"I have done some things that I'm very proud of. I don't think you can say any more than that, really"
About this Quote
There’s a quietly radical modesty in Robin Trower’s line: pride, yes, but kept on a short leash. For a guitarist whose reputation rests on tone, feel, and a handful of era-defining recordings, the refusal to inflate the statement into a personal mythology is the point. He stakes a claim - “very proud” - then immediately punctures the temptation to turn that into a brand narrative: “I don’t think you can say any more than that, really.”
The intent reads like self-defense against the culture of the retrospective victory lap. Rock history loves its saints and villains, its definitive rankings, its endless remastering of identity. Trower’s phrasing dodges that machinery. He’s not auditioning for reverence or asking to be “understood.” He’s drawing a boundary around what an artist can honestly testify to: the work exists, it landed, he can stand behind it. Anything beyond that drifts into PR, ego, or speculative autobiography.
Subtextually, it’s also a musician’s answer to the unanswerable question of legacy. If you’ve lived long enough to watch tastes shift and scenes collapse, you learn that “importance” is a moving target. Pride becomes the most stable metric because it’s internal and craft-based. Trower’s career context - post-Procol Harum visibility, solo acclaim without stadium-scale celebrity - makes the restraint feel earned rather than coy. It’s an artist insisting that the output is the biography, and that the rest is noise.
The intent reads like self-defense against the culture of the retrospective victory lap. Rock history loves its saints and villains, its definitive rankings, its endless remastering of identity. Trower’s phrasing dodges that machinery. He’s not auditioning for reverence or asking to be “understood.” He’s drawing a boundary around what an artist can honestly testify to: the work exists, it landed, he can stand behind it. Anything beyond that drifts into PR, ego, or speculative autobiography.
Subtextually, it’s also a musician’s answer to the unanswerable question of legacy. If you’ve lived long enough to watch tastes shift and scenes collapse, you learn that “importance” is a moving target. Pride becomes the most stable metric because it’s internal and craft-based. Trower’s career context - post-Procol Harum visibility, solo acclaim without stadium-scale celebrity - makes the restraint feel earned rather than coy. It’s an artist insisting that the output is the biography, and that the rest is noise.
Quote Details
| Topic | Pride |
|---|---|
| Source | Help us find the source |
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