Making a third appearance on the Yesshift podcast, Trevor discusses the reissue/remaster of Talk.
Showing posts with label TR discography. Show all posts
Showing posts with label TR discography. Show all posts
Monday, May 13, 2024
Friday, April 5, 2024
Flashback Friday: golden oldie
Thanks to a tip-off from a regular reader...this is an upload - I believe - of a track from one of the Lekker Kitaar albums which Trevor recorded under his Trevor Terblanche pseudonym. Most of that material is instrumental, so it's still my best guess as to the actual source, since this features Trevor also singing the song in question which does appear to be based on John Lennon's cover (from the Rock n'Roll release) of Ben E. King's 1961 classic in terms of arrangement. It is worth noting that all three of those albums each had a Beatles-related song included in the tracklist.
Thursday, February 8, 2024
A pleasant surprise!
Yesterday, Trevor announced that he would be releasing the demo version of "Fragile" - previously only available as a bonus track on the deluxe Rio release - to streaming services.
As stated in the social media post:
I’m particularly pleased with the space, in terms of production, and happy with the simplicity of the lyric. Life is harsh, fickle and Fragile. My intention regarding the guitar solo was for it to drip onto the “page” so to speak.Given that he wrote this song to spec for Agent X's showrunner, I'm assuming that the lyrics at least somewhat reflect the narrative concerns of the series as a whole (or perhaps only the last episode).
Tuesday, December 5, 2023
Media Watch: recent articles
A review of the 1976 album The Bull and the Lion (which featured instrumentation by Rabbitt):
https://www.ft.com/content/9dc0c20a-0051-4aac-bed0-47621a386eda
Trevor on the creation of "Owner of a Lonely Heart":
A listicle/interview regarding many of Trevor's best-known (and brand-new) songs:
Friday, September 29, 2023
entering "Oklahoma"
Today marks the release of the third advance single from Rio, Trevor's reflection on the events of the 1995 Oklahoma City bombing, a beautiful song which displays poignancy and grandeur in equal measure.
Saturday, September 9, 2023
Rio (preliminary) review
As I was given the opportunity to preview Rio - though without the context of liner notes and lyrics - I thought I would post my initial impressions with the aim of publishing a longer in-depth review upon official release.
My initial impression, much like some others who've had the chance to preview the album, is that this is not entirely Trevor the hook-master writing in previous idioms. I feel as if he has progressed into other realms which express the breadth of his stylistic impulses while at the same time embodying certain aspects which we might expect, but again going beyond in a playful and adventurous way. And I feel like the vocals are also confounding our expectations a bit, Trevor is still the melodic singer we know, but the current context of his artistic life allows for something new and interesting.
"Big Mistakes"
As numerous others have noted, this track has a great hook-y rock-pop sensibility and thus opens the album in a context we recognize as regards Trevor's overall identity. To me it feels like a familiar friend, from Lou Molino's stutter-step drum fill to that big riff and lots of dynamic Alembic bass. It is quite different from the rest of the album, but as I've noted that stylistic diversity is one of the hallmarks of Trevor's career then it's entirely fitting for him to pull a bit of playful bait-and-switch. And the cellphone gag is classic Trevor!
"Push"
This track has received a lot of positive feedback from those prog-loving fans of both YesWest and Trevor's solo career. Vinnie Colaiuta certainly comports himself well, as we would expect. There is a feel of metaphorical messaging rather than direct rhetoric as regards the lyrics, which Trevor has noted are about "the horror of politics and politicians." I would say of all the tracks, this one feels most like the spiritual successor to what we heard on Jacaranda.
"Oklahoma"
This track in particular seems to meld Trevor's scoring sensibilities with his instincts as a songwriter. There is an anthemic bent to the grandeur of the orchestra. I particularly enjoy the fretless bass and acoustic guitar textures. The way the song shifts from one movement to another has a "score suite" type of structure to it. This song is said to be about the Oklahoma City bombing of 1995 and does have an elegaic feel to it.
"Paradise"
This song features a fairly straight-ahead riff with lots of vocal harmony filigree, it has a similar vibe to "Big Mistakes" as regards how the hook hits in the chorus. If I were to guess, I'd say this is the other song which features Liz and Dante on vocals. To me the highlight is the vocalese-style multi-tracked section which comes towards the end of the track and then full-on transitions into a piano jazz section with a bit of brass. Very fun!
"Thandi"
There are sounds which introduce this track which remind me specifically of Ryan's debut on Can't Look Away and so I wonder if this is Miss Rio's debut (but pitch-shifted to be more texture than specifically a voice). This song mixes a rock structure with a ZA-style mbube chorus, which indicates to me that the target of Trevor's criticism is his homeland. There is a lot of guitar goodness on this track (in the classic sense)! And if I had to guess, I'd say Ryan is the drummer on this track.
"Goodbye"
This is the "chicken-pickin" style song which Trevor mentioned recently in media coverage. It's more traditional, to my mind, it's not pop-country but rather something more like Paul Simon's "Kodachrome" (which was meant to mimic the Muscle Shoals sound specifically). Towards the end it shifts into more of a rock-sounding motif. Trevor is definitely channeling Chet Atkins in his playing and I think there's banjo entwined in there as well.
"Tumbleweed"
As pointed out by Trevor in regards to overall vocal stylings, there is a lovely Manhattan Transfer-style acapella vocal to introduce this track which then gets a bit more playful and segues into a lovely guitar landscape with gentle vocals and a bit of organ. Because so many people seem to want to insert his former bandmates into this effort, this is the song I could imagine Jon Anderson contributing to. Not that I think it's necessary at all, but it's got that vibe. It's so lovely in the various sections and the overall mood, definitely a favorite from first listen.
"These Tears"
This also makes me think of Trevor's scoring work in terms of how the track is constructed: the layering of the voices and synth elements contrasting against the warmth of the guitar and the ethereal mood of the vocals. The doomed romance aspect of the lyrics is something we'd likely expect from Trevor, but set within this mood they take on an interesting gravitas. It's also a bit of a nod to "Promises" in terms of all that ambience, in my estimation.
"Egoli"
Of course a song with this title is also going to reference the township jive and mbube styles of Trevor's homeland. A tribute to the city which raised him, embodied by positive memories and associations and nostalgia. This comes across as Trevor attempting to come to terms with his overall ambivalence regarding South Africa.
"Toxic"
The intro to this one seems like a different take on "Market Street" but then immediately shifts into a upbeat blues mode. There's a lot of interesting texturing in the verses. Trevor's vocal is quite bright and melodic against the more gritty mood of the music. I do feel like the ride-out is a bit short, I think the track would have benefitted from a more dynamic full-stop.
Thursday, July 27, 2023
Investigating the inspirations
Some might be aware of the recent fan-created documentary series on the making of Van Halen's 1984 album, the first two parts of which were pulled from YouTube due to copyright claims. Part three was uploaded yesterday (with legal adjustments), specifically focusing on the making of the album and so takes a look at what external musical sources inspired the songs...and what the creator notes as the specific inspirations for the introduction/riff of "Hot For Teacher" do not involve "Lookin' For A Lady (Wolfman)." However, he does make a compelling case for those compositions actually cited.
If you're curious, it's at the 17:27 mark.
Tuesday, June 20, 2023
Media Watch: podcast ponderings
Recently an episode of The Music Den podcast was devoted to a discussion of the 1987 release Big Generator. And this reminds me that one of my present unfinished projects is a podcast episode recorded last year featuring myself and Henry Potts discussing this exact album - or rather, attempting to adjust The Zeitgeist regarding the reputation of BigGen and redeeming it in the face of numerous detractors (including several members of the band which created it). Hopefully, one day it will finally be edited and I can share it with all interested parties. But for now, check out Armando and his guest, musician Ryan Gavalier, opining on this polarizing YesWest classic.
Monday, March 20, 2023
Collector's Corner: 90124 on vinyl
Spotted on Instagram...Trevor's 2003 archival project of various production demos 90124 was released on vinyl last month by UK-based archival concern Blue Day Label in a two-disc set of clear vinyl. It appears to be the same mastering as in the Changes boxset. I haven't been able to verify whether this is officially licensed or not, however, so purchase at your own risk.
Monday, August 16, 2021
The Secret Discography: in praise of Lady Africa
One of a series which examines Trevor’s musical career in South Africa.
Author's note: I first wrote about this subject in 2011 on the Yesfans forum but I decided to create a more formalized and better-researched essay sometime after that, and so here it is (finally).
The most powerful of voices can break through barriers of prejudice and oppression, especially with the help of South Africa's biggest hitmakers. This is the story, and the triumph, of Margaret Nomvula M'cingana (her surname later anglicized to Singana) - known to those who loved her as Lady Africa.
The reason I have titled the essays on Trevor's work during his time in South Africa "The Secret Discography" is because for many years not much was known about the numerous projects and sessions he created and performed on, apart from his role in Rabbitt, to fans in the rest of the world. Trevor has never been particularly forthcoming regarding this period, other than stating that he played on hundreds of recordings for all types of music, as well as responding to a few pointed questions. As the reach of the Internet began to extend everywhere, more information and credits were shared by record collectors all over the world, including South Africa. Websites and blogs devoted to the musical history of South Africa during the apartheid era began to appear and our knowledge grew from there. It is interesting to note, however, that among the credits which are listed on Trevor's official site, only Rabbitt and Margaret Singana are included in regard to that era. And seeing that information is what originally sparked my curiosity and began my search, many years ago...a search which has been wholly rewarding in terms of discovering such an inspirational and amazing talent. I choose to believe that her inclusion was meant as a gesture of respect and affection on Trevor's part.
Margaret's initial progress from Queenstown to the City of Gold in the 1950s to become a singer was slowed due to the inherent limitations of the apartheid system, but at key moments her talent was readily recognized by those who could lend a hand, and her career began with local theatre and the hit single "Good Feeling," (credited to Margaret Singana and the Symbols) but she came to worldwide prominence in 1973 as a lead vocalist in the musical Ipi N'Tombi and its' cast album The Warrior. As the liner notes predict: Whatever the outcome we are sure that lead singer Margaret Singana must certainly gain international recognition based on her incredible performances on this album. When anti-apartheid protests put an end to touring of the production, back in Johannesburg she continued on with recording the albums which made her a song stylist success on both sides of the national charts, as well as inroads into the international market courtesy of a contract with Casablanca Records. And for this it was especially wonderful that she had Patric van Blerk, Julian Laxton, Allan Goldberg, and Trevor Rabin on her side. This is not to imply that any of those individuals should inhabit a "white saviour" type of role, but rather that at least they could put their power and privilege to better use by giving Margaret a platform through which to gain further popularity and reach. The popularity of these recordings led to success in terms of sales and awards, but sadly her momentum was halted by a stroke she suffered in 1978. Margaret eventually returned to singing, and recorded another great anthem in 1986, the Shaka Zulu theme song "We Are Growing" (produced by Julian Laxton) but even with her sporadic appearances in the music scene, her passing in 2000 was the tragic loss of a national treasure: penniless and neglected.
There is more than one reason to enjoy Margaret's body of work - not merely due to Trevor's involvement, but for the inherent joy of her singing, over a wide range of musical styles. But I do believe that one of the major achievements of Trevor's career in the South African era was the time and care he put into these albums, these songs, contributing to the effort of making Margaret a star by providing his musical best. His profession allowed him to cross the color line and work with whatever musicians he desired to, music serving as the universal language and connection between human beings. But it also illustrated how wide those divisions were, how unjust and morally reprehensible.
It has been a difficult task to discern between the myriad releases and re-releases of Margaret's discography, but after several years research I have been able to verify - as I initially ascertained - that there are four mid-70s era albums which Trevor worked on for her. I have noted, where applicable, the various editions and titles.
Lady Africa (1973)
Author's note: I first wrote about this subject in 2011 on the Yesfans forum but I decided to create a more formalized and better-researched essay sometime after that, and so here it is (finally).
The most powerful of voices can break through barriers of prejudice and oppression, especially with the help of South Africa's biggest hitmakers. This is the story, and the triumph, of Margaret Nomvula M'cingana (her surname later anglicized to Singana) - known to those who loved her as Lady Africa.
The reason I have titled the essays on Trevor's work during his time in South Africa "The Secret Discography" is because for many years not much was known about the numerous projects and sessions he created and performed on, apart from his role in Rabbitt, to fans in the rest of the world. Trevor has never been particularly forthcoming regarding this period, other than stating that he played on hundreds of recordings for all types of music, as well as responding to a few pointed questions. As the reach of the Internet began to extend everywhere, more information and credits were shared by record collectors all over the world, including South Africa. Websites and blogs devoted to the musical history of South Africa during the apartheid era began to appear and our knowledge grew from there. It is interesting to note, however, that among the credits which are listed on Trevor's official site, only Rabbitt and Margaret Singana are included in regard to that era. And seeing that information is what originally sparked my curiosity and began my search, many years ago...a search which has been wholly rewarding in terms of discovering such an inspirational and amazing talent. I choose to believe that her inclusion was meant as a gesture of respect and affection on Trevor's part.
Margaret's initial progress from Queenstown to the City of Gold in the 1950s to become a singer was slowed due to the inherent limitations of the apartheid system, but at key moments her talent was readily recognized by those who could lend a hand, and her career began with local theatre and the hit single "Good Feeling," (credited to Margaret Singana and the Symbols) but she came to worldwide prominence in 1973 as a lead vocalist in the musical Ipi N'Tombi and its' cast album The Warrior. As the liner notes predict: Whatever the outcome we are sure that lead singer Margaret Singana must certainly gain international recognition based on her incredible performances on this album. When anti-apartheid protests put an end to touring of the production, back in Johannesburg she continued on with recording the albums which made her a song stylist success on both sides of the national charts, as well as inroads into the international market courtesy of a contract with Casablanca Records. And for this it was especially wonderful that she had Patric van Blerk, Julian Laxton, Allan Goldberg, and Trevor Rabin on her side. This is not to imply that any of those individuals should inhabit a "white saviour" type of role, but rather that at least they could put their power and privilege to better use by giving Margaret a platform through which to gain further popularity and reach. The popularity of these recordings led to success in terms of sales and awards, but sadly her momentum was halted by a stroke she suffered in 1978. Margaret eventually returned to singing, and recorded another great anthem in 1986, the Shaka Zulu theme song "We Are Growing" (produced by Julian Laxton) but even with her sporadic appearances in the music scene, her passing in 2000 was the tragic loss of a national treasure: penniless and neglected.
There is more than one reason to enjoy Margaret's body of work - not merely due to Trevor's involvement, but for the inherent joy of her singing, over a wide range of musical styles. But I do believe that one of the major achievements of Trevor's career in the South African era was the time and care he put into these albums, these songs, contributing to the effort of making Margaret a star by providing his musical best. His profession allowed him to cross the color line and work with whatever musicians he desired to, music serving as the universal language and connection between human beings. But it also illustrated how wide those divisions were, how unjust and morally reprehensible.
It has been a difficult task to discern between the myriad releases and re-releases of Margaret's discography, but after several years research I have been able to verify - as I initially ascertained - that there are four mid-70s era albums which Trevor worked on for her. I have noted, where applicable, the various editions and titles.
Lady Africa (1973)
Love Is The Power (1974)
Stand By Your Man (1975)
(aka Nomvula, reissued internationally as Where Is The Love in 1976)
Stand By Your Man (1975)
(aka Nomvula, reissued internationally as Where Is The Love in 1976)
Tribal Fence (1977)
(aka I Never Loved A Man)
Each album would usually feature at least a couple songs penned by Patric and Trevor, and this one from Stand By Your Man I think is particularly interesting, called "Open Your Mind." Trevor's music is a definite stone groove, an example of how he could compose in just about any idiom one could think of.
(aka I Never Loved A Man)
Each album would usually feature at least a couple songs penned by Patric and Trevor, and this one from Stand By Your Man I think is particularly interesting, called "Open Your Mind." Trevor's music is a definite stone groove, an example of how he could compose in just about any idiom one could think of.
Primarily Margaret's choice of material for her Jo'Burg releases was meant to be inclusive and populist, consisting of rock, pop, soul, disco and traditional selections. Some were performed in Xhosa, such as "Hamba Bikele" but most were English-language songs. Her voice was so incredibly powerful and yet could embody the emotional import of whatever song she applied it to, from the country classic "Stand By Your Man" to the disco celebration of "I Surrender."
This particular track is notable for Trevor's dominant presence as producer, arranger, and playing most every instrument (including drums) as well as backing vocals on the chorus. From Tribal Fence, Margaret's cover of "Have You Ever Seen The Rain?" (beginning at 6:29 in this video) featuring a reggae arrangement.
Another favorite of mine from Tribal Fence is "Why Did You Do It?" with Trevor's arrangement skirting the line between rock n'roll edge and funk groove - Trevor once again playing nearly everything, accompanied by Rabbitt bandmate Neil Cloud on drums. Trevor's bass playing provides a great bottom end on this one, in my opinion.
Though none of Margaret's Jo'Burg releases have been reissued on CD to my knowledge, the 1996 compilation Lady Africa is a fairly inclusive collection of material, although I would encourage those interested in hearing Margaret's music to search YouTube as well as resources such as the Soul Safari and ElectricJive music blogs for further selections - short of buying the actual albums, which I would recommend to serious collectors, especially Tribal Fence, as that album was primarily stewarded by Trevor and Julian, with Trevor arranging the songs on Side One and Julian arranging those on Side Two (labeled as "The Other Side of the Fence") in addition to their production and performing contributions. Julian also provided engineering and the "magic" mix.
Monday, March 8, 2021
A Guide to Field Recordings: Around the World in 80 Dates (part one: Introduction)
A series examining recordings from the Around the World in 80 Dates tour of 1991-92 in relation to the Union Live 30th Anniversary reissue.
As some may be anticipating the May 3rd release of the Union Live Limited Edition, Super Deluxe Flight Case or the Shoreline Amphitheatre gig vinyl set from Gonzo Multimedia, I thought it would be a good time to undertake an in-depth examination of the recordings available from this tour which are in the new set. After all, this reissue is comprised entirely of existing material, so fans may already have many (or all) of the shows included.
As is noted for this release, a recurring raison d'être:
These will be included with the main program, as a way for the band to combat this highly bootlegged tour, where some fans are paying in excess of $70 per show from various Japanese websites.
Combat?! It's a little late for that, isn't it? The original Union Tour Live release in Japan was from 1999, so there's been bootlegs of the Shoreline performance since that time (I own one myself, in point of fact - and I did not purchase it from a dealer in Japan). Traders have been circulating recordings from the tour since 1992, at the very least. Granted, no one officially involved is seeing money from the bootlegs - but nor is the market for the 80 Dates-related recordings particularly robust 30 years later. So I find this a rather bullshit type of justification. After all, it wasn't until 2011 that someone finally decided to monetize the legacy of that tour at all. In offering bootleg recordings for sale, with the justification that the proceeds will go to the artist, it's only a small step up from gray marketeers cashing in because I can assure you that whatever money the artists do receive only represents a particular percentage of the overall profits. So don't believe the pearl-clutching hype in this case.
In the matter of bootleggers profiting from official recordings, yes, that should be redressed. But in terms of audience recordings? No one is meant to profit from such efforts.
A sad byproduct of this reissue is that the original Union Live release has been pulled from digital distribution. If the way Changes was handled is any indication, it will not return. There is no other official live release of 80 Dates-related audio, so I suggest stocking up on boots while you can, if you haven't already. Ironically, this might actually cause the bootleggers to profit further from the artificially-induced scarcity.
I have previously written about the live recording legacy of YesWest - of which the 80 Dates tour is a definite part - back in 2016, and unfortunately I don't believe this release is doing anything to improve upon what is already a terribly neglected part of Yes' overall history.
This new series for the blog will feature an examination of each recording included in the set, and so to begin let us review the total contents. Spelling of the venues are SIC as I've cut-and-pasted from the Music Glue shop listing. The source notations are my own.
CDx2+DVD: Pensacola Civic Centre 9th April 1991(Source: the audience recording known as First Union, likely a second generation dub.)
CDx3: Worcester Centrum, Worcester, MA 17th April 1991
(Source: probably the audience recording known as A Union in Worcester, first generation dub.)
CDx2+DVD: Nassau Colosseum 20th April 1991
CDx2+DVD: Nassau Colosseum 20th April 1991
(Source: audience recording, first generation dub by TheTooleMan.)
CDx3: Hanns-Martin-Schleyer-Halle, Stuttgart, Germany 31st May 1991 (FM Broadcast)
CDx3: Hanns-Martin-Schleyer-Halle, Stuttgart, Germany 31st May 1991 (FM Broadcast)
(Source: WDR broadcast, circulated via LDB Special Series #257, first generation dub.)
CDx3: Wembley Arena, UK (2 Discs) 29th June 1991 FM Broadcast + Star Lake Amphitheatre 24th July 1991
CDx3: Wembley Arena, UK (2 Discs) 29th June 1991 FM Broadcast + Star Lake Amphitheatre 24th July 1991
(Source for Wembley: Superstar Concerts series broadcast, show highlights only, probably a first generation dub. Source for Star Lake: incomplete second generation soundboard dub by Relayerman.)
CDx3: Alpine Valley Music Theatre, Wisconsin 26th June 1991
CDx3: Alpine Valley Music Theatre, Wisconsin 26th June 1991
(Source: audience recording, second generation dub from 2007.)
CDx2+DVD: Madison Square Gardens, NYC 15th July 1991
CDx2+DVD: Madison Square Gardens, NYC 15th July 1991
(Source: audience recording, first generation dub by TheTooleMan.)
CDx3: Spectrum Theatre, Philadelphia, 12th July 1991
CDx3: Spectrum Theatre, Philadelphia, 12th July 1991
(Source: likely the soundboard recording currently in circulation)
CDx2+DVD: Shoreline Amphitheatre (Remastered) 8th August 1991
CDx2+DVD: Shoreline Amphitheatre (Remastered) 8th August 1991
(Source: Union Tour Live Japan-only release from 1999.)
CDx3: Yokohama Bunka Taiikukan 4th March 1992
CDx3: Yokohama Bunka Taiikukan 4th March 1992
(Source: audience recording, first generation dub)
As I noted in previous fandom discussion, what is missing from this collection is the pro-shot audio/video from Denver - May 9th, 1991 at McNichols Sports Arena. And that is the absolute best source of the tour overall, in my estimation, so its' absence is definitely noticeable. However, it was included on the original Union Live boxset. But this collection is a grab-bag of sources: audience recordings, soundboard-sourced audio, pro-recorded broadcasts and one pro-shot/recorded show. My reviews will take into consideration the source as well as the inherent quality of the recordings. I'm planning for the series to conclude with an examination of the contents of the boxset itself, thanks to someone actually purchasing it who will provide me with visual assistance.
But with this information, you could actually build your own boxset right now. You wouldn't get the included swag, but unless you already have an 80 Dates tourbook, I'm pretty sure you could find one on eBay or from some memorabilia dealer. I fully encourage anyone inclined to do so. As for me, I'm looking forward to looking back on an amazing tour from a once-in-a-lifetime lineup, having spent only my own time and effort on it, to be rewarded as much as anyone who might be shelling out over $300 for the alleged privilege.
Friday, January 1, 2021
Changes, disc ten: film music composed by Trevor Rabin promo
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
* ~ * ~ *
And that applies to the last disc, as I had published an entry on this release in its' original form as part of my Collector's Corner series in 2015.
I would definitely name this disc as one of the collector's holy grails given its' previously rare status (and, reflecting that, high price) and so its' inclusion in the boxset is a nice gesture to fans. Admittedly, I was gratified to be able to discuss my analysis of the promo's raison d'être with Trevor (who, for the record, didn't disagree with my comments) because it is a very interesting artifact of his scoring career in my estimation.
And as it stands, this may be the only curated compilation of Trevor's scoring work we will be able to own and enjoy. I hope that is not the case, but one never knows.
* ~ * ~ *
As I asserted in the original essay, this promo has a specific purpose to it but also is representative of the early years of Trevor's career as a film scorer in Hollywood, specifically 1997-2002; and so in a way it makes sense that beyond the inciting events I mentioned, this disc was envisioned to provide Trevor further coverage as regards the potential of his overall career. After seven years (if we say Trevor took that path beginning in 1995) and 17 films (on which he was the principle composer or co-composer) there was still time not to be entirely typecast within the industry.
As has been noted in previous fandom discussion, the disc itself is rather short, but the purpose of a promo is to provide an introduction to a scorer's work, either from a general viewpoint or related to work on a particular film. So this compilation gave those in the industry making the decisions a chance to hear a different aspect of Trevor's talent, just enough to potentially influence their decisions if the selections as a whole achieved the goal.
And we would have to presume from the way "Aftermath" is labeled that it was already happening to an extent - it's all about context. So as with the previous entry regarding the Jack Frost promo, I want to discuss these themes/cues in the context of emotive, lyrical pieces of music - do they portray Trevor the composer in a more sensitive light?
I would also reiterate as Trevor was the one selecting the material, he did himself a disservice in not including "Frostbite" or anything from Whispers: An Elephant's Tale, although that might not have been possible for whatever reason.
* ~ * ~ *
My annotations on each track are the result of a couple years of research, as by that point (circa 2013) I had collected many of the score promos/DVD rips of Trevor's music (as regards those scores not officially released) as well as official releases, although in the case of The Banger Sisters I had to watch the film a few times to determine the source of those inclusions in this promo.
Remember the Titans (2000)
"Grace"
"Banger Sisters"
"Prague"
"A Beautiful Mind Trailer"
"Remembrance"
"Friendship"
"Sunrise"
"Gettysburg"
The score for this film contains a fair amount of stirring music as well as more reflective selections, and this piece would fall into the latter category, but it's quite lyrical. It does quote "Titans Spirit" just a bit as well. If anything the selections from the film on this disc make a good case for the score to finally receive a physical/digital release by a boutique label.
"Grace"
(an edit of "Harry and Grace Make Peace" with additional elements from the film's suite)
Armageddon (1998)
I consider "Harry and Grace Make Peace" to be one of those beautiful themes I've mentioned in other essays. This edit is delicately emotional and majestic.
"Banger Sisters"
(an edit of the main themes)
The Banger Sisters (2002)
The primary motif of the main theme is really compelling even as it's quite simple. There's a really interesting use of percussion and guitar in this score, although the film has a lot of licensed music in it as well. But including two pieces from this score is another "proof of concept" kind of decision overall.
"Prague"
(a promotional mix which combines the theme "Prague Main Titles" with elements of "Welcome To Prague")
Bad Company (2002)
"Prague" is absolutely one of Trevor's best themes ever - so gorgeous! This is an interesting edit, really evocative, and in its' own way as affecting as "BMBBO." I didn't mention this in the YMP podcast episode, but Bad Company is also one of my favorites of Trevor's scores.
"A Beautiful Mind Trailer"
(aka "Aftermath")
Deep Blue Sea (1999)
I like to think that "Aftermath" and "Titans Spirit" were the themes which really got Trevor noticed in the film world itself; when you write a theme which can be applied to more than one visual then you know you've done it right. You may have only meant for your music to accompany a specific moment, but universality is indicative of a particular creative power.
"Remembrance"
(aka "Trisha")
Con Air (1997)
The oldest of the material included here, and it really is an emotional moment in a film full of obnoxious over-the-top bluster (not music-wise though). Trevor's playing is understated but evocative.
"Friendship"
(an edit of two separate cues)
The Banger Sisters (2002)
I really love the particular tones Trevor used on this score. Given its' subject it made sense that it was a tad more guitar-heavy.
"Sunrise"
(aka "First Kiss")
American Outlaws (2001)
Trevor scored two Westerns (released the same year), and I would say this score is somewhat more lighter in tone overall (especially as it shifts idioms throughout) with some reflective moments. It's actually a rather underrated score, in my estimation.
"Gettysburg"
Remember the Titans (2000)
I like the grandeur this particular cue exhibits, it would foreshadow his work on such films as The Great Raid and The Guardian.
Onto the booklet now...which is of course totally different from the one included in the original promo, save Trevor's quote which originally appeared on the back cover. I would take issue with a few points in the liner notes (which I assume were written by Rob Ayling), as I don't believe all the details are necessarily correct. With all the images included it would lead one to believe that this is a more inclusive compilation when in fact it only represents one particular period. I think it would have been a better idea to just include one-sheet images from those films actually represented in the selections. The list of career credits is basically a cut-and-paste from Wikipedia (Fair Game should have been omitted as Trevor was not the principle composer on that film) and sure, at least one era-appropriate photo was included but again - with that ghastly red filter! Also, including the one-sheet for A Beautiful Mind is somewhat disingenuous, because although "Aftermath" was used in the trailer, none of Trevor's music is actually in the film itself. But these kinds of things are only revealed through research, and it's clear that was not a consideration in the overall assemblage of this box set.
* ~ * ~ *
Beyond the point in time which film music composed by Trevor Rabin represents, Trevor would continue to have a very successful career by most people's standards - eventually being selected as one of Variety's Billion Dollar Composers and the recipient of ASCAP's Henry Mancini Award (previously the Golden Soundtrack Award), given to composers for outstanding achievements and contributions to the world of film and television music. Other awards and accolades would also be bestowed. A piece of his scoring music provided the soundtrack for a moment of cultural zeitgeist which is still talked about to this day. 2006 could be considered his most successful year overall, with five films in release bearing his compositional credit. He worked in film and television as well as advertising and theme parks. In terms of longevity, relevance and opportunity I do believe anyone could make an argument for Trevor's overall performance in Hollywood. But taken in a larger historical context, this promo does hint at the possibility that success came at a particular price: populist but never quite serious, widely-known but never quite diverse, the guy writing music for bombastic popcorn flicks, even if it might have been the best popcorn ever.
And yet here we have evidence that Trevor was capable of passion and gravitas, it was always there even if perhaps it was never particularly desired on the part of those who employed him. It could be said that such a conundrum seems indicative of the external expectations regarding Trevor as an artist and a musician throughout his career. But this compilation does indeed contain music which is emotionally affecting and lyrical, as well as some of the best music of his scoring career overall.
There's an entire generation, at least, of fans who know Trevor Rabin as a film scorer and only later discovered that he had a prior career in rock music. Those fans deserve a more comprehensive score compilation, but also, if this particular part of Trevor's history is to be considered equally important as any other, then I would hope it is further illuminated in the future.
Wednesday, December 30, 2020
Media Watch: Changes makes a Best Of year-end list
Published today on the Something Else! website is columnist Preston Frazier's listicle featuring his picks for the best of those boxsets released in 2020, with Changes coming in fifth on the wide-ranging roundup.
https://somethingelsereviews.com/2020/12/30/best-of-2020-trevor-rabin-prince-greg-lake
Friday, December 4, 2020
Changes, disc nine: Jack Frost score promo
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
* ~ * ~ *
But it's also a score promo which has been available on the grey market for many years, that's how I originally obtained a copy of my own way back when. I tend to wonder how the selection was truly considered; I will assert that this promo was not licensed from Warner Bros. I could be wrong, but nothing else in this boxset was licensed outside of the existing arrangement between Trevor and Rob Ayling to distribute his back catalog and archival releases. As anyone who collects such items is aware, score promos are circulated within the industry for a variety of reasons - for example, to voting members of the Academy of Motion Picture Arts and Sciences for consideration when it's time to select a slate for Best Original Score in a particular year. But also copies will be sent to production companies to enable those responsible to adjudge a composer's work if they are considering that person for a project. And of course it's not unheard of for those promos to then make their way into the hands of collectors and used record stores and grey market "distributors." Those who offer promos online for trading are perhaps the least culpable in the sense that they're not charging for something which is not to be sold in the first place.
During my recent exchange with Trevor he decried those in the grey market profiting off his work, and I fully sympathize with that stance. Especially given what many of these people charge per disc. On the other hand, Trevor doesn't necessarily stand to profit again off his own work either, as he does not own the rights to any of his scoring work as it stands. So the inclusion of a score promo in an archival boxset and also for individual sale is cutting it very fine, I would say, as regards the legality of such a selection; as I don't believe that even enough time has elapsed for the rights to the Jack Frost score to potentially revert to Trevor.
But Jack Frost has been consigned to history as a box office bust and therefore could be considered a property that The Powers That Be are likely not too fussed about being used in this fashion, perhaps? The movie tends to be rather more a curiosity than a holiday classic for a few reasons: Michael Keaton as a reincarnated snowman? Really? Also Henry Rollins as the most intensely intense hockey coach (I think his performance is hilarious). In addition to Trevor and Lou's debut, this movie also features cameos by three of the Zappa kids (before the infamous years-long feud over their dad Frank's estate): Moon Unit as a schoolteacher, Dweezil as an A&R rep, and Ahmet as the town snowplow driver. But when I try to imagine one of Trevor's true great "lost" scores being included in this fashion - say, Remember the Titans or Whispers: An Elephant's Tale - well, I tend to believe that litigation would surely follow in the wake of such a decision. So while I think it's a nice gesture as regards the concept (making a previously unreleased score recording available to fans), the execution is yet another example of whatever can be gotten away with and I find that notion suspect as a philosophy.
If actual licensing could have been involved in the process, for example, then a nice bonus would have been the inclusion of those tracks which the Jack Frost Band "plays" in the film and were included on the original soundtrack release - a cover of "Frosty the Snowman" and "Don't Lose Your Faith" (aka "Have A Little Faith") which Trevor appears on.
The accompanying booklet contains stills from the film, one of which is a screencap from the opening scene with the Jack Frost Band (which is obvious because you can see part of a credit in the image). There is actually an existing production still featuring Keaton as Jack singing and you can see Trevor in the background, but that wouldn't have been as interesting to use.
I'll opine that it's not as good as my screencaps just in terms of appreciating Trevor's presence (I mean, look how grainy it is!), but after all, mine have that pesky Photobucket watermark all over them now. I will interject here with a bit of trivia: there was a Jack Frost Band mini-reunion when Trevor appeared on stage with Lili Haydn at the Concert on the Bluffs in 2016, which perhaps is one of those things only Rabid Rabinites would appreciate.
One way in which I think this booklet should have taken its' cue from the promo release was to credit those people on Trevor's team, such as Paul Linford, Gordon Goodwin, Don Harper and Steve Kempster. But in all this is rather a slapdash affair; at the very least I think a short paragraph from Trevor should have been provided to elevate this above the level of a grey market release.
Now onto the music, which I do believe is a wonderful thing to have in your possession even as a score promo does not reflect all of the music actually composed for a film. However, as Jack Frost relies heavily on licensed music there is less score than there would normally be in such an instance. In my previous essay I do opine on the music but I'm approaching this from the perspective of listening to the score rather than marrying the music with the movie so specifically.
Frostbite
Trevor could always be counted upon to write a strong memorable main theme, and "Frostbite" certainly achieves that objective. From those opening chords which are so lovely and delicate and evoke the appropriate emotions associated with love and loss, then progressing through layers of synth voicing to conjure a crystalline landscape of wonder, accented with the warmth of guitar. As I've stated numerous times before, this theme is one of the most beautiful pieces of music Trevor has ever written. As it recurs throughout the film I can understand placing it at the beginning of the running order on the promo, but I tend to believe it works better at the end in terms of the listening experience.
The Snowball Fight
I think this is fun in terms of how it contrasts orchestral and rock elements, something which Trevor would become known for throughout his scoring career.
It's Snowing
This could have been an actual song, the theme contains a delightfully propulsive riff and the harmonica and dobro lines provide an intriguing melody; it's easy to imagine it going on for another 2-3 minutes.
Magic Harmonica
I love the wistful mood of the piano on this one, how it leads into the "Frostbite" motif from another realm.
Miss Him Too
Woodwinds are always instruments of longing and regret and express that mood to me in this particular cue.
The Cabin
This has a definite Christmas vibe to me, it's easy to imagine the very place it is named for, a cozy cabin surrounded by snow, once again leading into the main theme.
Goodbye
As a cue, I appreciate how majestic and cinematic this one sounds, which is fitting for where it is placed in the film.
The J Shot
This theme moves through several different moods before resolving into "human highlight reel" music, which Trevor became known for (and in demand to produce). I really love his dobro playing on this one, which is such a lovely coloring against the strings.
Frost in Medford
I appreciate this as an elegant cue, either this or "Frostbite" really should have been included on the film music composed by Trevor Rabin promo to illustrate his abilities for more lighthearted fare.
Charlie Boy
I believe this cue should have been sequenced with "Goodbye" as they resolve one into the other.
Monday, November 2, 2020
Media Watch: PROG issue 114
In the latest issue of PROG (the story of Kate Bush's Never For Ever as the cover story) is a review of Changes penned by the publication's editor, Jerry Ewing.
The review discusses the box's contents with various editorializing, but he opines more than once regarding his confusion over the exclusion of Jacaranda. One might very well be confused until one realizes that Rob Ayling has no interest in actually attempting to license material for release. But maybe Ewing doesn't know that.
It is all nicely summed up thus:
Changes is an excellent appraisal of (most) of the career of one of modern progressive music's true giants. It leaves you in eager anticipation for his upcoming solo album.
Friday, October 30, 2020
Changes, discs 7 & 8: Live in L.A. and Boston
To order the Changes boxset (currently listed as Sold Out):
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
Note: I know I had promised this installment in the review series much earlier but it took me a long time to write this entry mostly because I was doing so much comparative listening. We're talking five different sources, which you might very well say is overkill. And you may be right about that, but for some reason I felt it was necessary in order to render a well-informed opinion.
For more than a few fans, Trevor's three-week 1989 North American club tour is more of a mythical consideration and would have remained so if not for the release of the recording of the Los Angeles show in 2003. It's never been precisely articulated why those tapes sat in storage for fourteen years but I'm assuming, like the other archival output, the impetus came from Rob Ayling to finally release it. Beyond that, the tour itself was an itinerary of legendary venues and intimate shows. Having listened to various recordings I can say that it sounds like a professional-level performance was delivered at every gig - even as there might be some slight variances - and wholly entertaining for fans, especially those who had never even dreamed they'd get a chance to see Trevor performing in such a setting.
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
Note: I know I had promised this installment in the review series much earlier but it took me a long time to write this entry mostly because I was doing so much comparative listening. We're talking five different sources, which you might very well say is overkill. And you may be right about that, but for some reason I felt it was necessary in order to render a well-informed opinion.
* ~ * ~ *
It would appear, at least from audience reaction, that the shows were successful in their aim even - when comparing the scope of the production to the number of actual people who witnessed it - if not from a financial perspective. And as to whether the tour aided in promoting Can't Look Away, that's another matter as well. Taking on a fairly brief headlining club tour as opposed to an opening slot on a summer blockbuster (such as Styx's guitarist Tommy Shaw did to promote his first solo release in pairing with Billy Squier, touring for Squier's release Signs of Life in the fall of 1984) months after the actual release of the album meant that some of the momentum had probably stalled by then. But again, this unique experience is what those who witnessed it can treasure in their recollections.
For example, journalist Elyse Glickman had this impression when seeing Trevor's gig at Chicago's Park West music venue on November 27th:
During a live concert, Trevor Rabin exposes many dimensions of himself to the audience. When singing his current light-hearted hit "Something To Hold On To" Rabin carries off a boyish charm reminiscent of his days as a teen idol in 1970s South Africa. In more serious songs like "I Can't Look Away" and "Changes" his expression is sincere and dignified. In an emotional performance, Rabin proves that he can go beyond the pomp and circumstance of Yes, his source of notoriety in the '80s, to stand on his own as a musical presence.
* ~ * ~ *
This entry in my Changes review series is also an instance of I've already reviewed it, in the case of the remastered Live in L.A. released by Varese Sarabande in 2014. I am providing a link to that review and also the entry about the '89 club tour as part of my "A Guide to Field Recordings" series.
https://rabinesque.blogspot.com/2014/10/some-traveling-music.html
https://rabinesque.blogspot.com/2016/07/a-guide-to-field-recordings-1989-tour.html
In my album review I provided the original setlist for the tour and I wanted to reprise it here as a starting point to discussing the recordings and for the sake of clarification.
Entrance: Lift Me Up (intro)
Cover Up
Sorrow (Your Heart)/Birdland (excerpt)
Heard You Cry Wolf
Changes
Etoile Noir (with Jim's bass solo)/Eyes of Love
Solly's Beard
Something To Hold On To
You Know Something I Don't Know* (with Mark's keyboard solo)/Promises
Sludge (featuring Lou's epic drum solo)
The differences within the versions - a direct recording versus a professionally mixed-and-mastered record - is illustrated in terms of the changes Trevor made either for the recording itself or in post-production. Even as there are backing tapes and sequencing incorporated within the performance itself there are still some elements which appeared to be added later, such as the echo spins in "Sorrow (Your Heart)." And I assume whatever flubs there might have been were also repaired during the mixing of the release. The Boston recording really is "warts and all." And it's valuable in that way, I am still convinced of the importance of its' availability to fans.
Heard You Cry Wolf
I love this song, as long-time readers of the blog are aware. But at the Boston show, Trevor was having a really hard time with staying in key, yikes! And this was a song recorded after his range had already dropped, historically-speaking. Honestly, I wouldn't be surprised if Trevor re-recorded his vocal for Live in L.A. And I don't take issue with that myself. At least he got the title right, because in San Diego he said it was "Cry Wolf." And because "Changes" was edited out on the Boston disc there's an abrupt cut which obliterates the ending, again, totally shoddy post-production work. Maybe because those songs directly segue one into another that wasn't the best choice in terms of making the edit.
Changes
I feel like this song was a benchmark on the tour - like, it was important to get it right every night. But again, it seems like Trevor might have rerecorded his vocal, or mixed it really dry in the recording. The version on Live in L.A. sounds better than other sources even as there's not much difference in the performances. What really makes me think this is the attack on the long note at the end of the first verse. We know if he can do that, then it's all okay. And none of the live versions I've heard are as good as the officially-released one in that respect. In Boston, Trevor can do it, but it's obvious that he's straining, and he can't hold it to let it fall off the way it's supposed to.
Best version? Live in L.A.
Etoile Noir/Eyes of Love
https://rabinesque.blogspot.com/2014/10/some-traveling-music.html
https://rabinesque.blogspot.com/2016/07/a-guide-to-field-recordings-1989-tour.html
In my album review I provided the original setlist for the tour and I wanted to reprise it here as a starting point to discussing the recordings and for the sake of clarification.
Entrance: Lift Me Up (intro)
Cover Up
Sorrow (Your Heart)/Birdland (excerpt)
Heard You Cry Wolf
Changes
Etoile Noir (with Jim's bass solo)/Eyes of Love
Solly's Beard
Something To Hold On To
You Know Something I Don't Know* (with Mark's keyboard solo)/Promises
Sludge (featuring Lou's epic drum solo)
I Can't Look Away
Encore:
Make It Easy/Owner of a Lonely Heart
Love Will Find A Way
*(Recently on an episode of Yes Music Podcast, the only two fans to actually witness Cinema performing [in 1982 at the John Henry rehearsal facility in London] referred to the former song as "Carry On" and that may well be the actual title. It's the title which became associated with the song as their recording of the rehearsal circulated in fandom during the intervening years. The reason I think it's titled as I've indicated has to do with the chorus, long-time fans know very well that Trevor normally places the song title in the chorus. To be fair, both phrases can be heard in the chorus. I believe I have seen a copyright filing with the title I use, but I can't conclusively verify that.)
Let's discuss the provenance of this recording. My apologies but I don't have the name/pseudonym of the original taper/seeder. If that person wishes to make themselves known to me or someone has that information and can impart it to me (via email) then I do wish to give proper credit.
It was originally a simulcast of the show on December 5th, 1989 from Boston's Paradise Theater on local FM station WBCN. Any and all versions of the Live in Boston recording stem from this single source. It was recorded onto cassette from the radio and then transferred to digital and speed-corrected using a Roland VS-1680 DAW then downloaded to CD-R and converted to FLAC for seeding/trading. At some point the Highland Project took this source and created the Cry Lonely Wolf version and released it on CD in 2008 (long after it had been put into circulation online) but that particular bootleg is not the original source of this recording even if it was used as the source, if that makes sense. And they're out of business now, so I consider that karma because...well...philosophically no one should be paying for bootlegs.
Of the three recordings from the '89 club tour which I have found it is absolutely the best quality because it was a radio simulcast. But despite whatever "remastering" (yes, I am using scare quotes in this case) has been utilized on the source and hence on this particular release, the source is actually at least a generation removed from what is available in trading circles. Plus, c'mon, Cry Lonely Wolf doesn't even have period-appropriate photos on the cover! Those are both Talk tour era photos. At least with Live in L.A. the effort was made to use images from 1989.
Of course, it could very well be that the source of this iteration is not the Highland Project release, and only the artwork is being referenced in the packaging. I don't actually know. But because I do believe a full show from the '89 tour should be widely-circulated and I have personally lobbied for such a thing for years, and this is the only way it's going to happen? My morals are just going to have to sit down and shut up. And Rob Ayling has already set a historical precedent for this kind of thing with Union Live.
The main goal I wanted to accomplish was comparative listening using my copy of the original seed versus the copy included in the boxset. But also, my primary point as regards the release itself - as a document of the '89 club tour - is this: Live in L.A. is the best listening experience in terms of the recording, mix-down and mastering, originally. You can really appreciate the performance of the songs, Trevor's peak as a guitar hero, and how the band as a whole worked quite well to entertain at an arena level within a club setting. The Live in Boston bootleg is the best listening experience of what the show was actually like from a historical standpoint, and that is something fans can definitely appreciate, whether they actually attended one of these gigs or not. I've encountered more fans over the years (myself included) who didn't see Trevor on the club tour than did and I think it's something we deserve to possess and enjoy. I remarked to Trevor during our latest exchange that because I was unable to travel to Tempe to see him (being a cash-strapped grad school student living in Albuquerque at the time) having a full show to listen to means a lot to me as a fan. I'm still regretful to this day but at least I can have a memory of what it was like. And so including both recordings in the Changes boxset is a nice completionist gesture, even as I'm not entirely certain it's really necessary.
Encore:
Make It Easy/Owner of a Lonely Heart
Love Will Find A Way
*(Recently on an episode of Yes Music Podcast, the only two fans to actually witness Cinema performing [in 1982 at the John Henry rehearsal facility in London] referred to the former song as "Carry On" and that may well be the actual title. It's the title which became associated with the song as their recording of the rehearsal circulated in fandom during the intervening years. The reason I think it's titled as I've indicated has to do with the chorus, long-time fans know very well that Trevor normally places the song title in the chorus. To be fair, both phrases can be heard in the chorus. I believe I have seen a copyright filing with the title I use, but I can't conclusively verify that.)
Let's discuss the provenance of this recording. My apologies but I don't have the name/pseudonym of the original taper/seeder. If that person wishes to make themselves known to me or someone has that information and can impart it to me (via email) then I do wish to give proper credit.
It was originally a simulcast of the show on December 5th, 1989 from Boston's Paradise Theater on local FM station WBCN. Any and all versions of the Live in Boston recording stem from this single source. It was recorded onto cassette from the radio and then transferred to digital and speed-corrected using a Roland VS-1680 DAW then downloaded to CD-R and converted to FLAC for seeding/trading. At some point the Highland Project took this source and created the Cry Lonely Wolf version and released it on CD in 2008 (long after it had been put into circulation online) but that particular bootleg is not the original source of this recording even if it was used as the source, if that makes sense. And they're out of business now, so I consider that karma because...well...philosophically no one should be paying for bootlegs.
Of the three recordings from the '89 club tour which I have found it is absolutely the best quality because it was a radio simulcast. But despite whatever "remastering" (yes, I am using scare quotes in this case) has been utilized on the source and hence on this particular release, the source is actually at least a generation removed from what is available in trading circles. Plus, c'mon, Cry Lonely Wolf doesn't even have period-appropriate photos on the cover! Those are both Talk tour era photos. At least with Live in L.A. the effort was made to use images from 1989.
Of course, it could very well be that the source of this iteration is not the Highland Project release, and only the artwork is being referenced in the packaging. I don't actually know. But because I do believe a full show from the '89 tour should be widely-circulated and I have personally lobbied for such a thing for years, and this is the only way it's going to happen? My morals are just going to have to sit down and shut up. And Rob Ayling has already set a historical precedent for this kind of thing with Union Live.
The main goal I wanted to accomplish was comparative listening using my copy of the original seed versus the copy included in the boxset. But also, my primary point as regards the release itself - as a document of the '89 club tour - is this: Live in L.A. is the best listening experience in terms of the recording, mix-down and mastering, originally. You can really appreciate the performance of the songs, Trevor's peak as a guitar hero, and how the band as a whole worked quite well to entertain at an arena level within a club setting. The Live in Boston bootleg is the best listening experience of what the show was actually like from a historical standpoint, and that is something fans can definitely appreciate, whether they actually attended one of these gigs or not. I've encountered more fans over the years (myself included) who didn't see Trevor on the club tour than did and I think it's something we deserve to possess and enjoy. I remarked to Trevor during our latest exchange that because I was unable to travel to Tempe to see him (being a cash-strapped grad school student living in Albuquerque at the time) having a full show to listen to means a lot to me as a fan. I'm still regretful to this day but at least I can have a memory of what it was like. And so including both recordings in the Changes boxset is a nice completionist gesture, even as I'm not entirely certain it's really necessary.
As I've already reviewed the Live in L.A. 2014 remaster I really don't have much to say about the original version as far as its' inclusion but if it has in fact been remastered for Changes, I can't really tell. It sounds pretty much identical to the version of the Voiceprint release I already have.
In regards to having compared the two sources of the bootleg, there has been some "goosing" I would say, in terms of boosting the mid-range, making some elements cut through a bit more, like the vocals and the guitar lines. I'm not certain that was the best decision. But overall you can still tell this is a bootleg, which I believe just goes to show there's only so much you can do with such a source. There's a lot of hiss. But because we're hearing the actual document of Trevor playing to less than a thousand people there is a certain immediacy which might be missing from the official version of the experience.
In regards to having compared the two sources of the bootleg, there has been some "goosing" I would say, in terms of boosting the mid-range, making some elements cut through a bit more, like the vocals and the guitar lines. I'm not certain that was the best decision. But overall you can still tell this is a bootleg, which I believe just goes to show there's only so much you can do with such a source. There's a lot of hiss. But because we're hearing the actual document of Trevor playing to less than a thousand people there is a certain immediacy which might be missing from the official version of the experience.
So now to consider the ninth show versus the fourteenth show (with a bit of lucky 13 thrown in)...
Lift Me Up (intro)/Cover Up
I believe most of us can agree that the intro to "Lift Me Up" makes for great entrance music. And I think "Cover Up" makes for a great opener as well, it's quite dramatic. It serves to establish everyone's acumen from the very beginning. But there is a very serious recording glitch in the Boston recording which is not on my original copy as far I'm aware. Again, how could this have gotten past quality control?! I remain unconvinced there was any. And it features the first of more than a few instances of Trevor flubbing the lyrics.
I believe most of us can agree that the intro to "Lift Me Up" makes for great entrance music. And I think "Cover Up" makes for a great opener as well, it's quite dramatic. It serves to establish everyone's acumen from the very beginning. But there is a very serious recording glitch in the Boston recording which is not on my original copy as far I'm aware. Again, how could this have gotten past quality control?! I remain unconvinced there was any. And it features the first of more than a few instances of Trevor flubbing the lyrics.
Best version? Live in L.A.
Sorrow (Your Heart)/Birdland (excerpt)
I love that "Birdland" was used as the coda to this song, it's such a treat and it fits in terms of utilizing a different ending. I don't particularly mind the post-production edits on the official release.
Best version? Live in L.A.
Sorrow (Your Heart)/Birdland (excerpt)
I love that "Birdland" was used as the coda to this song, it's such a treat and it fits in terms of utilizing a different ending. I don't particularly mind the post-production edits on the official release.
Best version? Live in L.A.
Heard You Cry Wolf
I love this song, as long-time readers of the blog are aware. But at the Boston show, Trevor was having a really hard time with staying in key, yikes! And this was a song recorded after his range had already dropped, historically-speaking. Honestly, I wouldn't be surprised if Trevor re-recorded his vocal for Live in L.A. And I don't take issue with that myself. At least he got the title right, because in San Diego he said it was "Cry Wolf." And because "Changes" was edited out on the Boston disc there's an abrupt cut which obliterates the ending, again, totally shoddy post-production work. Maybe because those songs directly segue one into another that wasn't the best choice in terms of making the edit.
Fun fact: this song is actually another example of Trevor's social commentary, at least according to the explanation he gave to Elyse Glickman, taking aim at the ZA government: "[It's about] covering up and making cosmetic changes. It's like the government is crying 'wolf' to fool everybody."
Best version? Live in L.A.
Changes
I feel like this song was a benchmark on the tour - like, it was important to get it right every night. But again, it seems like Trevor might have rerecorded his vocal, or mixed it really dry in the recording. The version on Live in L.A. sounds better than other sources even as there's not much difference in the performances. What really makes me think this is the attack on the long note at the end of the first verse. We know if he can do that, then it's all okay. And none of the live versions I've heard are as good as the officially-released one in that respect. In Boston, Trevor can do it, but it's obvious that he's straining, and he can't hold it to let it fall off the way it's supposed to.
Best version? Live in L.A.
Etoile Noir/Eyes of Love
The Boston show is important because we are treated to Jim's fretless bass solo; this song is fairly intricate and I enjoy the flourishes Trevor threw in, and I feel like that live version is able to breathe more, after a fashion. It sounds good for being a little looser. And the way he bends that one note in the verses? So good! But once again, in Boston Trevor flubs the lyrics. At the L.A. show they play it closer to the album.
Best version? Live in Boston
Solly's Beard
That intro? Priceless. As I've written an entire essay about this piece I feel like I don't need to expound upon it further, except to say that it's wonderful to hear an actual version from this tour. There's that one part though, which sort of almost becomes both "Memphis" and "Dueling Banjos" and how fun is that?!
Best version? Aaaaah, that's a trick question! But I think having an actual recording from the club tour is a good thing, so the point goes to Live in Boston.
Something To Hold On To
Solly's Beard
That intro? Priceless. As I've written an entire essay about this piece I feel like I don't need to expound upon it further, except to say that it's wonderful to hear an actual version from this tour. There's that one part though, which sort of almost becomes both "Memphis" and "Dueling Banjos" and how fun is that?!
Best version? Aaaaah, that's a trick question! But I think having an actual recording from the club tour is a good thing, so the point goes to Live in Boston.
Something To Hold On To
Because this was the lead single from the album I think they tried their best to make it fairly uniform each performance. Frankly yes, I am amazed that Trevor can hit that high note in the intro even on the boots. I do think it was mixed to sound a little less live on the actual album.
Best version? Whichever one you prefer.
You Know Something I Don't Know/Promises
You Know Something I Don't Know/Promises
As something which didn't make the cut for Live in L.A. the choice is obvious and it's great to have this opportunity, especially in its' unedited form (as it surely would have been edited had it ended up on the album). Whatever the first part is actually called, it's a pretty rockin' tune I must say. I know there are those who will consider this blasphemous, but it always makes me wonder what it would have been like if Mark Mancina were in YesWest because he's a total pro with soul. Casey wouldn't have been out of a job...but he might have had less to do. "Promises" is another song they try to make sound as close to the album as possible and this time it seems like he purposely changed the lyrics for some reason. Not wholly, just in a particular way. I like the echo spins on the chorus - I'm assuming it's meant to reprise the feel of that big gated reverb on the vocals in the chorus.
Best version? Well, there's only one, so there you go.
Sludge
Sludge
Another song I've gushed about previously so there's no need to go over that again; although I believe the boys played this well enough every night, after all the listening I've done I will say I think the L.A. version is the best-performed even as it's not the most complete. I think you can hear the keyboards better on the Boston recording and of course it's got Lou's epic drum solo. It may even be that it was another one fixed in the mix for the official recording. So it's really a draw for me, but again, the live experience provides the very best version of the song overall.
Best version? Whichever one you prefer.
Best version? Whichever one you prefer.
I Can't Look Away
Here now is the most fucking basic of errors:
The album? Can't Look Away.
The song? "I Can't Look Away."
So it's been mislabeled from the start on Live in L.A.. But you would think that SEVENTEEN YEARS would be long enough to realize that there was a mistake. Then again, consider the source.
You know who got it right, though? Varese Sarabande. So you know who I think is more professional.
The Boston show features what I would consider a more "raw" lead vocal. It's also got audience participation and that's fine but this song is Trevor's mission statement, so I believe it's far more important for him to sing it. Overall however, I think the L.A. version is much more show-stopping, even though I suspect it's been quite heavily augmented and fixed. But I'm convinced his solo in San Diego was a dress rehearsal for Los Angeles because it's equally as badass. Everything we love about Trevor as a guitar hero is in that solo.
Best version? Live in L.A.
Make It Easy/Owner of a Lonely Heart
On both the Live in L.A. and Boston versions the crowd does the majority of the singing so it's interesting to listen to recordings where Trevor is actually singing. "Owner" in its' final form is not in his range, as we know, so that always makes me tense. In San Diego it's not so bad, but it's not that good either. But I am disappointed Trevor edited out that funky breakdown which comes right before the last chorus. I think the party atmosphere of audience participation makes the song more fun, as is fitting for an encore. The L.A. crowd sounds better at singing, but that might also be the result of post-production tweaking.
Best version? Whichever one you prefer.
Make It Easy/Owner of a Lonely Heart
On both the Live in L.A. and Boston versions the crowd does the majority of the singing so it's interesting to listen to recordings where Trevor is actually singing. "Owner" in its' final form is not in his range, as we know, so that always makes me tense. In San Diego it's not so bad, but it's not that good either. But I am disappointed Trevor edited out that funky breakdown which comes right before the last chorus. I think the party atmosphere of audience participation makes the song more fun, as is fitting for an encore. The L.A. crowd sounds better at singing, but that might also be the result of post-production tweaking.
Best version? Whichever one you prefer.
Love Will Find A Way
The difference in the way this song was performed really depended on where it was in the setlist. It sounds a lot less ragged on Live in L.A. but it's also pretty obvious how augmented the song is in terms of backing tapes and sequencing. This is another one where I feel like they were trying to get as close to the record as possible. But again, it's nice to hear Trevor on lead for this one.Best version? Whichever one you prefer.
* ~ * ~ *
And now to the CD booklet, which I will say is a definite improvement in some ways on the original except for the image on page five....which is an obvious photoshop of the photo included in the Wikipedia article about the Paradise Theater/Paradise Rock Club. Why is that necessary? That's not even the original marquee, as the club was renamed (slightly) in the late '90s.
Really? REALLY?!
It just strikes me as wholly amateurish, but then again so does the original booklet. The liner notes may be dated March 2020, but it's the same text from the 2003 release save the end paragraph regarding the inclusion of the Boston show. I love that photo on page seven (an outtake from the CLA cover shoot) but again, why does it have to have that ghastly red filter?!
As I've stated previously, even though this release is nothing I would consider well-done and everything in keeping with the kind of non-quality Rob Ayling offers, the Boston recording is a historical document which I believe is important to Rabinites and one which can provide enjoyment even as many long-time die-hard fans would have already obtained it for themselves long before this.
Friday, August 28, 2020
Changes, disc six: 90124
To order the Changes boxset (currently listed as Sold Out):
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
"I think it is important to remember that 'Owner' was Yes' only number one, and that 90125 was their most successful album and was well-received by the most skeptical and cynical of critics. However, it has always been frustrating to me to be perceived as the guy who just writes the hit songs. Since the album and the single were so successful they have almost been equated with commercialism, rather than people just liking the album and buying it."
- Trevor Rabin, 1995
I thought the above quote was an interesting way to introduce this essay because it's a somewhat early example of Trevor attempting to contextualize his legacy in the way he believes is credible. What he desires to be recognized for versus the ongoing perception of fans, journalists/critics and the like. And the release of 90124 is another expression of that same desire, as he was now separated from that concern for nearly a decade and coming to understand that all involved had different agendas regarding the who, what, where, when and why of it all. So taking control of one's own narrative is perhaps the only way you might convince the greater number of interested parties of your own truth. But does this collection meet that objective? Yes and no, I would say.
It was the Noughts, and all the Rabid Rabinites were living in a world where they couldn't go out and buy a new Trevor Rabin solo album, or even an album from a band he might be in, but they could go to a movie and see his name up on the screen and listen to the music he created for it and that was a progression, certainly, even if not the one many of his fans desired. But most were keeping the faith, I would say. And then...the middle years of the decade provided manna in our desert: multiple archival releases from both Trevor and YesWest giving us further examples of what we love and why we love it.
A few years ago I had the idea of approaching a review of 90124 in the context of my "Trevor vs. Trevor" series, comparing the demos of classic YesWest songs with the fully realized versions but once again now we have this boxset and so here we are. I still think it's a good idea which hopefully I can expand upon sometime in the future. As well, earlier this year someone posted a playlist on YouTube which is his version of what the Cinema album would have been, and my opinion of that assemblage will also be the subject of an upcoming entry. For now I'm going to discuss what 90124 is...and what it should have been to be worthy of its' title.
What is significant about the timing of 90124 is it was released a year prior to the reissue of 90125 as part of Rhino's "Expanded & Remastered" series for the Yes back catalog from 1969-1983. And in the context of the original idea for the album it would have made for an interesting companion to the other. Instead what we have is more of a historical compilation of demos, which is not bad but rather more kitchen sink-ish. Thus I don't think the title fits at all given the actual contents. However, because 90124 was also supposedly the original title of that album (but had to be changed to the next number in the sequence in order to achieve worldwide uniformity) there is another layer of reference in using it beyond the notion of a historical pun (in addition to the fact that chronologically its' release coincides with 90125's 20th anniversary).
But as I've noted before in terms of how Trevor ultimately viewed the release, it was to prove a point. To quote the original entry for the album on his official website:
Plainly-stated, 90124 is only the official version of the idea, and yet because it's historically inclusive it does have an additional value in regard to what was already in rather wide circulation. So let's talk about what that is.
There are two sources of Cinema-era material which have been traded by fans for many years now in various iterations. One is a collection of Trevor's demo recordings. As we know, "Owner of a Lonely Heart," "Hold On," "Changes" and "City of Love" were originally composed by Trevor and underwent various modifications and reimaginings in the process of rehearsal and recording the material. Additionally, "Our Song" and "Hearts" contain parts which originated from songs also written by Trevor. So I believe Trevor's assertion - that 90125 is an album which was built on the foundation of his songs - is largely indisputable. The other source is a recording of a Cinema rehearsal courtesy of the only two fans who were allowed to witness that lineup, which occurred in 1982 at John Henry's Rehearsal Studios in London. You might have heard their story on a recent episode of Yes Music Podcast. That recording is of three songs and a couple of instrumental interludes.
DJ/journalist Doug Curran claims that he also has a Cinema-era demo tape in his possession, given to him by the band backstage at a 9012Live show, but it appears none of its' contents has made it into circulation which is unfortunate (for us) because he also claims the tape contains a recording of the mythical (in YesWest lore) composition "Time."
Henry Potts originally composed an entry on the release for the Yescography website back in 2003-2004 and included an original tracklisting for 90124 which is much more in keeping with the concept of "Songs originally written for Trevor's next solo album which were then given to Cinema and worked up/recorded for 90125." I would say that the majority of these were likely written in 1981-82; but as we know Trevor has stated that "Owner" was originally composed in 1979.
The addition of "Don't Give In" versus "Make It Easy" makes sense because the latter had already been released as part of the YesYears boxset in 1991 and its' inclusion on the expanded version of 90125 meant that it was already in the corporate vault. But because "It's Over" - a song solely credited to Trevor - was also included on the reissue of 90125, it does make me wonder how many songs total were officially recorded for the album and if there's any chance we could learn of the entire slate, so to speak, even if we might never get further bonus material.
"Hold On"
Demo: (1981)
Final: 90125 (1983)
In my drafts I have an entire essay devoted to "Hold On" and the pervasiveness of its' concept. Trevor has written this song at least four different times. I can certainly understand how Chris and Alan could have listened to the original demo and said, "Yeah, this is a good idea!" but at the same time understand that it needed to be evolved beyond what it was (hence why at least at first they were using the lyrics from "Moving In"). And what it became is a classic in the YesWest oeuvre.
Again dear readers, I unironically love this version of the song. There, I said it. It's the cheesiest thing Trevor has ever written (that we know of) but it's also incredibly compelling. The chord progression just does something to my central nervous system. And that simile for sex? Yeah, I don't even know what to tell you there, except maybe he thought it was funny? Was it just as simple as the fact that kite rhymes with light? It's hilarious but more in terms of laughing at than with, so to speak. But the next time someone says "Oh go fly a kite!" you know you will find yourself cracking up.
The "unplugged" intro of the vocal melody was obviously recorded at a different time (same as the one for "Owner") but it's a nice detail in terms of how the songwriting process often does start with something so simple which is then elaborated upon in the process of building the song to actually be performed by others.
"Changes"
Demo: (1981)
Final: 90125 (1983)
Trevor has noted previously that this is "kind of a melancholy song" and that is certainly true in its' original form. It's entirely moody in keeping with its' subject which belies what the song is actually about. Even as I appreciate all of the early '80s demos for providing a glimpse into Trevor's creative process and direction at that time, I feel "Changes" really did become the very best version of itself once subjected to the collaborative process.
"Moving In"
Demo: (1981)
Final: Unreleased
The reason why both "Hold On" and "Moving In" were included is best expressed by Trevor's comment in Yesstories: "So we kept the chorus from 'Hold On' and we used the verses from 'Moving In.'" This does illustrate how many versions a song can go through before it becomes the final product. I would say that when you compare the two, "Moving In" comes off better as a complete song, but on the other hand it's just not as delicious. Those of you who love the 90124 version of "Hold On" as much as I do know exactly what I mean.
"Would You Feel My Love"
Demo: (1981)
Final: Unreleased
I get why this song likely does have fans among Rabinites because it's romantic; even after all this time it's really difficult for me to articulate why I'm not that fond of it. I just don't particularly connect with it overall. But as Trevor says it was meant to make the cut at some point, here it is.
"Where Will You Be"
Demo: (1991)
Final: Talk (1994)
I can understand why Jon immediately wanted to sing over this track when he heard it, it's beautiful. And the demo served as the actual basis for the Talk version, as I noted in my essay on the album from 2016. It certainly makes a case for Trevor's talent for instrumentals and themes which was no doubt useful when attempting to get people in the film industry to take him seriously.
"Owner of a Lonely Heart"
Demo: (1981)
Final: 90125 (1983)
As Trevor noted in his interview for Notes from the Edge, this version is updated from the one he originally recorded. I consider it as sort of a bridge between the original and the final version in terms of how he envisioned the idea overall. Unlike many people I don't think it's awful; it has a rather playful quality and the way it shifts between melodic rock in the bridge and chorus and a kind of dance-pop feel in the verses is clever and fun.
"Walls"
Demo: (1990)
Final: Talk (1994)
This is my absolute favorite of the entire release and the only reason why I'm glad it did stray from the original concept. As I noted in my recent interview with Trevor, I absolutely love the blend which Trevor and Roger Hodgson attain in this song, it's like what they call "blood harmony" which is normally attributed to siblings because they have similar physiological bone structure and thus their voices can resonate at nearly the same frequency. That kind of close harmony which Trevor and Roger achieve gives me chills every time. Plus I think it's one of Trevor's best songs (and again it's not one which has a lot of support in the overall fanbase) in terms of the way the desire for emotional connection is expressed: the contrast between the pensive quality of the verses and the optimistic yearning of the chorus.
"Promenade"
Demo: (1987)
Final: Unreleased
I do love this, every time I listen to it I'm reminded of Trevor's promises for a release featuring these kind of "classical for electric guitar" renditions and then I get depressed because it's probably never going to happen. I think it would have made interesting entrance music for the Talk tour but that idea was scrapped, it seems. But again, there's also a demo which is older than the one on 90124 and it's essentially the same idea but not as elaborate or well-recorded which makes me think maybe he re-recorded it for this release?
"Love Will Find A Way"
Demo: (1985)
Final: Big Generator (1987)
There's credence to Trevor's story of being asked to compose a song for Stevie Nicks by way of a couple details:
-1- Yes and Stevie shared the same manager at the time (Tony Dimitriades).
-2- Outside songwriters had been commissioned for material during the making of Rock A Little; another example of a song which was not used (though by Stevie's choice) was "These Dreams," written by Martin Page and Bernie Taupin which was then recorded by Heart for their eponymous 1985 album. Yet another example was Stevie hearing the work tape of "Don't Come Around Here No More" in 1984 and telling Tom Petty and Dave Stewart that she wasn't touching the song because she couldn't do any better than Tom's vocal.
So that's three other hit singles Stevie missed out on, although she had two of her own from that album, so I think it all worked out. From my perspective, I'm not exactly certain that I'm hearing what Alan White heard in terms of potential for Yes, although I suppose it's possible that what he was hearing was something which could be popular but different as regards what YesWest was doing at the time. It's definitely a pop song and as with other demos on this release it is enjoyable hearing his (lone) lead vocal. But honestly, I'm more partial to the working version included in The Alternate Generator compendium, which I suppose indicates that I prefer when the song became Yes-ified.
"Miracle Of Life"
Demo: (1990)
Final: Union (1991)
This is just a great song, and I think most people - be they fans of YesWest or not - will acknowledge that. As with "Where Will You Be" the demo - a complete song in itself - is primarily the basis for the version included on Union. For me, it's entirely in the spirit of what many believe Yes should embody in terms of theme, ambition and execution.
"Don't Give In"
Demo: (1981)
Final: Unreleased
I'm not "aka"ing this song because I still stand by my assertion that "Don't Give In" and "Make It Easy" are two different songs no matter how they came to be. However, I will say that it was nice to see the correction of the title no matter the source, but if it was me? You're welcome.
I would posit this song has been mislabeled from the time that the demo for "Don't Give In" originally made it into circulation. Although the version on 90124 is closer to "Make It Easy" whereas in the original demo (which is instrumental) you can hear the connections to "Our Song." It does make me wonder if Trevor had two different songs as he did with "Hold On" and "Moving In" or if "Don't Give In" was the source and then the band took that and worked it up into "Make It Easy." The latter seems to make sense especially if you consider the similarities in each chorus, as well as the fact that "Don't Give In" only has one verse.
My main contention with the way Gonzo tried to present this in the context of the boxset is: how can this song be "Make It Easy" when that phrase appears nowhere in the lyrics?! All told, I think I prefer "Make It Easy" to the original idea, although strictly from an instrumental point of view it's certainly a piece of music which I can see appealing to Chris and Alan.
So let's return to that original list and consider if it was a good idea...
1. One Track Mind - yes, only because I've yet to encounter it in fandom circulation and I want to hear it, even if it's not as deliciously cheesy as "Slow Dancer."
2. Hold On - DEFINITELY FOREVER
But the original demo is different than the one which made it onto 90124 in that he may have re-recorded it or augmented it at some point. I think I prefer the 90124 version in that it's just more of everything, gloriously over the top.
3. It's Enough - I like this one, it has an anthemic vibe and it's catchy. So I'd be happy with it on 90124.
4. Changes - yes, it's an interesting snapshot of Trevor's AOR abilities.
5. Love Ain't Easy - this is probably aka "Girl It Ain't Easy (Living Without You)"
This reminds me so much of Trevor's material circa 1979-80 and as such I hope they would have decided against it. It's not wholly bad, just totally unsuitable for Cinema. So I would pass on this one.
6. Moving In - maybe? Technically it should be included. I guess I'm just prejudiced in favor of the exquisite cheese of "Hold On."
7. Who Were You With Last Night - as with "Love Ain't Easy" this is another one which just wouldn't have been right for Cinema and so thematically not a choice for inclusion. However, I have a theory that "You Know Something I Don't Know" is somehow based on this song, but I'm probably the only one who thinks that.
8. Baby I'm Easy - this is another of my guilty pleasures, but I would have been wholly in favor of it being included on 90124. I have a theory that it was originally written for someone else, based on the lyrics - like I have this feeling it was better-suited for Rene or Stevie (Lange, not Nicks).
9. Would You Feel My Love - that's still a "no" from me, dawg (despite technically adhering to the concept). "Harmony" would have been a far better choice, in my opinion.
10. Tonight's Our Night - I will assert that this is essentially yet another version of "Hold On" - I actually consider it the bridge between "Stop Turn" and "Hold On." But it's not quite as good, and he's borrowing from himself again. So when you've already got the best you don't need the rest.
11. Owner of a Lonely Heart - its' inclusion only settles the argument of whether or not it was born a hit single and not made into one if you're willing to believe the original really does have the requisite DNA, which many fans do not. But because it's on 90125 it definitely belongs here.
12. I'm With You - even as Trevor noted it was developed by the band but not chosen for 90125 I still quite enjoy this song so I'm disappointed that he decided to leave the demo off 90124.
13. Must Be Love - see "One Track Mind."
14. Don't Give In - I think the original instrumental version would be the best to include in this collection because it does point to elements of 90125 and that era.
What should be on 90124 in terms of early songs already in circulation? "Fools" definitely. Not only because it's the basis of "Hearts" but it features a guitar tour de force in the second half of the song. And it's actually less cheesy than "Hold On" I would say, even if Trevor is borrowing from himself lyrically (there's bits of "I Sleep Alone" and "Everybody's Cheating"). Also "You Know Something I Don't Know" aka "Carry On" since we know Cinema did have that song in their repertoire as well as "I'm With You." And Trevor says "Would You Feel My Love" was meant for 90125 and Jon wanted to sing it, so I'm going to have to take him at his word.
So in my estimation a true 90124 release would look something more like this:
I think this would have appealed to fans at least, though I'm not certain if it would have come off as an even more niche type of release. Perhaps overall a better concept would have been a two-disc set: one which could be 90124 and the other could be something like "Demos 1985-1992" covering material from the other three albums. I just think that the way 90124 is presented and the way it actually comes off in the listening leads to a sort of cognitive dissonance. But it's such a clever title I can understand why they didn't want to let go of it even as they decided not to adhere to the concept.
Granted, I'm not trying to say I don't enjoy 90124, because I do, mostly. Especially when it comes to the Union and Talk inclusions. I suppose it would be tantamount to sacrilege to state something like: "You know what these songs could use less of? Jon Anderson." but do I think that? Sometimes, yeah I do.
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
"I think it is important to remember that 'Owner' was Yes' only number one, and that 90125 was their most successful album and was well-received by the most skeptical and cynical of critics. However, it has always been frustrating to me to be perceived as the guy who just writes the hit songs. Since the album and the single were so successful they have almost been equated with commercialism, rather than people just liking the album and buying it."
- Trevor Rabin, 1995
I thought the above quote was an interesting way to introduce this essay because it's a somewhat early example of Trevor attempting to contextualize his legacy in the way he believes is credible. What he desires to be recognized for versus the ongoing perception of fans, journalists/critics and the like. And the release of 90124 is another expression of that same desire, as he was now separated from that concern for nearly a decade and coming to understand that all involved had different agendas regarding the who, what, where, when and why of it all. So taking control of one's own narrative is perhaps the only way you might convince the greater number of interested parties of your own truth. But does this collection meet that objective? Yes and no, I would say.
* ~ * ~ *
A few years ago I had the idea of approaching a review of 90124 in the context of my "Trevor vs. Trevor" series, comparing the demos of classic YesWest songs with the fully realized versions but once again now we have this boxset and so here we are. I still think it's a good idea which hopefully I can expand upon sometime in the future. As well, earlier this year someone posted a playlist on YouTube which is his version of what the Cinema album would have been, and my opinion of that assemblage will also be the subject of an upcoming entry. For now I'm going to discuss what 90124 is...and what it should have been to be worthy of its' title.
What is significant about the timing of 90124 is it was released a year prior to the reissue of 90125 as part of Rhino's "Expanded & Remastered" series for the Yes back catalog from 1969-1983. And in the context of the original idea for the album it would have made for an interesting companion to the other. Instead what we have is more of a historical compilation of demos, which is not bad but rather more kitchen sink-ish. Thus I don't think the title fits at all given the actual contents. However, because 90124 was also supposedly the original title of that album (but had to be changed to the next number in the sequence in order to achieve worldwide uniformity) there is another layer of reference in using it beyond the notion of a historical pun (in addition to the fact that chronologically its' release coincides with 90125's 20th anniversary).
But as I've noted before in terms of how Trevor ultimately viewed the release, it was to prove a point. To quote the original entry for the album on his official website:
This album is a fascinating insight showing how Trevor developed his songs and demonstrates how much his presence influenced the sound of YES.Given that various bootlegs of some of those demos were in circulation for likely 20 years at that particular point, it somehow doesn't surprise me that Rob Ayling would come up with such an gambit: entirely derivative, to seemingly trump a source already in existence, but in this particular case I will say that the sound quality is better overall because the provenance is straight from the creator. Having said that, I don't really discern any particular difference between this new mastering and Paul's mastering for the original release in 2003, which may have something to do with the source material. Some tracks sound better than others, which in part has to do with how the demos were originally recorded (as is affirmed in the 2003 liner notes).
Plainly-stated, 90124 is only the official version of the idea, and yet because it's historically inclusive it does have an additional value in regard to what was already in rather wide circulation. So let's talk about what that is.
DJ/journalist Doug Curran claims that he also has a Cinema-era demo tape in his possession, given to him by the band backstage at a 9012Live show, but it appears none of its' contents has made it into circulation which is unfortunate (for us) because he also claims the tape contains a recording of the mythical (in YesWest lore) composition "Time."
Henry Potts originally composed an entry on the release for the Yescography website back in 2003-2004 and included an original tracklisting for 90124 which is much more in keeping with the concept of "Songs originally written for Trevor's next solo album which were then given to Cinema and worked up/recorded for 90125." I would say that the majority of these were likely written in 1981-82; but as we know Trevor has stated that "Owner" was originally composed in 1979.
1. One Track MindOf everything which has been in circulation I estimate there's about 20-25 songs which Trevor brought into the new relationship, as it were, some of which did not make the cut here for the original concept.
2. Hold On
3. It's Enough
4. Changes
5. Love Ain't Easy
6. Moving In
7. Who Were You With Last Night
8. Baby I'm Easy
9. Would You Feel My Love
10. Tonight's Our Night
11. Owner Of A Lonely Heart
12. I'm With You
13. Must Be Love
14. Don't Give In
That tracklist is the one Voiceprint originally said would be on the album, but it was changed fairly late on to the release we got.
The addition of "Don't Give In" versus "Make It Easy" makes sense because the latter had already been released as part of the YesYears boxset in 1991 and its' inclusion on the expanded version of 90125 meant that it was already in the corporate vault. But because "It's Over" - a song solely credited to Trevor - was also included on the reissue of 90125, it does make me wonder how many songs total were officially recorded for the album and if there's any chance we could learn of the entire slate, so to speak, even if we might never get further bonus material.
* ~ * ~ *
"Hold On"
Demo: (1981)
Final: 90125 (1983)
In my drafts I have an entire essay devoted to "Hold On" and the pervasiveness of its' concept. Trevor has written this song at least four different times. I can certainly understand how Chris and Alan could have listened to the original demo and said, "Yeah, this is a good idea!" but at the same time understand that it needed to be evolved beyond what it was (hence why at least at first they were using the lyrics from "Moving In"). And what it became is a classic in the YesWest oeuvre.
Again dear readers, I unironically love this version of the song. There, I said it. It's the cheesiest thing Trevor has ever written (that we know of) but it's also incredibly compelling. The chord progression just does something to my central nervous system. And that simile for sex? Yeah, I don't even know what to tell you there, except maybe he thought it was funny? Was it just as simple as the fact that kite rhymes with light? It's hilarious but more in terms of laughing at than with, so to speak. But the next time someone says "Oh go fly a kite!" you know you will find yourself cracking up.
The "unplugged" intro of the vocal melody was obviously recorded at a different time (same as the one for "Owner") but it's a nice detail in terms of how the songwriting process often does start with something so simple which is then elaborated upon in the process of building the song to actually be performed by others.
"Changes"
Demo: (1981)
Final: 90125 (1983)
Trevor has noted previously that this is "kind of a melancholy song" and that is certainly true in its' original form. It's entirely moody in keeping with its' subject which belies what the song is actually about. Even as I appreciate all of the early '80s demos for providing a glimpse into Trevor's creative process and direction at that time, I feel "Changes" really did become the very best version of itself once subjected to the collaborative process.
"Moving In"
Demo: (1981)
Final: Unreleased
The reason why both "Hold On" and "Moving In" were included is best expressed by Trevor's comment in Yesstories: "So we kept the chorus from 'Hold On' and we used the verses from 'Moving In.'" This does illustrate how many versions a song can go through before it becomes the final product. I would say that when you compare the two, "Moving In" comes off better as a complete song, but on the other hand it's just not as delicious. Those of you who love the 90124 version of "Hold On" as much as I do know exactly what I mean.
"Would You Feel My Love"
Demo: (1981)
Final: Unreleased
I get why this song likely does have fans among Rabinites because it's romantic; even after all this time it's really difficult for me to articulate why I'm not that fond of it. I just don't particularly connect with it overall. But as Trevor says it was meant to make the cut at some point, here it is.
"Where Will You Be"
Demo: (1991)
Final: Talk (1994)
I can understand why Jon immediately wanted to sing over this track when he heard it, it's beautiful. And the demo served as the actual basis for the Talk version, as I noted in my essay on the album from 2016. It certainly makes a case for Trevor's talent for instrumentals and themes which was no doubt useful when attempting to get people in the film industry to take him seriously.
"Owner of a Lonely Heart"
Demo: (1981)
Final: 90125 (1983)
As Trevor noted in his interview for Notes from the Edge, this version is updated from the one he originally recorded. I consider it as sort of a bridge between the original and the final version in terms of how he envisioned the idea overall. Unlike many people I don't think it's awful; it has a rather playful quality and the way it shifts between melodic rock in the bridge and chorus and a kind of dance-pop feel in the verses is clever and fun.
"Walls"
Demo: (1990)
Final: Talk (1994)
This is my absolute favorite of the entire release and the only reason why I'm glad it did stray from the original concept. As I noted in my recent interview with Trevor, I absolutely love the blend which Trevor and Roger Hodgson attain in this song, it's like what they call "blood harmony" which is normally attributed to siblings because they have similar physiological bone structure and thus their voices can resonate at nearly the same frequency. That kind of close harmony which Trevor and Roger achieve gives me chills every time. Plus I think it's one of Trevor's best songs (and again it's not one which has a lot of support in the overall fanbase) in terms of the way the desire for emotional connection is expressed: the contrast between the pensive quality of the verses and the optimistic yearning of the chorus.
"Promenade"
Demo: (1987)
Final: Unreleased
I do love this, every time I listen to it I'm reminded of Trevor's promises for a release featuring these kind of "classical for electric guitar" renditions and then I get depressed because it's probably never going to happen. I think it would have made interesting entrance music for the Talk tour but that idea was scrapped, it seems. But again, there's also a demo which is older than the one on 90124 and it's essentially the same idea but not as elaborate or well-recorded which makes me think maybe he re-recorded it for this release?
"Love Will Find A Way"
Demo: (1985)
Final: Big Generator (1987)
There's credence to Trevor's story of being asked to compose a song for Stevie Nicks by way of a couple details:
-1- Yes and Stevie shared the same manager at the time (Tony Dimitriades).
-2- Outside songwriters had been commissioned for material during the making of Rock A Little; another example of a song which was not used (though by Stevie's choice) was "These Dreams," written by Martin Page and Bernie Taupin which was then recorded by Heart for their eponymous 1985 album. Yet another example was Stevie hearing the work tape of "Don't Come Around Here No More" in 1984 and telling Tom Petty and Dave Stewart that she wasn't touching the song because she couldn't do any better than Tom's vocal.
So that's three other hit singles Stevie missed out on, although she had two of her own from that album, so I think it all worked out. From my perspective, I'm not exactly certain that I'm hearing what Alan White heard in terms of potential for Yes, although I suppose it's possible that what he was hearing was something which could be popular but different as regards what YesWest was doing at the time. It's definitely a pop song and as with other demos on this release it is enjoyable hearing his (lone) lead vocal. But honestly, I'm more partial to the working version included in The Alternate Generator compendium, which I suppose indicates that I prefer when the song became Yes-ified.
"Miracle Of Life"
Demo: (1990)
Final: Union (1991)
This is just a great song, and I think most people - be they fans of YesWest or not - will acknowledge that. As with "Where Will You Be" the demo - a complete song in itself - is primarily the basis for the version included on Union. For me, it's entirely in the spirit of what many believe Yes should embody in terms of theme, ambition and execution.
"Don't Give In"
Demo: (1981)
Final: Unreleased
I'm not "aka"ing this song because I still stand by my assertion that "Don't Give In" and "Make It Easy" are two different songs no matter how they came to be. However, I will say that it was nice to see the correction of the title no matter the source, but if it was me? You're welcome.
I would posit this song has been mislabeled from the time that the demo for "Don't Give In" originally made it into circulation. Although the version on 90124 is closer to "Make It Easy" whereas in the original demo (which is instrumental) you can hear the connections to "Our Song." It does make me wonder if Trevor had two different songs as he did with "Hold On" and "Moving In" or if "Don't Give In" was the source and then the band took that and worked it up into "Make It Easy." The latter seems to make sense especially if you consider the similarities in each chorus, as well as the fact that "Don't Give In" only has one verse.
My main contention with the way Gonzo tried to present this in the context of the boxset is: how can this song be "Make It Easy" when that phrase appears nowhere in the lyrics?! All told, I think I prefer "Make It Easy" to the original idea, although strictly from an instrumental point of view it's certainly a piece of music which I can see appealing to Chris and Alan.
* ~ * ~ *
So let's return to that original list and consider if it was a good idea...
1. One Track Mind - yes, only because I've yet to encounter it in fandom circulation and I want to hear it, even if it's not as deliciously cheesy as "Slow Dancer."
2. Hold On - DEFINITELY FOREVER
But the original demo is different than the one which made it onto 90124 in that he may have re-recorded it or augmented it at some point. I think I prefer the 90124 version in that it's just more of everything, gloriously over the top.
3. It's Enough - I like this one, it has an anthemic vibe and it's catchy. So I'd be happy with it on 90124.
4. Changes - yes, it's an interesting snapshot of Trevor's AOR abilities.
5. Love Ain't Easy - this is probably aka "Girl It Ain't Easy (Living Without You)"
This reminds me so much of Trevor's material circa 1979-80 and as such I hope they would have decided against it. It's not wholly bad, just totally unsuitable for Cinema. So I would pass on this one.
6. Moving In - maybe? Technically it should be included. I guess I'm just prejudiced in favor of the exquisite cheese of "Hold On."
7. Who Were You With Last Night - as with "Love Ain't Easy" this is another one which just wouldn't have been right for Cinema and so thematically not a choice for inclusion. However, I have a theory that "You Know Something I Don't Know" is somehow based on this song, but I'm probably the only one who thinks that.
8. Baby I'm Easy - this is another of my guilty pleasures, but I would have been wholly in favor of it being included on 90124. I have a theory that it was originally written for someone else, based on the lyrics - like I have this feeling it was better-suited for Rene or Stevie (Lange, not Nicks).
9. Would You Feel My Love - that's still a "no" from me, dawg (despite technically adhering to the concept). "Harmony" would have been a far better choice, in my opinion.
10. Tonight's Our Night - I will assert that this is essentially yet another version of "Hold On" - I actually consider it the bridge between "Stop Turn" and "Hold On." But it's not quite as good, and he's borrowing from himself again. So when you've already got the best you don't need the rest.
11. Owner of a Lonely Heart - its' inclusion only settles the argument of whether or not it was born a hit single and not made into one if you're willing to believe the original really does have the requisite DNA, which many fans do not. But because it's on 90125 it definitely belongs here.
12. I'm With You - even as Trevor noted it was developed by the band but not chosen for 90125 I still quite enjoy this song so I'm disappointed that he decided to leave the demo off 90124.
13. Must Be Love - see "One Track Mind."
14. Don't Give In - I think the original instrumental version would be the best to include in this collection because it does point to elements of 90125 and that era.
What should be on 90124 in terms of early songs already in circulation? "Fools" definitely. Not only because it's the basis of "Hearts" but it features a guitar tour de force in the second half of the song. And it's actually less cheesy than "Hold On" I would say, even if Trevor is borrowing from himself lyrically (there's bits of "I Sleep Alone" and "Everybody's Cheating"). Also "You Know Something I Don't Know" aka "Carry On" since we know Cinema did have that song in their repertoire as well as "I'm With You." And Trevor says "Would You Feel My Love" was meant for 90125 and Jon wanted to sing it, so I'm going to have to take him at his word.
So in my estimation a true 90124 release would look something more like this:
Owner of a Lonely Heart
Hold On
Changes
You Know Something I Don't Know
I'm With You
Would You Feel My Love
Don't Give In
Fools
I think this would have appealed to fans at least, though I'm not certain if it would have come off as an even more niche type of release. Perhaps overall a better concept would have been a two-disc set: one which could be 90124 and the other could be something like "Demos 1985-1992" covering material from the other three albums. I just think that the way 90124 is presented and the way it actually comes off in the listening leads to a sort of cognitive dissonance. But it's such a clever title I can understand why they didn't want to let go of it even as they decided not to adhere to the concept.
Granted, I'm not trying to say I don't enjoy 90124, because I do, mostly. Especially when it comes to the Union and Talk inclusions. I suppose it would be tantamount to sacrilege to state something like: "You know what these songs could use less of? Jon Anderson." but do I think that? Sometimes, yeah I do.
* ~ * ~ *
 |
| The exquisite vintage which is Trevor Rabin. |
Thankfully, the absolute travesty of the original 90124 booklet has been avoided in this version; it takes its' cue in the composition from the booklet for Trevor Rabin, offering excerpts of the article which journalist/Yes biographer Chris Welch originally composed, as well as "liner notes" created from Trevor's quotes in that article. However there's still an attribution missing because "Walls" should be credited to Trevor and Roger Hodgson. And the recording dates listed are also not complete. Of the images included - and I'm a fan of the one on page 7 especially - I don't understand why they didn't also use the one from 2003 which is included in the Archives booklet. Or a selection from that particular photo session which as far as I'm aware was to promote the 2003 releases. Like this one, which I'm also quite fond of.
And it's also nice to see there's a better crop of the J.L. Cooper Electronics ad on page 4 (even if chronologically it doesn't make any sense). But I think Trevor's comments regarding the songs themselves should have also been included in the text (albeit in a less confusing fashion than originally).
I appreciate how the original sleeve design of 90125 is reprised but I think the background color should have been something other than brown. Like purple, for example. But otherwise I don't have any complaints about the packaging concept except, again, none of those photos were used in the original booklet and at least one would have been nice. But also in terms of this release, as I remarked in a recent conversation on Yesfans (and I've changed my mind as regards my original opinion), the version of "Can't Find My Way Home" which Trevor recorded for The Banger Sisters - and was offered as an exclusive to those who originally purchased this album - should have been included as a bonus track.
So 90124 has been redeemed in its' execution in a few ways, but not in others. It is something which is wonderful to have even as it's not what it seems to be. Given the number of Trevor's unreleased songs which are out there to be found (via sources official and unofficial), you could actually create a double or triple album if you include 90124 and more is always a good thing, right? A theme song for us Rabinites should be a version of another song but this one would be titled "It's (Never) Enough."
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