I've always been a big fan of Trevor Rabin.— rextunes (@rexschnelle) November 20, 2019
As an homage, here is Something To Hold On To
enjoy https://t.co/1gqDrFMT11
Wednesday, November 20, 2019
something to cover
Spotted on Twitter: here's a fan cover of "Something To Hold On To" which sounds pretty close to the original from the instrumental and arrangement perspective. I've always wondered how the song would sound if it received the "slow and dark" treatment which other songs get from time to time (i.e. the seemingly dozens of versions of Beyoncé’s "Crazy In Love") just because it's such a relentlessly upbeat kind of song, but I somehow doubt that's ever going to be a thing.
Wednesday, October 30, 2019
old friends, part nine
Spotted on Instagram: here are some very nice photos from Trevor's brief onstage appearance with Rick during his show in Los Angeles on the 22nd. Trevor is thoroughly casual as befitting his temporary position as stagehand.
Wednesday, October 23, 2019
Such a deal!
With thanks to Paul Vaughan (who always comes up with superb content), we can see how this aforementioned meeting with Rick shook out...
Just 4 shows to go here in America.. Thanks so much to the wonderful audiences that have come to the first 20 . Los Angeles Ace Theatre tomorrow night & looking forward to meeting up with Trev (Rabin)..thanks for all the lovely posts about the show .Makes it all so worthwhile.— Rick Wakeman (@GrumpyOldRick) October 21, 2019
Thursday, October 17, 2019
#tbt: Dream Team
Spotted on Twitter: here's a nice alternate version, as it were, of Chris & Trevor's classic Guitar Player cover from 1987, with another photo from that particular session. This was for the Japanese music magazine Young Mates Music Player, published in May 1988.
Monday, September 9, 2019
Media Watch: an alternate take on a fan favorite
An interesting artifact was recently posted again on YouTube, this time by user Prog Masters II - the original upload was last year by the ever-encompassing Yes Source. I'm referring to the Union-era track "The More We Live - Let Go" featuring Trevor on lead vocals. As long-time fans know, the official release features Jon Anderson with harmonies by Chris Squire, Billy Sherwood and Trevor, and this version features that same counterpoint from Chris which is such an integral part of the song. This was Chris' first collaboration with Billy, and the finished product also features Billy's original bass playing from the demo which Chris believed didn't require any changes. Although this song has come to be regarded as a YesWest track (along with their other contribution "Love Conquers All"), I tend to think of it more as a Conspiracy song, and Billy and Chris did re-record both those songs for their Conspiracy project in 2000. However, I will opine that I prefer Trevor's lead vocal, and I would have enjoyed an arrangement which featured counterpoint from both Jon and Chris.
Saturday, August 31, 2019
old friends, part eight
Spotted at Jon Anderson's performance in Pasadena at The Rose music venue on Thursday...courtesy of multi-instrumentalist Jocelyn Hsu. And we know Trevor always appreciates a violinist!
Wednesday, August 7, 2019
Nice to see him!
Spotted on Instagram: we finally have a recent sighting of the Maestro! Pictured here with Peter Rafelson of the Digital Rights and Asset Management Platform; a business model utility for artists to manage and distribute their music. If Trevor was dropping by Valley Sound then he might have been scoping out new gear for the upcoming tour cycle(s) or recording projects...?!
(Long-time fans will recognize the shirt Trevor is wearing...of course at some point every shirt Trevor has ever worn is recognized.)
(Long-time fans will recognize the shirt Trevor is wearing...of course at some point every shirt Trevor has ever worn is recognized.)
Thursday, August 1, 2019
The end of a (short) era
Yesterday Billboard published an article regarding the status of the two iterations of Yes which included quotes from Jon Anderson and Rick Wakeman on the future of ARW. Both Jon and Rick's comments appear to be officially placing a bookend on their enterprise.
https://www.billboard.com/articles/news/8525599/yes-live-roundabout
"We feel it's sort of come to the end of the road," says Wakeman, who will be mounting his first North American solo tour in 13 years starting Sept. 21 in Annapolis, Md., and is also recording a Christmas Portraits album of solo piano holiday songs for the fall. "None of us are spring chickens anymore, although Trevor still has a 6 in front of his age, whereas Jon and I don't. I think we'll thoroughly enjoy another (tour) and then I think we can sort of proudly close the lid on it, very happy in our belief that we've done it proud."
As for any new material, Wakeman says that the trio "has got a couple of things we've worked on that we think are good enough, but we always said that unless it was really of a high standard we felt really proud of we wouldn't just release stuff for the sake of releasing it. I think when we start on the farewell dates we'll analyze what we've done and go, 'OK, what can we make of this?' I would like to think we can leave one final burst of music that we can be proud of and, perhaps, we'd like to think that Yes fans have been waiting for."
https://www.billboard.com/articles/news/8525599/yes-live-roundabout
Below are the applicable parts of the article involving Jon and Rick. I find that Jon's comments are entirely in keeping with others from various interviews over the past year and as such were causing fans to speculate that the end was near.
Jon
This year did find Howe, White and company as the only Yes on the road. Former members Jon Anderson, Rick Wakeman and Trevor Rabin had started touring as ARW in 2016 and then adopted the Yes moniker as well shortly after the group's 2017 Rock and Roll Hall of Fame induction. This year, however, the project was dormant and the three worked on other projects. "It's a long story," Anderson -- who released a solo album, 1000 Hands: Chapter One, this year, and is writing a memoir -- says. "Life happens when you least expect it. You expect something to go for a long journey, and then all of a sudden it's not...because of life. People have a life they want to live and go through. It's not a good explanation, but it just doesn't work at times. There's maybe 20 versions of Yes I've been in, and every one's been fantastic -- but it was always chaos in there for some reason."
Rick
Wakeman, who says he opposed ARW going out as Yes, adds that the trio is planning one last tour for 2020 and may possibly record some of the new music they've been writing during their time together."We feel it's sort of come to the end of the road," says Wakeman, who will be mounting his first North American solo tour in 13 years starting Sept. 21 in Annapolis, Md., and is also recording a Christmas Portraits album of solo piano holiday songs for the fall. "None of us are spring chickens anymore, although Trevor still has a 6 in front of his age, whereas Jon and I don't. I think we'll thoroughly enjoy another (tour) and then I think we can sort of proudly close the lid on it, very happy in our belief that we've done it proud."
As for any new material, Wakeman says that the trio "has got a couple of things we've worked on that we think are good enough, but we always said that unless it was really of a high standard we felt really proud of we wouldn't just release stuff for the sake of releasing it. I think when we start on the farewell dates we'll analyze what we've done and go, 'OK, what can we make of this?' I would like to think we can leave one final burst of music that we can be proud of and, perhaps, we'd like to think that Yes fans have been waiting for."
Tuesday, July 23, 2019
Curators of a great guitar
For those who might have occasion to travel to or within Japan and specifically to the Southern city of Kyoto, they've got a brand-new attraction which might prompt a pilgrimage for some of us Rabinites.
This month the newest location of the iconic Hard Rock Cafe franchise debuted in Kyoto, and in keeping with the city's traditional Imperial-era architecture, the restaurant blends in with the neighborhood so you might miss it if you're not looking.
The Hard Rock is so-named for the collection of rock n'roll memorabilia displayed at each location and Kyoto features of one of Trevor's guitars in their collection which appears to have been signed by Trevor and Jon and maybe Rick? The guitar in question is a Washburn Parallaxe, but not with the same color/finish as Trevor's signature model.
Here are a couple articles on the opening:
https://soranews24.com/2019/07/23/beautiful-kyoto-hard-rock-cafe-and-we-stopped-by-to-try-its-exclusive-signature-burger%E3%80%90photos%E3%80%91/
https://japantoday.com/category/features/food/Hard-Rock-Cafe-opens-in-Kyoto-featuring-unique-menu-items-and-merchandise
This month the newest location of the iconic Hard Rock Cafe franchise debuted in Kyoto, and in keeping with the city's traditional Imperial-era architecture, the restaurant blends in with the neighborhood so you might miss it if you're not looking.
The Hard Rock is so-named for the collection of rock n'roll memorabilia displayed at each location and Kyoto features of one of Trevor's guitars in their collection which appears to have been signed by Trevor and Jon and maybe Rick? The guitar in question is a Washburn Parallaxe, but not with the same color/finish as Trevor's signature model.
Here are a couple articles on the opening:
https://soranews24.com/2019/07/23/beautiful-kyoto-hard-rock-cafe-and-we-stopped-by-to-try-its-exclusive-signature-burger%E3%80%90photos%E3%80%91/
https://japantoday.com/category/features/food/Hard-Rock-Cafe-opens-in-Kyoto-featuring-unique-menu-items-and-merchandise
Tuesday, May 14, 2019
for a good cause
A guitar signed by Trevor is currently at auction with proceeds benefiting The Kristen Ann Carr Fund, a charity which supports sarcoma research. The auction features several guitars signed by various luminaries in the rock n'roll world, which can also be viewed at the Charitybuzz website.
Anyone interested can view the specific listing here:
https://www.charitybuzz.com/catalog_items/washburn-guitar-signed-by-yes-featuring-anderson-rabin-1769335
Anyone interested can view the specific listing here:
https://www.charitybuzz.com/catalog_items/washburn-guitar-signed-by-yes-featuring-anderson-rabin-1769335
Monday, May 13, 2019
recent roundup
What is on the mind of, say, 90% of all Americans these days? No, it's not any of the things you'd think...
It's Game of Thrones.
To wit, Ryan posted an Instagram story on the Captain Cuts page last night featuring a little father-son bonding time over S08 E05 (which has been described by one recapper as Just one long 80-minute 'AAAAHHH!!!') and there so many questions I imagine fellow fans would love to discuss with the Maestro. But I totally get why Trevor is into this show, it's so political, and he loves politics as a discipline.
Moving along, if you're not subscribed to Marq Vas' YouTube channel, what are you even doing with your life? Just teasing, but if you are into enjoying/learning more about South African music, and specifically rock/pop of the 1970s, Marq has been generous in sharing a bit of his vast collection with us over the years. The other day he highlighted an obscure greatest hits release, uploading a track (originally from Rock Rabbitt, the album in which Trevor does not appear) on his channel. For you completists out there, as far as I know this one is pretty rare indeed even as its' track listing is really nothing to get excited about.
It's Game of Thrones.
To wit, Ryan posted an Instagram story on the Captain Cuts page last night featuring a little father-son bonding time over S08 E05 (which has been described by one recapper as Just one long 80-minute 'AAAAHHH!!!') and there so many questions I imagine fellow fans would love to discuss with the Maestro. But I totally get why Trevor is into this show, it's so political, and he loves politics as a discipline.
(I'm assuming Charlie is not on Team Dany.)
Moving along, if you're not subscribed to Marq Vas' YouTube channel, what are you even doing with your life? Just teasing, but if you are into enjoying/learning more about South African music, and specifically rock/pop of the 1970s, Marq has been generous in sharing a bit of his vast collection with us over the years. The other day he highlighted an obscure greatest hits release, uploading a track (originally from Rock Rabbitt, the album in which Trevor does not appear) on his channel. For you completists out there, as far as I know this one is pretty rare indeed even as its' track listing is really nothing to get excited about.
Tuesday, May 7, 2019
The anatomy of a Classic
Back in January I posted an entry regarding Trevor Horn's recent release Reimagines The Eighties, and last week the audio engineering publication Sound On Sound posted a new video profile/interview with Mr. Horn regarding this release, which features a section on the actual construction of "Owner of a Lonely Heart" where we get to hear parts of the original multitrack recording. If you're like me and you love that kind of detailed analysis of recording methodology, arrangements and so forth, then you will find this fascinating - the section about "Owner" is at 7:44.
Wednesday, May 1, 2019
This date in Yesstory: a rare unity
Spotted on Instagram: a great nod to yesterday's 28th anniversary of Union, the Yes album and tour which featured members from the Classic Yes and YesWest lineups. This shot - from the filming of the video for "Lift Me Up" - is a nice grouping of that once-in-a-lifetime lineup.
And because now is always a good time to watch the video...
Thursday, April 4, 2019
Spot the Poms, part seven
In just about a week Take That will be embarking upon their 2019 Greatest Hits Live UK tour, and last week saw the lads and their band performing for the Teenage Cancer Trust concert series at London's Royal Albert Hall - it's nice to see Lee holding down the low end once more as he is always counted upon to do.
Embed from Getty Images
Embed from Getty Images
Thursday, March 28, 2019
#tbt: the Golden Age of VHS
Spotted on Instagram: I know many of us long-time fans remember those glorious days of VCRs and VHS tapes (and probably still have them!) and seeing this photo takes me back, although I have both these releases on DVD. For newer fans, these are definitely videos you want in your collection: the YesYears: A Retrospective documentary released in 1991 and Greatest Video Hits from 1992.
Monday, March 4, 2019
RSD release for an underrated favorite
This year's Record Store Day (April 13th) will include a Trevor-related release, which is always good news for collectors. Boutique label Wargod Collective will be issuing a few soundtrack albums for RSD this year and one of them is for the 2007 Lonely Island-helmed comedy Hot Rod, which has never previously been released on vinyl. However, this one is going to be hard to come by for those of us in the US...
Quickly approaching cult comedy status, Hot Rod’s over the top soundtrack has become just as memorable as the film itself – featuring a mostly 80s inspired track list that boasts Cutting Crew, Moving Pictures, and yes, four Europe songs. Also contains dialogue from your favorites in The Lonely Island crew (led by Andy Samberg), plus Danny McBride, and Bill Hader. Limited to 1,000 copies including 700 on red/white/blue striped vinyl and 300 on “dong bag yellow.”
As described on the official website:
Quickly approaching cult comedy status, Hot Rod’s over the top soundtrack has become just as memorable as the film itself – featuring a mostly 80s inspired track list that boasts Cutting Crew, Moving Pictures, and yes, four Europe songs. Also contains dialogue from your favorites in The Lonely Island crew (led by Andy Samberg), plus Danny McBride, and Bill Hader. Limited to 1,000 copies including 700 on red/white/blue striped vinyl and 300 on “dong bag yellow.”
And the soundtrack also contains three selections from Trevor's score for the movie, including the stirring "Stunt Suite," yet another example of Trevor's "human highlight reel" type of composing.
So for those of you on this side of the pond looking to add to your collections, you might want to check your favorite import sites and also scope out eBay in the weeks after RSD to see if any of these copies become available.
Wednesday, February 27, 2019
Rumor control
Today I spotted two different radio stations/on-air personalities attempting to spread a rumor via social media...
Jon Anderson says his version of Yes, with Trevor Rabin and Rick Wakeman, is no more. https://t.co/DG1Mwy0gQj— KECH95 (@kech95fm) February 27, 2019
Jon Anderson says his version of Yes, with Trevor Rabin and Rick Wakeman, is no more. https://t.co/76T0ePRAzP— Randi Scott (@RandiScottKSLX) February 27, 2019
...and those of us who listen to terrestrial/satellite radio are aware that DJs and the like often receive their information from the same place their audience does: the Internet. The link provided is to the ARW official site rather than the apparent source of their assertion.
In this particular case, although there was controversy due to Trevor's comments in his interview with Celluloid Tunes last year regarding his future commitment to ARW (causing Trevor to attempt some spin doctoring in the wake of fan reaction), I would say it's not necessarily an end to ARW, but it seems clear to me they won't be pursuing any band-related activities in 2019 with everyone seemingly committed to other projects. It would appear the source of this rumor has to do with interviews Jon is giving to promote his new album 1000 Hands and its' accompanying US tour this Spring and Summer. Jon recently posted on his Facebook page that he desires the tour to take place over the next three years, presumably to visit as many regions as possible.
Given a recent comment made by Rick to a fan that the band is planning to tour next year, and then Jon's comment in his Guitar World livestream: "So I just said 'I'll see you in 2020 or 2021 and so we'll get together.'" I could understand how that might lead people to think it's a gracious way of saying the project has gone on as long as it was going to as a legacy touring band. But I don't believe it's responsible to tweet these kinds of statements when Jon's comment was not definitive regarding future activity for ARW. And Trevor's comment in his Celluloid Tunes interview: "I said, 'Look, you can always call me and we can look at things, and if I'm not busy we can do things,'" aligns with this same sentiment, I would say.
ETA: here is an article published 2-27 which includes an actual quote from Jon but I would still assert you cannot take that quote as an actual statement of dissolution.
https://985thefox.iheart.com/featured/mike-bell/content/2019-02-27-once-again-there-is-only-one-yes/
So my take on this is: don't count ARW out just yet. But also don't expect any activity for at least a year. And this might not be the news that you want to read, but it's better than nothing, one suspects.
Given a recent comment made by Rick to a fan that the band is planning to tour next year, and then Jon's comment in his Guitar World livestream: "So I just said 'I'll see you in 2020 or 2021 and so we'll get together.'" I could understand how that might lead people to think it's a gracious way of saying the project has gone on as long as it was going to as a legacy touring band. But I don't believe it's responsible to tweet these kinds of statements when Jon's comment was not definitive regarding future activity for ARW. And Trevor's comment in his Celluloid Tunes interview: "I said, 'Look, you can always call me and we can look at things, and if I'm not busy we can do things,'" aligns with this same sentiment, I would say.
ETA: here is an article published 2-27 which includes an actual quote from Jon but I would still assert you cannot take that quote as an actual statement of dissolution.
https://985thefox.iheart.com/featured/mike-bell/content/2019-02-27-once-again-there-is-only-one-yes/
So my take on this is: don't count ARW out just yet. But also don't expect any activity for at least a year. And this might not be the news that you want to read, but it's better than nothing, one suspects.
Saturday, February 16, 2019
it's always "Now"
Spotted on Instagram: this album, released a couple months back by Swedish AOR/Melodic Rock vocalist Peter Sundell, features a cover of (and is named for) Trevor's song "Now" from 1979's Face To Face - which I'm happily in favor of as I believe it's one of the best efforts in Trevor's solo career. And from what little I've been able to hear of the title track, it sounds like it has an interesting arrangement with some orchestral flourishes.
As can be viewed from the tracklisting (which you can see in the second photo of the Instagram post), this album features various classic rock covers (it seems, at least from the intro, that his version of Airplay's "Stranded" is nearly note-perfect) and I find it interesting that Peter also included the Asia song "Only Time Will Tell" which long-time fans know Trevor sang during his "audition" process with that band.
However, this release appears to be rather difficult to find in that I haven't been able to locate it on any of the digital distribution platforms, and it seems the CD itself was a limited release in territories other than the US. And that's unfortunate as I would really love to hear the album.
Thursday, February 14, 2019
Valentine's special: L-O-V-E
Like most popular songwriters of his generation, Trevor has written a number of love songs and so on this particular day (which you may or may not celebrate) I thought we could use a little love from Our Trev.
I still believe this might be the most personal love song he's ever written.
"I Love You" - Beginnings, 1978
A classic of the Rabin-van Blerk partnership.
Rabbitt, "Hold On To Love" - A Croak and A Grunt in the Night, 1977
I still believe this might be the most personal love song he's ever written.
"I Love You" - Beginnings, 1978
A classic of the Rabin-van Blerk partnership.
Rabbitt, "Hold On To Love" - A Croak and A Grunt in the Night, 1977
Wouldn't we all like to eat at Chez Nous?
Yes, "Love Will Find A Way" - Big Generator, 1987
One of Trevor's heartfelt works of social commentary.
"Eyes of Love" - Can't Look Away, 1989
This song is about cosmic love...but also far more earthbound impulses.
Yes, "Real Love" - Talk, 1994
This became a popular song in fandom after its' release, one of the batch which Trevor wrote in the early '80s.
"Would You Feel My Love" - 90124, 2003
Love is strictly a euphemism here, as this is Trevor's "just sex" song.
Yes, "Rhythm of Love" - Big Generator, 1987
Thursday, January 31, 2019
Trevor vs. Trevor: who owns it?
Okay, so that question is rhetorical and rather gimmicky but bear with me...this particular installment of Trevor vs. Trevor is not about Trevor versus himself but rather the two Trevor Charleses who were Yes alumni squaring off (figuratively) over a song they collaborated on.
One would likely not argue that "Owner of a Lonely Heart" is the most well-known song which Our Trev has ever composed, even as there might be other songs/compositions which Trevor is equally proud of and appreciates any acknowledgement bestowed. Given the song's enduring popularity and cultural relevance one imagines he would certainly never turn down a chance to be recognized for it. However, the song does have three other people credited as co-writers, and one of them has released his own take on it this year with Reimagines The Eighties by Trevor Horn featuring The SARM Orchestra.
The interesting thing for me to ponder in this version, featuring a full orchestration of the song, is it leads to considerations of how the song's principal writer would perform the same effort...or would he? One wonders if Trevor has ever been tempted to thoroughly re-imagine any of his compositions. For example, when he did revisit "Rescuing Fischer" as "Rescue" on Jacaranda, it's still primarily the same piece of music, and the same can be said of his re-recording of "Hold On To Me" (aka "Hold On To Love") for Can't Look Away. We all know - thanks to Trevor's extensive experience with orchestration - that he could certainly do so if he chose.
Granted, Trevor Horn performing "Owner" has much historical precedent, and Trevor has even participated in one of those efforts (appearing with other members of Yes at the Prince's Trust concert in 2004) but this time Horn's approach could be said to be less a reenactment and more of a whimsical "what-if." I find Julian Hinton's arrangement to be dynamic and engaging, from the song's beautiful overture (taking the place of that famous collage of samples) to the sprightly brass section in the bridge leading to the instrumental break. There's also a brief soul-jazz transition to the guitar solo, which is shorter than the original but with much the same texturing, leading to another orchestral transition and then a section with a few vocalese-type parts before concluding with a short refrain rather than the extended improvisional ride-out of the original.
Horn's Reimagines The Eighties album features well-known songs of the era, many of which Horn had an actual hand in (such as Grace Jones' "Slave To The Rhythm" and Frankie Goes To Hollywood's "The Power of Love") and others he did not (Tears For Fears' "Everybody Wants To Rule The World" and Bruce Springsteen's "Dancing In The Dark"). But as one of the men who defined the sound of that particular era in terms of record production, he is certainly entitled to co-opt any of that oeuvre to suit his own fancy, as it were.
Interestingly Horn chose to sing "Owner" himself rather than bring in a guest vocalist as he did for most of the other tracks - only one of two tracks which he does take the lead on. It is transposed to suit his range but Horn does embody a certain character in his take which actually falls - in my opinion - somewhere between Jon and Trevor's methodologies. I can't help but think that Horn's decision to sing the song not only stems from his past performances but also perhaps a desire to lay claim to his portion of the legacy. As if to say: this is my song too, remember.
And one could say that's a matter of opinion; because there are plenty within Yes fandom who assert that without Horn's input "Owner" would have never become as successful as it was, given that they believe Trevor's original demo was...not good, shall we say. Horn is one of those people, as he previously stated there was something in the song which piqued his interest but the song itself was too typical of Trevor's writing style at the time. But I believe you can hear all the potential displayed by the end product within the demo as well as on a couple songs which predated "Owner" in terms of arrangement and performance (and I have written about them previously but they are "Paying My Dues" by Rene Arnell, which Trevor produced and arranged, as well as his guitar solo on the Manfred Mann track "Runner").
I believe what truly makes the new arrangement interesting despite the kitchen sink-ness embodied is that the song itself is elastic enough to allow for such a different take, even as it does retain elements of the original. Speaking of elasticity, the way in which ARW performed "Owner" on their tours over the past three years also shows that this song can lend itself to a number of situations and interpretations, even as one might say this is a rather traditionalist take on it.
In the end, one can still appreciate how fundamentally engaging the song is from its' compositional elements as well as those changes wrought upon it in collaboration which all contributed to its' rise to the top of the worldwide charts 35 years ago. It's a classic which embodies not only a particular era but also a few different genres within its' ear candy boundaries and to this day manages to sound of its era and completely outside of it at the same time.
This release is available now from all the usual outlets; the Japanese version of Reimagines The Eighties features a second disc with instrumental-only versions of ten of the album's tracks (including "Owner") as well as a version of Godley & Creme's "Cry" sung by Jamie Squire of The 1975.
One would likely not argue that "Owner of a Lonely Heart" is the most well-known song which Our Trev has ever composed, even as there might be other songs/compositions which Trevor is equally proud of and appreciates any acknowledgement bestowed. Given the song's enduring popularity and cultural relevance one imagines he would certainly never turn down a chance to be recognized for it. However, the song does have three other people credited as co-writers, and one of them has released his own take on it this year with Reimagines The Eighties by Trevor Horn featuring The SARM Orchestra.
The interesting thing for me to ponder in this version, featuring a full orchestration of the song, is it leads to considerations of how the song's principal writer would perform the same effort...or would he? One wonders if Trevor has ever been tempted to thoroughly re-imagine any of his compositions. For example, when he did revisit "Rescuing Fischer" as "Rescue" on Jacaranda, it's still primarily the same piece of music, and the same can be said of his re-recording of "Hold On To Me" (aka "Hold On To Love") for Can't Look Away. We all know - thanks to Trevor's extensive experience with orchestration - that he could certainly do so if he chose.
Granted, Trevor Horn performing "Owner" has much historical precedent, and Trevor has even participated in one of those efforts (appearing with other members of Yes at the Prince's Trust concert in 2004) but this time Horn's approach could be said to be less a reenactment and more of a whimsical "what-if." I find Julian Hinton's arrangement to be dynamic and engaging, from the song's beautiful overture (taking the place of that famous collage of samples) to the sprightly brass section in the bridge leading to the instrumental break. There's also a brief soul-jazz transition to the guitar solo, which is shorter than the original but with much the same texturing, leading to another orchestral transition and then a section with a few vocalese-type parts before concluding with a short refrain rather than the extended improvisional ride-out of the original.
Horn's Reimagines The Eighties album features well-known songs of the era, many of which Horn had an actual hand in (such as Grace Jones' "Slave To The Rhythm" and Frankie Goes To Hollywood's "The Power of Love") and others he did not (Tears For Fears' "Everybody Wants To Rule The World" and Bruce Springsteen's "Dancing In The Dark"). But as one of the men who defined the sound of that particular era in terms of record production, he is certainly entitled to co-opt any of that oeuvre to suit his own fancy, as it were.
Interestingly Horn chose to sing "Owner" himself rather than bring in a guest vocalist as he did for most of the other tracks - only one of two tracks which he does take the lead on. It is transposed to suit his range but Horn does embody a certain character in his take which actually falls - in my opinion - somewhere between Jon and Trevor's methodologies. I can't help but think that Horn's decision to sing the song not only stems from his past performances but also perhaps a desire to lay claim to his portion of the legacy. As if to say: this is my song too, remember.
And one could say that's a matter of opinion; because there are plenty within Yes fandom who assert that without Horn's input "Owner" would have never become as successful as it was, given that they believe Trevor's original demo was...not good, shall we say. Horn is one of those people, as he previously stated there was something in the song which piqued his interest but the song itself was too typical of Trevor's writing style at the time. But I believe you can hear all the potential displayed by the end product within the demo as well as on a couple songs which predated "Owner" in terms of arrangement and performance (and I have written about them previously but they are "Paying My Dues" by Rene Arnell, which Trevor produced and arranged, as well as his guitar solo on the Manfred Mann track "Runner").
I believe what truly makes the new arrangement interesting despite the kitchen sink-ness embodied is that the song itself is elastic enough to allow for such a different take, even as it does retain elements of the original. Speaking of elasticity, the way in which ARW performed "Owner" on their tours over the past three years also shows that this song can lend itself to a number of situations and interpretations, even as one might say this is a rather traditionalist take on it.
In the end, one can still appreciate how fundamentally engaging the song is from its' compositional elements as well as those changes wrought upon it in collaboration which all contributed to its' rise to the top of the worldwide charts 35 years ago. It's a classic which embodies not only a particular era but also a few different genres within its' ear candy boundaries and to this day manages to sound of its era and completely outside of it at the same time.
This release is available now from all the usual outlets; the Japanese version of Reimagines The Eighties features a second disc with instrumental-only versions of ten of the album's tracks (including "Owner") as well as a version of Godley & Creme's "Cry" sung by Jamie Squire of The 1975.
Monday, January 28, 2019
Attempting to tame the Wild Horses
A recent interview with journeyman guitarist Neil Carter conducted by Pekka Montin in the latest issue of Heavy Profile reveals a glimpse into Trevor's London years, working as a producer as well as pursuing a solo career. Carter played with such '80s rock legends as Gary Moore, UFO and Wild Horses, and was asked about his experience on the making of the latter's The First Album release and working with Brian Robertson and Jimmy Bain.
You also played with the band Wild Horses. I noticed that the producer of the debut album is the legendary Trevor Rabin. What do you remember of him and the recording process? How did he guide you in the studio?
Poor Trevor…I don’t think he knew what he was getting into as those two could be wild! What I do remember is some very late sessions, often not starting until 10 or 11pm because Brian Robertson felt the ‘muse’ was only on him after hours (and the rest of us feeling it was bed time)!
Trevor did his best and he’s a very nice and talented guy but he was up against two forces of nature in Brian and Jimmy. Some of it sounds ok though and he is such a good musician, just a bit of a strange choice perhaps and I’m not sure the album is as ‘gritty’ as the band actually were live.
I sort of have it in my mind that he was ‘up and coming’ and EMI put him forward but I could be wrong. He went on to bigger and better things, deservedly so, and was a lovely chap.
You also played with the band Wild Horses. I noticed that the producer of the debut album is the legendary Trevor Rabin. What do you remember of him and the recording process? How did he guide you in the studio?
Poor Trevor…I don’t think he knew what he was getting into as those two could be wild! What I do remember is some very late sessions, often not starting until 10 or 11pm because Brian Robertson felt the ‘muse’ was only on him after hours (and the rest of us feeling it was bed time)!
Trevor did his best and he’s a very nice and talented guy but he was up against two forces of nature in Brian and Jimmy. Some of it sounds ok though and he is such a good musician, just a bit of a strange choice perhaps and I’m not sure the album is as ‘gritty’ as the band actually were live.
I sort of have it in my mind that he was ‘up and coming’ and EMI put him forward but I could be wrong. He went on to bigger and better things, deservedly so, and was a lovely chap.
Tuesday, January 15, 2019
Time-travel Tuesday: Ever an idol.
(With thanks to the rockrabbitt_ Instagram account for bringing this to my attention.)
It's generally rare to see Trevor memorabilia from this era on the open market - as our favorite cover boy appeared in the January 1979 issue of Afrikaans entertainment magazine Patrys, we can surmise it was to promote Beginnings and indeed the cover caption roughly translates to "Trevor Rabin is a Rabbitt no more." Of course long-time fans are aware this particular photograph is from the same photo session as the one which graces the back cover of Trevor's solo debut.
It's generally rare to see Trevor memorabilia from this era on the open market - as our favorite cover boy appeared in the January 1979 issue of Afrikaans entertainment magazine Patrys, we can surmise it was to promote Beginnings and indeed the cover caption roughly translates to "Trevor Rabin is a Rabbitt no more." Of course long-time fans are aware this particular photograph is from the same photo session as the one which graces the back cover of Trevor's solo debut.
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