How guitarist Rich Robinson took a nomadic spirit, the death of his father and a natural disaster and created the best album of his career…
WHEN IT CAME time to record his third solo record, Rich Robinson had lost his father and a treasure trove of near-priceless gear, but not the passion for music or the fire of creativity.
He walked into Applehead Recording near Woodstock, New York about as unprepared as ever at the beginning of a new project, but with the assistance of drummer Joe Magistro and keyboard wizard Marco Benevento, the month-long process yielded The Ceaseless Sight – a 12-track slice of bluesy Americana drenched in shimmering rhythms and deft fretboard work. It’s his most mature and complete album to date.
GEARPHORIA spoke with Robinson about the recording process, his dad, his gear and the ‘Great Cleansing of 2012’ just prior to the former Black Crowes axe slinger hitting the road in support of the newly-released record.
GEARPHORIA: You entered the studio to record the new album without much set material. In hindsight, how would you rate that decision?
RICH: I always like making different records. The Crowes were always able to do kind of whatever we wanted. We just either forced it or it fell into our lap. We never felt pressure to make any specific kind of record. Being able to do that for 20 some odd years and now bringing that to my solo stuff, it’s just a really good feeling. I love the energy of being able to create while I’m working. It’s cool to go in with set ideas and you kind of know you can map out where it will go and there is not too many surprises. To me, I had so much fun this time around just really saying ‘Well, fuck it, let’s try this… let’s do this. That didn’t work. This worked. Let’s do it.’ It was much more fast-flowing for me and I felt a lot more creative synergy with the whole thing. When it was done I was really happy with it. It really turned out great.