songs like "Repent Walpurgis" [Procal Harum], that's the Little Giant with the Fender, and I used my Chet Atkins solidbody.
How did you work out a solo such as the one in
"Repent Walpurgis"?
Gary [Brooker] knew that if he wanted a guitar solo, it would have to be something that could be played in the blues scale. So if there were changes, they had to be mostly blues things. I didn't have a lot of input really, except for certain fills and other little parts I wrote. We'd sit around and learn the song for about one hour and then record it. I'd jam a solo; there was nothing worked out. It was just get up and wail and that was it. I think that's basically why I didn't start to improve as a musician until I got well into my own group. But in a way it was a good thing because it's given me the style I've got today.
What guitars did you use on the other Procal Harum LPs?
For Shine On Brightly I had a '68 Gibson SG, and on
A Salty Dog that was a '60s Les Paul Special run through an old, brown Gibson amp. I had another old Les Paul something or other on Home, and on Broken Barricades I played a '62 Strat. It wasn't really until I came in contact with that Strat that I settled down with one instrument. On the later album I used it in "Song For A Dreamer" and "Poor Mohammed."
Which Procal Harum album do you feel contains your best work?
I haven't heard them for so long, but I feel that my playing on the first album was probably some of my best. And I often wonder; I'm definitely a better technician now, but is the music I currently make as good as what I used to make when I wasn't as good technically? When your mind starts to overtake what your heart feels, then, to me, it's less musical. And I'm not sure, but it's possible the music I played when I didn't know what I was doing was much better because it was sheer feeling - there was no technical ability at all.
Why did you leave Procol Harum?
On Broken Barricades I was starting to spread my wings a bit, and I was getting more into writing songs. Obviously, if you write a song, and you're a guitarist, there's going to be more guitar in it. That was the beginning of me leaving the band; I was fascinated by being able to write music for the guitar.
On Twice Removed From Yesterday, a song such as
"I Can't Wait Much Longer" has a slow, pulsing, ethereal sound. How did you get that?
That's just a Univox Univibe [vibrato/phase unit] that does it. On the LP I also had an Arbiter Fuzz Face and a 100-watt Marshall with two 4x10s which had a very good sound until they got knocked out, and then they went very dead. Whereas with the 12s, the more you play them the better they sound.
Do you prefer a tube or a transistor amplifier?
Tubes, definitely. You can't get a transistor amp to sing, it's only tubes that will do that.
Are you using an Echoplex on "Hannah" [Twice Removed From Yesterday]?
No, that's just the backing guitar and the lead; although in the instrumental break there are about four guitars on that. And while "Daydream" is my favorite song on there, "Hannah" is the best recorded track. We spent quite a long time in rehearsal on that one - jamming around on it, getting ideas for the middle break, and coming up with the theme.
Your second LP, Bridge Of Sighs, was popular.
Yeah. that's my biggest album. I don't like everything on it, but then I suppose you never like everything on any album. I think there are things on it, such as the title song, which are the best work I've done. "Bridge Of Sighs" is the most soulful, most creative, powerful piece of guitar playing I've ever come up with.
What inspired you on that specific song?
I don't really know. That one I sat down and started off on acoustic guitar and I had the first verse for months and months before I came up with the changes. And then I worked up the theme that it goes into at the end. It took me quite a long time to put together. It was one of those things where I knew it was going to be a cracker - I just didn't want to rush it, and I wanted every part of it to be great.
Were you still using your '62 Strat on Bridge Of Sighs?
No, I'd just bought a new black '74 for that one.
In your earlier Guitar Player interview you said you wanted to buy a new Strat every six months. Still true?
Well, the thing is I didn't want to get attached to one guitar; I didn't want to have an instrument that was irreplaceable. So I was playing new Strats, but one day someone handed me a '56, and the sound was so different and so much better that I got hooked on older Strats. I used the '56 on my live album and, I think, on Long Misty Days. Then I began messing around and decided I didn't like maple fingerboards because they were tearing my fingers up a lot - the friction seemed to be greater, or something, than with rosewood fingerboards. Anyway, I came across a nice rosewood, and I ended up eventually with these two '66s that I'm now using - which are the best ones I've ever had.
What made you change your mind about buying new Strats?
I think you have to be lucky to get a good new one. I've found that they won't settle down; they change over the first six months or so. There's something about the wood in the new Strats that isn't quite right - isn't aged enough, or something. I had that beautiful new '74 years ago, and it was great; but, eventually, it just went completely off. I couldn't get the neck to be intonated, and it was buzzing and whistling, so that's when I went off new Strats. And while I didn't like the sound of new ones then, I do now. In fact, Fender's going to build me one which is exactly like my '66, and another that has their new multi-extra-winding pickups in it.
Are you going to be endorsing Fender?
Well, I said to them at first that I wouldn't be happy with them using my name to sell new guitars because I'm not using new ones, and I wouldn't like a kid who went out and bought a new Strat to think he was going to get the same thing I have. That's when I told them, "If you can build me a couple that I think are really good, we'll go from there."
Are your Strats modified?
No. I like to keep all of my instruments standard. The '62, for example, had a vibrato bar on it, but I didn't use it because I was always having trouble trying to keep the guitar in tune. Besides, I'm just not interested in using one because I feel that whatever you do will come out sounding like Jimi Hendrix anyway and I want to stay away from that. So now my Strats are blocked off [with a piece of wood or other material wedged between the vibrato block and the guitar body], and all the vibrato you hear on my albums after Twice Removed From Yesterday was done with just my left hand. I think, perhaps, the fundamental part of my technique is my vibrato.
How long did it take you to develop that facility?
Well, I had a good left hand starting to develop in the Paramounts. It was natural, too; It wasn't like I heard something and tried to sound the same. I've only got the vibrato on three fingers - I can't with my little finger. Just about all of my things I had to work at. I was never happy with my natural vibrato. It seemed too fast, so I began concentrating on making it slower. I usually bend with my first two fingers, but the secret is all in the grip of the thumb. When you're pulling or pushing strings, the grip you use on the neck is what allows you to hold and control the bends. That's where you have to work hard to master the technique. If you held your left hand, say in a classical fashion, it would be next to impossible to pull off those bends with vibrato added. So a powerful grip is vital to my style of playing. And, I think, the most unique sounding vibrato that I do is with my index finger.
Why do you employ vibrato so often in your music?
To me, it's just what playing with feeling is all about. Those vibratos and bending add the sultry touch; that's where you get into the human voice thing, too. After hearing Live At The Regal, my playing turned around from being what it was in the Paramounts to what it is now; using the instrument as a human voice. A wah-wah is important as well. I love it; it makes the guitar scream. But, actually, the guitar is a very poor substitute for the human voice. I think that if I could sing, I wouldn't be a guitarist.
Do you prefer bending strings up or down?
Both. You see, I have short hands, and that's why I have to bend up to notes; I can't always reach the frets [laughs]. I'll do one-two- and three-string bends sometimes, and then I'll throw on a vibrato.
How important is damping?
That's another thing I haven't had to consciously develop. I've always had a natural ability to damp, mostly with the heel of my hand. But it's vital, especially when you're playing at the volumes I do.
Where are your guitar's and amp's settings when you're soloing?
The Strat's volume control is usually at 7 or 8, and the tone controls are always full on; I never mess with those. On my two Marshall Mark IIs, the master volume is three-fourths, the preamp volume is a bit less, and apart from the presence control - which I don't ever use - the bass and treble are about one-quarter on.
What about pickups: Which do you use the most?
I've got a 3-way selector switch, and the middle pickup is the one I play through most often. I will switch from one to another on occasion; I'll use one for leads and another for rhythm things. But I never go across all three at the same time. Occasionally I'll do solos on all three pickups - it depends on the kind of effect I want to get. The neck pickup gives a very warm, almost jazzy kind of sound. Being a Fender, it still has the clarity where you can do rock and roll lead work on it, too. Most of "Daydream" [Twice Removed From Yesterday] was on the neck pickup, as was a lot of the other lead stuff on that album. The middle unit, however, is the mainstay of the whole thing; that's the one all the rock and roll things are done on - apart from one or two times where I've used the treble [bridge] pickup.
In "Victims Of The Fury," how many times do you change pickups and volumes?
I began with the Univibe on. Then when the solo begins it's just straight guitar, no effect, middle pickup full on, amp turned way up. Halfway through I switch on the wah-wah and finish off with it. You see, to me the wah-wah's a climatic thing. That's the way I use it onstage. When you want to take the song to its highest point, that's where the effect comes in. It makes the guitar sound more aggressive.
On that song, did you go direct or mike your amp?
I always mike the amps. In fact, for most of the album we had a mike about three feet away from the amp and another about five feet away, both looking down at a floor speaker. I wasn't using a stack, just one head and one cabinet. With the mikes positioned that way, we also captured ambience - using the floor as a reflective thing. But on my next album I'd like to get involved more with close miking. I've never done it before, so rather than trying to achieve an ambient sound, I want to see what I'd get from just one close mike.
What other amps and effects have you employed on your solo albums?
With exception of In City Dreams, there are only one or two tracks on all of my albums that haven't got Marshalls on them. For In City Dreams I used an amp that my electronics guy Mike built for me in the studio: a quarter amp, which would get the same sound as a Marshall. We had a lot of different effects on that album, too. For instance, that's when I started using an [Electro-Harmonix] Electric Mistress flanger. To get say, that rocket ship sound, I ran a Fender Blender [distortion/harmonics/sustain device] through the Mistress. On Caravan To Midnight I used effects in stereo. In other words, I had the output split - one to one amp, one to the other. On each split were different effects, like two or three going to one side, and two or three going to the other, so that you had the same guitar with a different sound coming from both amps. Also around this time Mike and I redid my pedalboard.
Were you having problems with it?
Well, we talked a hell of a lot about what we wanted to get out of the sounds - you know, what the problems were. The problem basically was that if you used more than a couple of pedals, you lost sound: The more pedals connected up, the more the signal died. So he invented a system whereby that wouldn't happen. Now I can have a hundred pedals in the line and there will be no difference at all. Before I got Mike, who also doctors my amps, I used to use a noise gate at the front; that didn't affect the power, but, unfortunately, I lost a lot of top end.
[Ed. Note: Robin preferred to keep the operational details of his pedalboard and amplifiers confidential.]
From your left to right, how is your pedalboard currently set up?
The first effect is a preamp that Mike built, which is on all the time. The second is another volume booster, a Dan Armstrong Red Ranger, which I use for even greater sustain. Third is my Tycobrahe wah-wah. The fourth is the Fender Blender. The fifth is the Univibe, and the sixth is a
Mu-tron II. The seventh and eighth are Mistresses with different settings; the one on the left gives a double-tracking effect, while the one on the right provides more of a flanged sound. But I think I've come to a halt as far as effects go. I mean, I can just barely handle what I've got now. There's so much stuff going on that if you just started mixing them there would be a limitless number of combinations you could get.
From your pedalboard, where does the signal go?
Into a splitter box, then to my amps. I don't use a mixing board or anything when I'm live because I like to be very much in control of what's going on. Especially concerning dynamics, that's so much a part of my music that I wouldn't feel happy if someone else were controlling it. I like to be creating the sound.
Why do you like manipulating your Strat's volume control versus using a volume pedal?
Because I like to walk around the stage and get the guitar in different positions relative to the amps. When you move around you can create different kinds of sounds and different sustains, and using the volume control is just a matter of dynamics; you can achieve so many expressions out of the instrument by using it. If it's down low, there's a completely different expression than if it's halfway, three-quarters, or full up. And it's also important when you want to get feedback.
Do you know where to stand onstage to obtain specific feedback responses?
It's just luck, really. You can feel it coming on, so you give it a bit more volume until you reach a point where if you do it anymore you'll lose it. You just have to be able to judge it, and that comes from experience. But when you finish a run, say, and hit a note, you can feel it starting to sustain; so you can either let it build or let it stay there.
Do you manipulate your pickup selector switch in the studio as well as on stage?
That's something I use a lot more live. You see, when you're in the studio you're not doing such a range of things, and you can set your amps and guitar to get a specific sound for the part you're playing. I don't tend to do such freewheeling stuff in the studio. I'd like to get into more of a blowing kind of thing in there, but it never seems to get to that point, or very rarely does. You haven't got the audience to feed off of, and you don't have the same sound.
Do you like being in a live performance situation more than being in the studio?
Well, the audience is the other part of the performance. I think I play my best guitar live, there's no doubt about that. I have more freedom live, and I seem to flow better. And I'm much more committed onstage, you know. I'm much higher there than I ever am in the studio. The studio's too constrictive. I'm definitely enjoying this current tour more than the last one I did, which was quite a long time ago. This is the first time we've been out in two-and-a-half years. You see, I was getting fed up with playing those big arenas - I wasn't enjoying it anymore. Another reason for the delay was that I wanted to take my time and get Victims Of The Fury together. Then there were some personal business things that came up. So I had to get all the crap sorted out before I could get on with the business at hand.
Have you ever overdubbed parts of a solo that you weren't happy with?
I've only done that once, on "Victims Of The Fury." I just wasn't happy with the tail of it. Normally, I would have gone through the whole thing again, but the main part of it was so good that I wanted to keep it. It was just the last three or four bars that weren't quite finished.
Do you do much doubling and tripling of guitar tracks when you record?
No, I never have. I do pretty basic kinds of stuff, really. I like to think what I'm hearing back is real. I don't like to concoct something that I don't feel I actually created by playing.
How many takes do you need before you're satisfied with a solo?
Well, I start out by jamming a bit, and I pick out good parts and start to put them together. Normally, a solo would be like one or two takes. I'll just go in and do it, because after you've played it a couple of times you start to lose the spontaneity - you start to repeat yourself. And to me spontaneity is the whole thing, really.
When you're onstage, do you stick to what's on the record or do you improvise?
I've never thought of trying to do the material differently; I always keep it more or less the same. To me there's a definite way of doing a song. If I didn't think that, I wouldn't have done it that way in the first place. You see, with a three-piece band, to get something working you've got to hone it down to the point where it's at a peak. It's almost like everything's got to be the ultimate arrangement - the ultimate performance - for it to work. Whereas if you're in a band of, say, four or five pieces where everyone's sort of just playing chords, you can mess about and do different arrangements. But the guitar part is the pivot of everything we do, so if you change the guitar part you no longer have what it is. My songs are more arrangements than they are songs - they're guitar arrangements.
What are you thinking about when you're onstage?
I think about what I'm going to have for breakfast tomorrow [laughs]. No, I'm gone; that's what I'm thinking about. I don't really know. It's just, "Bye!" That's me.
What about strings and picks?
I go through about two Fender mediums a night because I don't pick straight down; it's sort of sideways, and it shaves them off. My strings are Ernie Balls, .011, .015, .016, .024, .034, and .046. I change them every other night, but I change the low E every night because it goes dead very quickly.
Do you always play in standard tuning?
No. My standard tuning is down a semitone to concert pitch; when I'm playing E, it's actually an Eb. So [from low to high] I'm Eb, Ab, Db, Gb, Bb, and Eb. The only reason I tune down a semitone is so I can use those heavier gauge strings and still be able to bend them. Having an .011 on the high E like I do, I wouldn't be able to do the bends I do with it and be in concert pitch. And since I've switched to the heavier strings, I'm getting along much better - although they're tougher to play. I find I have to warm up longer before I go on. Sometimes I'll tune the sixth string down a whole tone, which enables me to play in the key of D and have the bottom string to use as well. I did that on "Jack And Jill" [Victims Of The Fury].
How do you write songs?
Nearly always on the electric guitar. Since my Procol Harum days, I'd use the electric without an amp - just me sitting in a hotel room quietly picking away. On occasion, however, I've used an acoustic to write a tune: "Song For A Dreamer," [Broken Barricades], which was the tribute to Hendrix, I wrote on an acoustic tuned to an E chord. And I always remember anything I come up with that I really like. I could think of something that's good and not play it for a year, then later I would be able to pick it out again. Things I like seem to stay with me.
Why don't you incorporate faster runs into your songs?
It's pretty hard - no, it's impossible - to play a run with as much feeling as a single note. With a single note you can say a great deal more than you can with a run. I've never been so much into runs as making single notes cry. I go for as much feeling as I can, rather than show what I can do up and down the neck. I don't play to show people ability. I'm interested in making music and music has nothing to do with your technical ability. The ability to make music is a gift that you're born with; it's not something you can learn.
So do you consider yourself born to play the blues?
Well, I think the blues has been very important to my music. It's the creative fountainhead of everything I do, but I don't think of myself as a blues player. I'm just me, a sort of combination of many influences. I wouldn't count myself as being a true blues guitarist because, I feel, you have to live it. Apart from an imitative version of it, there's no way you can recreate the blues because it belongs to a certain era and a certain race. And I've never been into a nostalgia thing where I'm trying to recreate something that's already been done. So my gift is not to play the blues, but just to make music.
In the past you have been compared to Jimi Hendrix, and even criticized by some for sounding too much like him. How much of an influence has his music been on you?
In response to the first part, bullshit! Those people haven't heard Hendrix, and they haven't heard me, or else they wouldn't say that. Hendrix definitely opened up a lot of doors. He changed the language, rewrote the language, of the electric guitar. I felt, right or wrong, that there was no way you could move forward without absorbing at least part of what he created. If you wanted to progress, then first of all you had to deal with it. It wasn't until I started thinking about being a guitar-bass-drums thing that I started to draw on what I'd absorbed from him, because it was more of a challenge than I'd realized to fill that kind of space. But as with Hendrix, the same thing happened when I first heard B.B. King and knew that was something important. You know, steps were being made, and the instrument was starting to become much more expressive. B.B. plays with a lot of natural feeling. So in just the same way with Hendrix's music, I felt I had to absorb that and all the other blues guitarists, too. Oddly enough, Hendrix is not my favorite guitar player.
Who is?
The best stuff I've ever heard is by a guy who's on a record called "Watch Your Step" [1961: V-Tone, Philadelphia (out of print)] by a bloke named Bobby Parker. I don't know if it was Parker himself or not on the guitar, but it's definitely a featured thing on both sides.
Do you listen to many current guitarist?
There are very few guitar players I get feeling from. I really like the things the guy in the Fabulous Thunderbirds [Jimmy Vaughan; see this month's Pro's Reply] does. It's a great band, and I like listening to the music. It's very authentic, but it's fresh as well. In many respects there's more power in the simpler things, I think.
Do you have any advise for young guitarist?
The first thing I'd do, on a practical level, would be to use as high an action as possible on the Stratocaster. It's the only way to get a good sound out of the instrument. That's something that took me years to come down to; so I've just saved them about four years of messing about. When I used to go and buy a Strat, old or new, I would go through them all and listen to them acoustically. The one that had the best acoustic sound I'd check out for it's electric sound. If it doesn't sound good without an amp, it'll never sound great with one. The most important thing, however, is that high action. You've got to learn to work with it because it helps you to bend and to get your fingers behind the strings and be able to push them up and hold them there. If your action's too low, then you're going to have trouble with it snapping back underneath your finger. With strings, use only as light a gauge as you have to. The heavier the better, obviously, because the heavier the string, the bigger sound you're going to get. I've got very strong hands from playing for many years, so it's no good for young players to try going to my gauges yet. And the other thing is: Don't listen to any guitar players who have come along in the last 15 years. Don't listen to me; don't listen to Hendrix; don't listen to any of those other so-called rock and roll heros.
Whom should people listen to?
They should listen to B.B. Kings, all the early Otis Rush stuff, all the things they can get a hold of by old blues artists. And Chuck Berry - he's still the best rock and roll player ever. If you want to do rock and roll, those are the people you've got to hear. Forget about those who've come after '65. You've got to graduate to listen to, say, Hendrix or me. I think if players go with that and study those tunes for a couple of years, they'll do okay. I'm not saying you should sit down and work that stuff out, because that'll lead you up a blind alley from which there's no way back. Once you start copying other people's licks, you begin thinking they're yours - and they're not. Doing that's just an easy way out. It may take longer, you know, just absorbing the old blues things and trying to play your own stuff from that, but it's worth it in the long run.
What do you see Robin Trower doing in the future?
Still playing the guitar, I hope. I mean, in what context I couldn't say. I think a lot of that depends on supply and demand. But still playing the guitar, yeah. If it ever came to the fact that nobody was really interested in listening to what I was doing anymore, I would probably just gig in a local pub or something to still get my licks in. I'd also like to do production. Up until now I've only done my own stuff, but I'm interested in producing. I feel it's very satisfying, very creative, and I get a lot of enjoyment out of it. I'd be interested in doing someone I was really into; I wouldn't just do anybody - I'd have to feel it, you know.
* * *
A Selected Trower Discography
Solo Albums (all on Chrysalis): Twice Removed From Yesterday, CHR 1039; Bridge Of Sighs, CHR 1057; For Earth Below, CHR 1073; Robin Trower Live, CHR 1089; Long Misty Days, CHR 1107; In City Dreams, CHR 1148; Caravan To Midnight, CHR 1189; Victims Of The Fury, CHR 1215. With Procol Harum: Procol Harum , Deram (dist. by London), DES 18008; Shine On Brightly, A&M, SP4151; A Salty Dog, A&M, SP4179, Home, A&M, SP4261; Broken Barricades, A&M, SP4294. With the Paramounts (all 45s on Parlophone [out of print]): "Poison Ivy," "Little Bitty Pretty One," "I'm The One Who Loves You," "Bad Blood," "Blue Ribbons," "You Never Had It So Good."


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A marijuana grow room fire is one of the worst things that can happen to you. When I get really high from a Sativa strain, I start freaking out about marijuana grow room fire. Tormented by nightmarish imaginings, I race around my grow op doing things like: Tightening all the nuts and bolts on my […]
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subset: commoncrawl


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Tube Zipper Envelope Filter/Distortion
"It's the most flexible little box yet." -- Adrian Belew
JetCityMusic does a great demo of the EHX Tube Zipper Envelope Filter/Distortion.
Devon at Gear Up funks up with the EHX Tube Zipper Envelope Filter/Distortion pedal.
Brazilian rocker, Rodrigo Lanceloti, sent us this great piece of him wailing on the EHX Tube Zipper. Rodrigo, who's a friend of Electro-Harmonix Founder and President, Mike Matthews, included some shots of Mike with funk legend, George Clinton!
Alternative content
The interview references Jack's "Out of Nowhere" -- which we copied below for convenience:
btw, Jack's videosong rules are: 1. What you see is what you hear (no lip-syncing for instruments or voice). 2. If you hear it, at some point you see it (no hidden sounds).


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09 Oct 2015 - TDR Succcess at Black Ops Operations
Lord Makk posted in News October 09, 2015, 21:19:21 1793 Views Print Page
Having firmly established itself within Honorable Third Party, TDR is succeeding at bringing content and interesting activities for its members.
With the return to the carefree style of Black Ops and roaming Heavy Assault Cruisers / Recons, TDR is on the rise once more.
Hitting the Providence/Catch regions with Black Ops have netted many a moment with interesting happenings for TDR and HTP.
Growing in numbers and strength, our new alliance is capable of taking on larger and larger entities and TDR plan to be there as one of the supporting Corporations.
TDR Corp has now a limited open recruitment drive, please see our Recruitment section.
15 Sep 2015 - TDR + Honorable Third Part = Life starts over again!
Lord Makk posted in News September 15, 2015, 16:41:38 2163 Views Print Page
TDR left Triumvirate after it became only too apparent the Sovereignity was not for TDR, like it always has been to be perfectly honest.
Having had some good times in TRI, TRI suffered some destabilization with major Corps leaving, and TDR wasn't held in high regards by the remaining ones anyhow.
Finding likeminded pilots in the Alliance "Honorable Third Party" TDR has entered service with complete focus on Black Ops and Advanced Cruisers.
From the start it has proven to be a smash success and the Corporation will now be focusing on recruiting people interested in Black Ops and Tech 2 Cruiser piloting styles, preferably both.
TDR Recruitment is open, please find us at channel TDR Recruitment or contact one of our Directors.
15 Aug 2015 - Forward!
Lord Makk posted in News August 15, 2015, 20:03:42 2400 Views Print Page
With firm representation from TDR, Triumvirate are going forward in the Alliance Tournaments day one.
Our very own Ushra'Khan Veteran Thrasher89 was chosen for day one of the AT tourney preliminaries, and TRI smoked the field, losing no one to the enemy team.
For the TDR Corporation this means a great deal, showing that we can deliver quality pilots to the most demanding of entities.
TDR Corp, the quality amongst you.
Recruitment is open, seek us out if you have what it takes.
31 Jul 2015 - TDR Summer Mode coming to an end!
Lord Makk posted in News July 31, 2015, 07:01:09 2582 Views Print Page
With the CEO absent all the time one should think that TDR might wither up and die, but this is not the case.
Sure, we've lost some that couldn't stomach a "downside" between the upsides but they were expendable, as always.
Should those wish to return though, remember the saying "Once TDR, always TDR"
Thanks to the valiant actions of TDR's finest, our beloved Corporation is going to survive yet another "Summer Mode" where zero fucks are given.
TDR Corp will shortly see the return of clear motives, brave goals and a future to work for to fill yet another Winter of action!
25 Apr 2015 - With focus on the pilot infront of us!
Lord Makk posted in News April 25, 2015, 17:25:24 3125 Views Print Page
Having refocused TDR's financial situation, the Corporation find itself able to offer many a new program for its pilots.
The latest being that TDR Corp is now going to start keeping stock of Interdictor and Logistic class ships for its hired pilots to utilize in main fleet operations.
With this move, TDR hopes for increased participation during strategic operations as well as attract new recruits to the Corporation.


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Previous Challenge Entry (Level 2 – Intermediate)
Topic: Spam (not the meat) (11/03/11)
TITLE: Specifically Meant For You
By Hiram Claudio
I had planned for days that I would take today and just focus on filing, processing, and overall cleaning up my desk at home. The mounds of paper and clutter had gotten really bad.
As I went through the stacks, I found unopened and opened junk mail. Advertisements for new credit cards and serious alerts about bank accounts I don�t have. It seemed endless. Why do I get all this junk mail anyway? Don�t these people realize how intrusive they are? Since most of it had personal information about me, I shredded them one by one, so annoying!
I needed a break from the paper mountains so I logged into my email account. More junk. I had over one hundred email messages from people I don�t know and don�t care to. One wanted me to click a link to check out some new work-from-home opportunity. Another told me I had two millions dollars in a, previously unknown to me, bank account in South Africa. SPAM! Electronic junk mail. Is there no escape?
I needed some air. So I shut everything down and went for a walk. It�s Fall here on Long Island. The trees are an explosion of colors. Soft tones of orange and brown with hints of yellow were all around me. The chill in the air, along with the brisk wind in my face, reminded me of the unique sensations of Autumn in America�s Northeast. Leaves were falling as I walked. Newly decorated pumpkins were carefully placed in the doorsteps of many homes I passed. I saw a few squirrels skirting past as they gathered food. They stopped to stare at me for a moment, then continued on with squirrel-like quickness.
I looked upwards and thanked the Lord for His presence in my life. I also asked Him to forgive me for letting something as silly as junk mail, whether paper or electronic, interrupt my peace even for a moment. I heard His voice tell me, �Look at the beauty around you.� I once again focused on the unique features of nature during this season. I said to Him, �It�s all so amazing, so beautiful.� He then said to me, �and I did it all for you!�
I pondered that for a moment. For me? So amazing! And in that instant it hit me why the junk mail had gotten to me. It wasn�t just the time that it robbed me of to deal with it. It was more about the nature of what it was, information sent to �me� but where I was irrelevant. Not only did the senders not know me, they don�t care about me either. They were sending information to my email inbox, or my physical mailbox, and yet none of it was specifically intended for me. It might as well have been addressed to �occupant� (and some of it was).
Yet the Lord was reminding me of just how much I am intentionally on His mind. All His creation, the beauty and wonder, is here for me to enjoy. And His message of love and freedom is a personal one, specifically meant for me. When He gave His life at Calvary, He was dying for �me� not just for �occupant.� His messages to me are focused and with purpose, to communicate an overwhelming love and His desire for a relationship with � me!
I thanked Him for His presence in my heart, and for His power to un-clutter the junk that may get in there at times. I returned home and the hills of paper that I had left were still there. I turned on my computer and I had received another seventy five emails in the short time I was gone. I smiled. Thinking about the senders of each email, I realized they don�t know me and I don�t know them � �But Jesus, you know them!�
I prayed that His great love would touch them and would let each one know how much He desires to walk with them, just how much He loves them, and how that His great love for them is specifically meant for � them.
The opinions expressed by authors may not necessarily reflect the opinion of FaithWriters.com.
If you died today, are you absolutely certain that you would go to heaven? You can be right now. CLICK HERE
JOIN US at FaithWriters for Free. Grow as a Writer and Spread the Gospel.


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ISLIP, N.Y. (CBSNewYork) — Gov. Andrew Cuomo has asked the federal government to begin considering FEMA aid for homeowners who sustained flood damage during last week's historic rainstorm, but first a tally is needed.
Islip officials are urging homeowners to report flood damage to the town and allow inspectors in to assess their homes.
As WCBS 880 Long Island Bureau Chief Mike Xirinachs reported, teams of housing inspectors are going door to door looking for damage.
"We're concerned that people have water damage to their electrical system," said Town Councilwoman Trish Bergin Weichbrodt. "The longer that goes on, the more of a risk you face if you don't get it fixed. Also, the mold concern. The longer you leave it, the worse it could get."
John Carney, the town's head of public safety, said people might not be aware of electrical damage and are "at risk of having a fire."
As CBS 2's Carolyn Gusoff reported, fans are still drying out the Islip home Melanie Lopez shares with her sister, their waterlogged possessions heaped in a pile by the curb.
"We had entertainment centers, beds, the kids — thank goodness they weren't sleeping down here," she said.
But during the cleanup, they realized far more could be lost: their electrical outlets were submerged under water.
"It was by my knees and I was in the water when I realized that it had passed the outlets, so I'm lucky to be here," Stacy Guzman said.
The damage tally is still being counted after last Wednesday's record 13.5-inch rainfall, Gusoff reported.
"It's very important we give a number to FEMA so we can get reimbursement," Bergin Weichbrodt said.
The town must meet a damage threshold to qualify for federal financial assistance.
"A lot of these houses were not in waterfront areas and they were flooded, and they have no flood insurance," said Bergin Weichbrodt. "And that's why it's so very important for us to get these figures together, get inspectors into these homes, and get a number for FEMA so that we can get some funds."
Carney said he's hoping town residents will cooperate, 1010 WINS' Mona Rivera reported.
"We would like to inspect as many homes as possible, but we can't do that unless the residents are willing to let us in," he said.
Suffolk County is well on its way to the $35 million threshold of public property damage thanks in part to dozens of sinkholes, Gusoff reported.
Private property damage is also adding up, including one West Islip backyard that caved into a canal.
Karen Yee Kee's three cars were flooded and water gushed into her house during the storm. She said she hadn't thought to report her damage to her town or of the electrical dangers until now.
"It dried out a little bit and the lights are on, I didn't think that I should be concerned," she said.
Officials so far estimate at least 400 homes suffered flood damage.
"We don't know how many more houses are still out there, and that's why we're urging people to please come forward," Bergin Weichbrodt said.
Town of Islip inspectors will be carrying a town badge and identification with them as they ask homeowners to check for electrical damage and black mold.
The actual cost of the repair will rest with homeowners, many of whom never saw the need for flood insurance because they live inland.
You May Also Be Interested In These Stories


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|Laurie Runte, PNP
|February 21, 2013
|0 Comments
|Family Medicine
From the moment you become a parent, activity and healthy living choices seems to come second to the needs of your children. Even parents with a strong commitment to physical activity before parenthood may struggle to find the time and energy to stay fit. But when it comes to abandoning activity, you are hurting more than just yourself. Physical activity can help you stay healthy so you can keep up with your child's needs and be around when they get older.
Even though most parents feel like they are always on the go, studies have shown that physical activity declines among the majority of new parents. Here are some tips to stay active and healthy for you and your family.
Be active all day.
You don't have to go to the gym to be physically active. There are lots of little things you can do to incorporate activity into your day. Go for a walk with your child, take them to the park, take the stairs, park further away from your destination, or do a few exercises in between your daily routines. Make these small changes and commit to being active throughout your day—we think they will add up!
Don't let time be an excuse.
Although your children take up a lot of the time you once had for yourself, it is not impossible to stay physically active during parenthood. It does not take a lot of time at the gym to reap the health benefits of exercise. Focusing on quality instead of quantity, a few short workouts every week can help you stay motivated and avoid burnout.
Find social support.
Having a friend, family member, or neighbor to who you can trust to care for your child is vital. Few exercise facilities provide childcare services, so this dilemma becomes a problem and long-term excuse for many parents. Establish a network of friends that you could trade off child care responsibilities with.
It is also helpful to find social support through an exercise partner that has similar goals. By making a commitment to exercising with someone, people feel more accountable and are more likely to follow through with their workout. Exercise partners can also provide continuous motivation and support.
Make it a family affair.
The best way to show your children the value of fitness is to be physically active with them. Take infants or toddlers for walks in their stroller or fit in quick exercises during their nap. Take your older children to the park or enjoy the opportunities that your community provides. Take advantage of each season—ride bikes in the spring, swim in the summer, take a scenic hike in the fall, and go sledding or ice-skating in the winter. Doing these physical activities will feel more like fun than exercise and can instill great habits in your children at a young age.
Set goals for yourself.
Motivation comes from within, so the first step to physical fitness is to have a reason to want it. It is important to set short-term goals that are measurable and attainable. Start with small, manageable goals and go from there. Continue to monitor your progress and set new goals accordingly. Don't get discouraged if you don't meet your exercise goal for a week. There is no reason to completely drop out; reevaluate and work hard next week!
Be a role model.
You serve as a huge role model in your child's life, and your actions have a huge impact on the habits that they will form. Your children will likely mimic your behaviors, including physical activity practices; therefore, when teaching discipline, it is important for you as a parent to have some as well.
Fort HealthCare supports a parent's decision to be physically fit with fitness classes, events, and challenges to help jumpstart and maintain a healthy lifestyle.


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Reviews - Tower House Hotel2
West Cliff Gardens, ,, Bournemouth, BH2 5HP
Customer Reviews
Our reviews are from genuine LateRooms.com customers. We verify that the customer has stayed before leaving a review.
Very Good
83% would recommend it to a friend
Customer service
Food quality
Room quality
Weekend away
Had a great time, very friendly, very clean and very helpful.
I will go and stay again.
Read More Less
Quick summary
One of the cheapest hotels in Bournemouth centre we could find.
Although we paid just over £300 in July it ticked most of the boxes. Free car park, although the spaces were really small. It seemed to work well though . If you wanted to park your car and just explore Bournemouth you park close to the building. If you block someone in you leave your keys at reception. Breakfast was cooked to perfection and all the staff were really friendly. The building was old and tired but who cares, you come to Bournemouth for the place not the hotel. The room was really clean and the best thing is the owner told me how to cook my vegi sausage the right way.
Read More Less
Average hotel
Small rooms in a very old building.
The temperature in the room was too high although the radiators were switched off. Had to keep the windows open at all times. On the positive side, it wasn't too bad for a last second booking (booked half an hour in advance). Breakfast was good.
Read More Less
Very good
Perfect for type of trip (CPD course) providing everything that was needed.
Very kind and helpful staff and off street parking provided saving time looking for a space.
Read More Less
great hotel and friendly staff
I have stayed in many hotels in Bournemouth and this is my favourite.
Read More Less
I would definitely recommend this hotel to my friends and family
The staff were very friendly and helpful especially when we returned from Weymouth with a very poorly granddaughter.
The only negative thing was the car parking when we had to drive round 3 times before we could find a space especially when another patron would not move his car over so another 2 cars could have parked
Read More Less
Tower House Hotel
The staff are very friendly at the Tower Hotel, especially Maria who was excellent with our little girl and made her feel very special.
I am not sure I would recommend as a family hotel, during our stay there was only 2 children in the hotel, the room was lovely and big and the childrens bedroom was okay but does need updating, the floor boards in the room above were so creaky and kept me awake one night as someone above us obviously could not sleep. We stayed over the Easter weekend and it was fairly busy, the two things that let it down was on the Monday a coach group arrived of older people and when we came down for breakfast we had been moved from the table we were given to sit at on the first day and a table had to be made up for us, I appreciate the coach party must have been more important to the hotel at this point as we were leaving that day but it felt like they did not care about us as guests anymore and this ruined what I felt had been a nice break. The other thing was there was live music also on the first night of the coach trip, with a young child who needed to be in bed it would have been good to have been told about this in advance as we could hear it from our room.
Read More Less
Tower House Hotel Review
Friendly and welcoming family run hotel.
Beautiful old high ceilings in rooms giving character to the 100 year old building. We stayed for bed & breakfast and the food was varied and excellent. All the staff were helpful. Very clean. Would definitely stay again.
Read More Less
Wish we could have stayed longer.
We normally holiday with our touring caravan because of our two dogs ,but thought we would try a short hotel break.
So glad we chose the tower house hotel. We and the dogs had a great time. All the staff were great folks, and really pampered us. We felt like we were part of the family.The breakfast and evening dinner were first class, no need to eat out. Well done Tower house you have got it right. xx Dave ,Nina, Dawn Rance and Millie and Katie.
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|all exclusive action with this lil' hottie every week, her
Click HERE to Download All of Her Newest Full Length Videos
This is my website and I do what I want to do. If I want to fuck the guy that works at a parking lot, pickup a random
stranger grocery shopping or swallow some guys cum out of a shot glass, I will. Dont believe me?
Check out the shit I've already done by viewing my website right here.
Just think guys one of you could be next! This guy Harvey has been emailing me non stop for some time now and so since it had been a while since i have "done" one of you guys i figured he had earn the privalige to be on this shoot. Also he was willing which is also important and boy was this guy willing however... I have heard from a friend that she thought she had seen this guy on a porn site before which did raise some concerns with me but oh well too late now and we had a great time and he really seemed to genuinly enjoy me and all my sucking and fucking wonder now that i think about it he did try to take charge of the fucking quite a few times which made me wonder cause im always assuming you fans would be too nervous to do that but who knows. But than again he kept mentioning his wife (which i thought was hilarious) and kept saying how he wished his wife could fuck like me and suck like me and all this hilarious stuff. Should i feel bad about that...no cause if she really cared shed try a bit harder to satisfy her man thats what i always say. I wish i could do more of this reaching out to my fans bussiness and i promise you that will really try so keep the emails coming cause you never know who might be next.
I can only show you r rated samples on this page


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*(Via The Hill) – President Obama launches a bus tour Thursday through two battleground states crucial to his reelection bid.
Obama's focus during the trip through Ohio and Pennsylvania is the economy, and it begins a day before a critical monthly report on jobs — an event the White House is awaiting with some anxiety after May's figures fell far short of analysts' predictions.
The "Betting on America" tour is a nod to the near-certainty that November's elections will hinge on jobs, housing and other economic indicators despite the recent fervor from both parties over the Supreme Court's surprise verdict to uphold Obama's healthcare reform law.
Rather than sitting on his heels for those employment numbers, Obama's schedule hints at a campaign that wants to get out in front of any bad economic news that might be forthcoming.
Obama campaign spokesman Ben LaBolt said the president will use the tour both to tout his economic recovery efforts and to attack Mitt Romney, the presumptive GOP presidential nominee, on his record atop Bain Capital, a private equity firm that's come under fire for buying up struggling companies and streamlining them, often by firing employees.
While some Democrats have criticized Obama's assault on Bain, Obama and his campaign seem increasingly confident that the strategy will reverberate with voters — particularly white, blue-collar workers of Rust Belt states like Ohio and Pennsylvania — amid an economy where unemployment remains above 8 percent.
A Gallup poll this week found Obama increasing his lead over Romney to 48 percent to 43, something surely noticed at the president's campaign headquarters in Chicago.
"Throughout the trip, he'll talk with voters in their communities about what he's done to bring the economy back from the brink, from investing in manufacturing to doubling down on the American worker to saving the auto industry and encouraging companies to bring jobs back to America," LaBolt told reporters on a conference call Tuesday.
Read/learn more at The Hill.


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An Official Website of the Commonwealth of Kentucky
Kim T. May, Clerk
Marion County Judicial Center Office Phone: (270) 692-2681
121 North Spalding Avenue Fax Number: (270) 692-3097
Lebanon, KY 40033 Jury Line: (270) 692-2147
Hours of Operation
Monday through Friday – 8:30am to 4:30pm
Office Staff
Chief Deputy Clerk: Deputy Clerks:
Lindsay Strong Crystal Batcher
Tammy Edlin
Jennifer Kirkland
Paula Overstreet
Dorothy Riggs
Sharon Warren
Summary of Operations and Services
The Marion County Circuit Clerk's Office is responsible for maintaining all records of the district and circuit courts of Marion County including circuit criminal cases, divorce, child custody juvenile and other domestic cases; land disputes, felony, misdemeanors and traffic cases, forcible detainers, name changes, garnishments and appeals.
Circuit Clerk's office is also responsible for the issuance of driver's licenses including commercial driver licenses and motorcycle permits and licenses.
Driver's License Information
Permit (written) test: Examiner starts written testing every Tuesday at 8:30am and completes testing at 10:30am; please allow enough time to complete written test by 10:30am; CDL testing requires a longer test time; please allow enough time to complete by 10:30am.
Motorcycle road testing every Tuesday at 11:00am by appointment only subject to weather conditions; Skills/road testing every Tuesday afternoon beginning at 12:45pm by appointment only; call (270) 692-2681 a week before to schedule appointment for road test.
Court Information
District Court is held Monday, Wednesday, and Friday at 9:00am
Circuit Court is held twice monthly – 1st and 3rd Thursdays after the 1st Monday
If you have questions, call (270) 692-2681 to confirm circuit court dates


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There's something endlessly exciting about ushering in a new year. Possibilities, changes, plans… the shift from 20-one-six to...
There's something endlessly exciting about ushering in a new year. Possibilities, changes, plans… the shift from 20-one-six to...
Carson + Meghan : Married at last. Carson and Meghan made a decision. After being engaged for 'what seems like ...
Tangible artwork. As a little girl I was always enthralled with my grandparent's phot...
"Thank you SO much for being able to calm my anxiety during our session! We just love you."
"We are so pleased with Michelle's work. Not only is she professional and organized, she possesses a wonderfully calming presence -- perfect for what was a very busy day. We really appreciated Michelle's creativity, her attention to detail and her ability to capture the emotions of our wedding celebration in her photos. We would definitely recommend Michelle to other couples. ."
"WE LOVE THEM! LOVE, LOVE, LOVE THEM... Thank you for our beautiful photos! You guys rock."
"Michelle was wonderful to work with. A true master of her trade, she is one gifted photographer!."
"Amazing woman and artist. Cutest packaging too! Loved our maternity photos, and Arya's 5 day old photos! Excited for her 3, 6, and 12 month photos."
"Michelle is incredible. She made our photo session an enjoyable memory we will cherish forever. She knows great spots to take beautiful photographs that most people would overlook. She pays attention to every detail and makes you feel like your a professional. I absolutely love her work!"
"Michelle was just wonderful! The pictures she took of our wedding were beautiful and she was lovely to work with. Right from the beginning my wife and I knew she was the right choice for us. She was kind, funny, and flexible, which was a big plus because we weren't really sure what we wanted. I can honestly say that taking pictures with her after the ceremony was a blast! We would highly recommend her to anyone who wants an excellent and experienced photographer."


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my space face book links download free DsJO full file
== Search results for my space face book links ==
Searched file: my space face book links
*Filename: my space face book links.zip
*Year: 2015
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Editors' Note: This article covers a stock trading at less than $1 per share and/or with less than a $100 million market cap. Please be aware of the risks associated with these stocks.
Crystal Rock Holdings, Inc. (NYSEMKT:CRVP) engages in producing, marketing, and distributing bottled water; and distributing coffee, ancillary and office products, and other refreshment products in New England, New York, and New Jersey. The company also markets and distributes its water products to homes and offices under the Crystal Rock Waters and Vermont Pure Natural Spring Water brands in three and five gallon bottles, as well as in various small pack cases; office products under the Crystal Rock Office brand; and coffee under the Cool Beans, Baronet, and Green Mountain Coffee Roasters brands, as well as re-sells other coffee and tea selections.
Family Lineage
The Crystal Rock Water Company started back in 1914 with a man named Henry Baker, who sold glass water bottles by traveling via horse and carriage. His son, also named Henry, later "picked up the reins" and was appointed President/Chairman of the company in 1965. Less than a decade later, both of his sons, Jack and Peter, joined the company's team continuing the family business. In 2005, Peter Baker was announced CEO, "We will continue to move this company forward with the principles on which it was built." He was essentially referring to the company's long lasting idea of supporting neighboring communities and sustaining the company's entrepreneurial mindset. During this time, Peter Baker received community awards for his efforts and commitment. You can view the list of organizations that Crystal Rock supports here.
Financial Position
Unfortunately there are no conference calls available from Crystal Rock management so all of their ongoing operations are only provided through press releases and annual meetings. Nonetheless, financial statements can tell a majority of how the company is proceeding.
First off, I'm actually surprised at how well this company has managed to maintain its revenues when considering people's massive alternatives for consumer staples and overall market saturation. Since 2010 sales revenue growth QoQ has been negligible; issuing no substantial surprises to either the up or downside. For example, in the last three 3Q results, sales revenue have gone from 18.3 to 18.5 to 18.4 - about a .5% increase over three years. While in 2Q results, revenues have consistently dropped from 17.7 to 17.6 to 17.3 million, down about 225 basis points. Competition from food wholesale and beverage companies has slowly compressed gross margins in the last 10 years by about 10%, while operating margins have fluctuated between +20 and -20% for the company. This is a clear sign of feeble growth and stagnation.
While it is a positive factor to have free cash flow slightly outperforming net income, it is still disappointing given their current conditions. CRVP's profit margins have heavily dropped into negative territory multiple times and significantly impacted earnings, which depict an unstable income environment. The chart displayed below shows the corporations NI in blue and free cash flow in green:
Crystal Rock, given their high liquidity, has been burning through cash to incrementally pay off debt by an averaged $5 million annually (dropping long term debt by about 62.5% over the last 10 years). For example, back in 2003 long-term debt was at $48 million, in 2008 about $28 million, and in 2013 about $19 million. In this regard, management is clearly taking the appropriate measures given that interest expenses were eating a majority of profits (i.e. 78% of net income went to interest payments in 2004). Between 2003 to 2013, cash & equivalents roughly doubled in the latter 5 years based on the average trend, in which interest expenses were covered, however last year's free cash flow depleted to < 1 million. Although, based on the first three quarters of 2013, free cash flow should be above $2 million.
At the same time, notice that CRVP has a much larger debt multiple comparable to itself with the rest of the industry. More profitable companies, such as United Natural Foods Incorporated (NASDAQ:UNFI) and Sysco Corporation (NYSE:SYY) have generated sizable returns for shareholders without being financially levered. United Natural Foods is simply a classic growth story for Wall Street. The company has consistently generated superior returns on assets and equity, along with an astonishing revenue growth <15% YoY. According to analystratings.net, UNFI has not surprisingly only been issued one sell rating in the last two years. The case is pretty strong with SYY well, however some analysts are concerned over their slowing earnings' and dividend growth. Another SA author provides a great explanation for exiting his position with Sysco here. After all you can see in the chart below that United Natural Food's fundamental growth is nicely reflected in their stock performance:
In any event, even though debt is being managed by the company, equity has fallen at a much faster rate, and has therefore resulted in a much weaker ratio:
|LT Debt/Eq
Ultimately financial obligations should not be an immediate threat for Crystal Rock, however their solvency and financial health are clearly at risk. In the chart below you will notice that both assets and liabilities are very close to an "early warning" one to one ratio:
CRVP Total Assets (Quarterly) data by YCharts
Growth Opportunities
In one of their latest press releases, the company announced that they recently acquired Frontenac Crystal Springs and Girard Water Company, two very small companies. Frontenac is similar to Poland Springs Home Delivery, where they offer varying sizes, but this is considered a small growth situation. Crystal Rock also declared buying assets of universal equipment corporation, "New sales resources -- including more than 90 years of combined experience from the Universal Business Equipment Corp. management team -- will integrate with existing sales operations and be a catalyst for driving revenue growth."
Between these two acquisitions, there wasn't much excitement from investors. The majority assumed that implied sales growth would be limited, and investors are probably correct to due high market saturation. Moreover, any potential growth opportunities have yet to be seen quantitatively on the books; to which I would recommend against investing in.
One key metric that many people find useful for valuing a company is enterprise value to free cash flow. The lower the ratio, the more capable the company is of paying back the cost of acquisitions or generating money to invest back into the business. It's essentially what drives expansion in a company, however Crystal Rock's ev/fcf ttm is close to 29 (not a great number).
Overall it's difficult to value this company since their EPS fluctuates significantly and is occasionally negative. Instead I decided to give the financial model a historic average of only their positive EPS figures to reflect their strongest quarters; illustrating generous assumptions. This came to be a $0.04 EPS average input with about 8.25% growth corresponding to the food wholesale industry for five years, and a realistic 5% growth thereafter. The model gave a stock value of $0.80 per share, about ~11% under the current market price of 90 cents).
Another method is using liquidation value (assets - intangibles - goodwill - liabilities), essentially taking the tangible assets against the company's obligations. This number would come out to about -10 but this is obviously not proportionate to share price value since they are not currently endangered of going bankrupt.
Sidenote: Analysts have not given this stock any coverage over its lifetime, however Gurufocus issues a 1 out of 5 star rating given its financial weakness, negative current asset value and poor tangible BV.
Normally technical analysis does not hold much weight for penny stocks since they tend to have highly unpredictable movements. Although in certain cases it does prove useful so I will provide a chart analysis for those interested.
Bears: On the monthly chart, the stock price recently broke through the ascending support line before reaching the apex, which is considered bearish. The MACD & exponential moving average are also rapidly dropping toward the zero point line, which may also indicate a signal to sell.
Bulls: Over the last six months, a support line has formed in the .83 to .85 range near the 52-week low. Moreover the stochastics RSI 14 is oversold and has observably bottomed out.
Insider Buying
Without any significant information being publicly disclosed between October 2012 and July 2013, a 10% owner known as AB Value Management LLC purchased roughly $178k worth of stock. Despite this is a trivial insider transaction, it is worth noting for bullish investors. You can view the company's purchases here.
Other compelling factors:
- Very low institutional ownership >3%
- High insider ownership <60%
- Virtually no short float >1%
Bottom Line
Crystal Rock has been around for almost 100 years and has still maintained its positive principals, especially when it comes to helping the community. But seeing that the company has poor growth and weak margins, there is little reason to invest. Projected discount cash flow (based on aggressive growth assumptions) does suggest considerable upside, but most investors remain skeptical of this micro-cap especially with its serious lack of coverage.
Disclosure: I have no positions in any stocks mentioned, and no plans to initiate any positions within the next 72 hours. I wrote this article myself, and it expresses my own opinions. I am not receiving compensation for it (other than from Seeking Alpha). I have no business relationship with any company whose stock is mentioned in this article.


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Written on: 13/07/2008 by rebeccacummings (1 review written)
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Stairway To Heaven
You voted and this week's Corps Top Shot comes from Cpl. Tyler Main.
Soldiers from the Canadian Army, Princess Patricia's Light Infantry Regiment, 2nd Battalion, and a Marine from 1st Battalion, 3rd Marine Regiment move in as a fireteam to clear a roof top during a Marine Operations on Urban Terrain exercise at Marine Corps Training Area Bellows on July, 6. Approximately 2,200 personnel from nine nations are participating in RIMPAC 2012 as part of Special Purpose Marine Air-Ground Task Force 3, Combined Force Land Component Command. The CFLCC is conducting amphibious and land-based operations in order to enhance multinational and joint interoperability. Twenty-two nations, more than 40 ships and submarines, more than 200 aircraft and 25,000 personnel are participating in RIMPAC exercise from June 29 to Aug. 3, in and around the Hawaiian Islands. The world's largest international maritime exercise, RIMPAC provides a unique training opportunity that helps participants foster and sustain the cooperative relationships that are critical to ensuring the safety of sea lanes and security on the world's oceans. RIMPAC 2012 is the 23rd exercise in the series that began in 1971.
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April 17, 2015 6:57 pm
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NASA's reliance on private companies to get astronauts and supplies to the International Space Station is in question now because of the problems with the U.S. relationship with Russia. But the future of the private space industry in the U.S. looks bright, thanks to NASA's plan to spur competition in that industry. Alan Lindenmoyer is program manager of the Commercial Crew and Cargo Program at NASA's Johnson Space Center and a finalist for a Service to America Medal in the Management Excellence category. He describes to In Depth with Francis Rose the series of events that led NASA to encourage private space development. Read a Q&A with Lindenmoyer.
Photos of the amazing, moving, important and amusing things happening in the federal community.
A daily update of important moments in the history of the U.S. government.


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What does Act II, Scene 1 show about Brutus's character?
1 Answer | Add Yours
Brutus's soliloquy in Act II, Scene 1 reveals his thoughts on the possibility of assassinating Caesar. He is torn, as Caesar is his friend, and is very popular with the people. But he fears that if Caesar becomes a king, not only will the Republic be destroyed in the process, but Caesar, who has not really done anything terribly wrong thus far, will do so in the future. In particular, he has not shown himself to be a tyrant. If he becomes king, though, he may well become corrupted by power, and for Brutus, that risk is not worth taking. He says that he and the other senators must
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