Continuing this series, Trevor tells us about the gorgeous "Tumbleweed."
Showing posts with label TR videos. Show all posts
Showing posts with label TR videos. Show all posts
Wednesday, October 25, 2023
Friday, October 20, 2023
Track-by-track, part six
On this FriYAY!, Trevor tells us about "Goodbye," his Country-flavored offering from Rio.
Tuesday, October 17, 2023
Track-by-track, part five
This week Trevor discusses "Thandi," his passionate commentary on the cruelty of the ivory trade.
Friday, October 13, 2023
Tuesday, October 10, 2023
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.
Wednesday, September 13, 2023
Track-by-track, part two
Today sees the release of the second part of this series featuring Trevor's commentary on "Push."
Monday, September 4, 2023
presenting "Push"
Trevor's next single is released! As others in fandom discussion have pointed out, there are at least a couple quotations from other works included. I have also added the advance posting for the video, which premieres in the early morning hours of 9/5 for those of us in the US.
Friday, August 11, 2023
the story of "Big Mistakes" (part two)
It's another FriYAY! with a new video wherein Trevor explains the meaning of "Big Mistakes." It seems we might get a track-by-track for all the songs...hopefully?!
Friday, August 4, 2023
the story of "Big Mistakes"
It's FriYAY! because "Big Mistakes" is officially out in the world and in our ears.
Trevor comments: “‘Big Mistakes’ the first single on the album, is essentially about surviving my late teens/twenties, hence the lyric: ‘We played in the fire, we danced in the rain. Up all night we made Big Mistakes.’ I should have called the song ‘I Can’t Believe I’m Alive.'” Trevor plays all the instruments on the track, aside from the drums which were performed by Lou Molino III, and backing vocals from Dante Marchi & Liz Constantine.
As long-time fans are aware, Trevor has been working with Dante and Liz for over a decade on various projects, and Liz is now a two-time collaborator on Trevor's solo work. And of course it wouldn't be a Trevor solo track without Lou!
Here are some further release details for the album:
Rio will be available as a Ltd CD+Blu-ray Mediabook, Ltd Deluxe Gatefold Red 180g 2LP + Blu-ray (including 8-page LP-booklet and obi strip), both featuring bonus material, 5.1 surround sound & liner notes. Also available as Standard CD Jewelcase, Gatefold 180g
2LP+LP-booklet (with etching on side D), and as Digital Album.
And here is the full tracklisting:
1. Big Mistakes2. Push
3. Oklahoma
4. Paradise
5. Thandi
6. Goodbye
7. Tumbleweed
8. These Tears
9. Egoli
10. Toxic
The Ltd CD+Blu-ray Mediabook and Ltd Deluxe Gatefold Red 180g 2LP + Blue-ray also features the following bonus tracks:
1. Spek & Polly
2. Fragile (Demo)
3. Georgia
It's wonderful that we will finally be able to hear a professionally-mastered version of "Fragile" and "Georgia" is, I believe, Trevor's version of "Georgia on My Mind" that he originally shared with fans back in September 2014. The album features drumming assistance once again from Lou and Ryan and Vinnie Colaiuta on "Push," as well as Trevor himself on a few tracks.
The cover of Rio features one of Trevor's forays into digital artwork, which is what I suspected it might be.
“I dabble with digital art so I sent some images of mine to the label and was pleasantly surprised when they liked them.”And as with all of Trevor's music, Rio promises to showcase a lot of stylistic diversity:
Stylistically, Rio is tough to categorize. Besides guitar-driven rock-meets-pop, "Goodbye" is Country & Western with an edgy drive, while "Tumbleweed" begins in a burst of harmonies. No wonder its working title was The Demographic Nightmare.
“I wanted to get into many different areas,” Rabin states. “Of course there are ‘prog things,’ but overall there are a lot of styles going on.”
Wednesday, August 2, 2023
First single and video!
As noted on Facebook and Instagram this morning, the first single release from Rio is "Big Mistakes" and the song and video will debut on Friday!
Sunday, February 13, 2022
Rabbitt revival
As I posted back in November, it's been announced that Duncan, Ronnie and Neil are reuniting for a Rabbitt reunion tour of South Africa, which will begin in October of this year.
Archival footage of the band has begun popping up on the new Facebook page for the band (launched last year), portions of which fans have seen over the years in various documentaries and interviews. Most importantly they have begun posting full performances of various songs such as "Charlie," "Hard Ride," and "Baby's Leaving." And even more astonishing, a portion of Rabbitt's actual appearance on Dingley's Bookshop. I had been under the impression that the clip we knew of was from the opening credits of the show (as Duncan composed the theme and the band performed it) but it is actually from the episode in which they appeared, playing along to "Working For The People." And proving that Trevor did have an actual speaking part (though this is not enough to judge his acting).
It had seemed fairly obvious to me that Duncan has had all this in his possession - as his brother Bill was employed with the SABC for many years - and I appreciate that he's allowing these videos to be enjoyed by everyone now.
For anyone wishing to view the footage from the band's televised appearances be sure to visit the new Rabbitt Facebook page: https://www.facebook.com/rockrabbitt/
Monday, September 14, 2020
A Guide to Field Recordings: 9012Live
The timing of this entry is primarily prompted by a fandom works crossover so crazy it might actually work! Recently I joined fellow Yesfan and dear friend Jennifer Albright, co-creator/co-host of the Have You SEEN This? podcast, for a discussion of 9012Live - that cinematic classic and YesWest cultural document of everything which is both glorious and hilarious but also endearingly kitschy about the 1980s. My eternal love and thanks to Jen for entertaining my idea, being so gracious to allow me to come on her show, and for all the hours we've spent geeking out over prog rock through the years.
Official links for Have You SEEN This?
http://www.haveyouseen.us/
https://soundcloud.com/have-you-seen-this
The full version of the episode is about two-and-a-half hours and was kindly provided to me by Jen as an exclusive to Rabin-esque. You can listen/download via this link:
https://drive.google.com/file/d/1L3IIXocRSyN6agiSDJfok-67jD9DBPcV
This is a bonus episode of the show, so if you'd rather listen to the edited version you can join their Patreon to access it for a pledge of $2.00/month, which will also grant you access to all the other bonus content available. I highly recommend it if you'd like to support a really great podcast!
Have You SEEN This? Bonus episode 81: 9012Live
https://patreon.com/posts/41578832
I admit that I might have flubbed on a few things in my comments, so I will fully cop to any mistakes and offer apologies. I did have notes, but some of the discussion was off-the-cuff. And that discussion is equal parts serious and humorous and takes aim at some sacred tenets of Yes fandom, so I caution against potential offense to listeners, thus I offer a...
Content warning: contains profanity, snark, general affectionate irreverence and lampoonery courtesy of two fangirls who are also legitimately discerning adults.
Caveat audiens.
But as I already had a write-up of the film and the album in the works, I decided I would combine the two, so here now is my commentary on these releases, provided as an accompaniment to my remarks in the podcast and in observance of 9012Live's (in both forms) 35th anniversary this year.
Beyond fandom circles, Yes' concert film 9012Live is known for being director Steven Soderbergh’s professional debut; the movie is 67 minutes long and concentrates on songs from 90125, with only two songs included from the Classic Yes era. 9012Live received a Grammy nomination for Best Long-Form Music Video in 1987 but lost out to Sting’s documentary Bring On The Night. It was one of the earliest releases from Atlantic Records’ Home Video division, which was launched in mid-1985. In VHS form, 9012Live had an original retail list price of $29.88.
Content warning: contains profanity, snark, general affectionate irreverence and lampoonery courtesy of two fangirls who are also legitimately discerning adults.
Caveat audiens.
But as I already had a write-up of the film and the album in the works, I decided I would combine the two, so here now is my commentary on these releases, provided as an accompaniment to my remarks in the podcast and in observance of 9012Live's (in both forms) 35th anniversary this year.
*~*~*
The film was aired on HBO but was also screened in rock clubs as a worldwide promotional “video tour” beginning in February 1986, which was reportedly covered by MTV at the time.
9012Live and 9012Live: The Solos were released simultaneously in November 1985, the album was created as a companion to the film. The DVD release of the film came in 2006, featuring bonus content and a Director’s Cut without the Charlex effects, then an expanded version of the album was released in 2011 featuring two extra songs. But we still don’t have an officially-released pro-shot/recorded version of an entire 9012Live show...and we probably never will.
Although Charlex's involvement in the world of music videos would be relatively short-lived (though the company is still in operation to this day), their participation in the production of 9012Live was considered rather groundbreaking at the time. In May of 1985, Billboard covered Charlex’s work on the film for the Video Music section of the publication - Charlex was brought on board the project to “modernize” and “enhance” the film, to bring it more in line with the way music videos were being created at the time. This was the first time the special effects production company had been asked to work on a longer-form project, on the heels of their award-winning contributions to The Cars’ video for “You Might Think.” Lookout Management liked what they had done with The Cars' Heartbeat City videos collection from 1984 and asked them to do something similar for 9012Live. But while Charlex created only transitional pieces for The Cars' video album, they did much more for 9012Live, even beyond what was originally negotiated for their contract. They envisioned each song as a type of music video on its own while also including transitional pieces between songs as well as a framing device to begin and end the film (as long-time fans are aware, the ending is where the title for the next album came from), and used the palette of the album design and stage production as their guide for those elements which appear in color. Since all of the Charlex footage came from the 1950s (educational and industrial training films, for example), I find it amusing that it’s considered a modernization, but I know that’s strictly meant in terms of the use of post-production SFX. There’s all kinds of effects used for the “living electronic collage” they created as the framing device.
By the time Charlex received the film it had been edited down to nine songs. They were asked to leave “Owner of a Lonely Heart” alone - hence the sort of gimmicky (but not in a bad way, in my estimation) editing you see in that song instead, although I love that “smash cut on speed” utilized at the beginning, sequenced to that one famous sample. I wonder if maybe they considered releasing another single and video for “Owner” around that time consisting of that part of the film (hence why it has more obvious edits), but their choice was “Hold On.”
While I certainly prefer watching the film without the Charlex effects, I can appreciate the effort which went into them, both thematically and technically. As a piece of conceptual video I think it works some times ("Changes" and "City of Love") and not others ("Hold On" - which really just needs to be viewed in all its' actual bromantic glory). Historically I can understand why the braintrust thought it was a good idea to contemporize the band's efforts overall. Love it or hate it, YesWest has a distinct visual identity in the continuum and that's a big reason why I love it.
Filmed in Edmonton, Canada in September 1984 near the end of the North American 9012Live tour, the film is a mix of live footage and pick-up shots which were filmed during the day of the second show - it was a two-night stand, and they filmed both nights. I think it’s edited quite well but you can tell the difference, especially when it comes to “Starship Trooper” where everyone looks rather more sweaty in certain shots but not in others. Apparently the film was also meant to include the encore “Roundabout” but it was cut, perhaps because there’s a continuity error - Trevor isn’t wearing the same pants in all shots. In some it’s the black satin pants with the yellow striping, in others black leather pants. I think the leather pants may have been from when they were filming the pick-up shots. That portion is included as bonus content on the DVD release.
Watching the Director’s Cut versus the original version gives you an appreciation for the way Soderbergh decided to film the show, there’s an immediacy achieved without having to necessarily resort to the kind of editing and post-production which was typically utilized at the time by directors like Russell Mulcahy, Wayne Isham and Marty Callner. It seems a far more “natural” experience of a concert, if you could see a show up-close in that way. Compared to the way Yessongs was produced in 1972, for example. Yessongs is very dark and it’s primarily close-ups shot from the photographer’s pit mixed with long shots from the balcony and then also shots from the side of the stage. In 9012Live there are intentional editing cuts to the music at some points, and the use of varying types of composition to emphasize that this is a band onstage. The staging itself dictates a sort of artificiality of perspective and use of the space. Originally Yes was going to have Berlin as their opening act for the 9012Live tour but the raked stage set meant there was no room for another band to set up, thus fans got to watch cartoons while waiting for showtime and this set a precedent over the course of their particular career trajectory. But overall the editing is wholly engaging and dynamic and adds great value in terms of repeat viewing. Soderbergh stated in an interview from 2012 that at the time he was working on the film he believed he was turning into a formalist - he liked to polish things - but I don't view it as a drawback in this case.
The best thing about 9012Live, in my estimation, is that it is shot on film rather than video. It makes everybody look so gorgeous. And despite being an artifact of its' time that particular medium provides it with a certain timeless aura when viewed in the present day. It's amusing to me that many fans deride the '80sness of the film, especially in terms of hair and wardrobe but the truth is Yes has always been a band of its' time in that respect. They've always worn rather fancy stage outfits and sported haircuts which were trendy (Chris especially). So it's rather less hypocritical to opine that their '80s look was not to one's taste but the '70s were fine because reasons. It's certainly laughable now on some level, but really I think it's wonderful to have a document of a time when they were young and popular and excessively glorious. Because that's never happening again. I find it's something more than mere nostalgia to experience. To watch 9012Live provides something beyond memories of my own youth, it's joy in a particular triumph and that translates to their performances. If I'm depressed, 9012Live never fails to give me happiness. So in these trying times it's become entirely necessary in maintaining my overall mental health.
That's right: 9012Live is my self-care. There, I said it.
But it's not as if the performative aspect is underplayed in this film, there's editing choices which emphasize the personalities and staging very distinctly - such as "Leave It" which as we know now was pretty much entirely lip-synched (save for Trevor and Jon's lead verses and end refrains) and set to the single version of the song, augmented with a few instrumental flourishes. Certain parts of the performance are choreographed, and probably even more so for the sake of the film. As well, certain aspects of the production had changed by the second North American tour, as the laser effects were omitted but they continued to utilize the fairly large Vari-Lite rig. But it makes for an entertaining experience, even if it's one which makes you laugh (and possibly even sympathetically cringe). Again, Chris Squire was known for more than a few things, and his outsize personality and flamboyance onstage were legendary. The uniqueness of the situation is part and parcel of the film itself, meant to celebrate YesWest as much as market them to any portion of the public not already in their thrall. The Arena Rock performative aspect is entirely necessary in terms of entertainment value. It's also interesting to have a document which primarily focuses on their contemporary identity, as when the band performed they had to continue to acknowledge the past, culminating with the Eighty Dates tour in support of the Union release and a setlist which was more Classic Yes in its' makeup than what they were ostensibly supposed to be promoting. Fans were then somewhat shocked to witness the band playing nearly the entirety of Talk in 1994, as they had grown so used to the preponderance of Classic Yes songs in a typical YesWest setlist.
But this is what touring used to be about in the Long Long Ago - playing the new songs. And by taking on the mantle of Yes - and thus the collective history of the continuum - even an updated version of the band could never wholly focus on cultivating their own identity.
And so even the live album - if you can call it that - was again focusing on contemporary Yes, with the "solo" setpieces within the '84 setlist as well as two songs from 90125. It really comes off as more of a novelty than anything, although I think it's enjoyable as a live document even as it also subverts the established expectations of fans.
The additional songs included on the 2011 reissue had both been previously released:
"It Can Happen" - as the b-side of "It Can Happen" (Atlanta 4/16/84)
"City of Love" - as the b-side of "Rhythm of Love" (from 9012Live - Edmonton '84)
...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo setpiece of sorts and makes for a nice overture (as both YesWest and ARW amply demonstrated in their shows). But I certainly recommend getting the reissue for anyone who's a completist or perhaps has never owned a copy of this release previously. It's unfortunate that only the original release has been licensed for streaming. Of those full songs included, I do think the two which are most indicative of the YesWest live experience are "Hold On" and "City of Love" which sound so amazingly alive and masterful in their renditions. And I will say as someone who has never been that big of a fan of "It Can Happen" - the Atlanta version, while heavily augmented by sampling and backing tapes, is also really engaging. Repeated listening has caused me to realize that the figure Trevor plays behind the verses sounds a lot like the riffing in "Run Like Hell."
One consideration is if YesWest had released a traditional live album then the solo spots would have likely been omitted in favor of songs and so I suppose given a choice of one or the other it's understandable that someone (like the band) would have wanted documentation of this aspect of the live experience. It could even be that because we don't see this aspect in the film it also prompted the decision to make the solos the focus of the album.
Given what has been included overall via officially-released sources, here is how 9012Live: The Solos should be sequenced (in my opinion).
Hold On
Si/Solly's Beard
Changes
Soon
It Can Happen
Amazing Grace/Whitefish
City of Love
More than a few fans have also posited that they believe the version of "Solly's Beard" included on the remastered version of Trevor's Live in L.A. album was sourced from 9012Live: The Solos and I will say I also believe that's likely correct. I've done some comparative listening and it's definitely from 1984 as well as nearly identical in length. It certainly would have been the easiest source to obtain. It makes sense from a logistical standpoint but not a contextual one, which I elaborated upon in my "Trevor vs. Trevor" essay from 2016. But it is one of the best versions and also best-recorded, so I get it, even as it makes the research geek in me twitch because it's not a historically-accurate inclusion. Speaking of sources, the solo spots themselves are from their June 24th show in Dortmund (which was also filmed and televised in part) and the full songs from the 9012Live recording.
But also speaking of expansions...let's talk about the DVD extras because 9012Live is an example of a reissue which is entirely desirable with new (to us) and exciting bonus material (unlike pretty much everything else having to do with YesWest archival releases at least in the past decade or so). This is the visual release (besides YesYears) which is absolutely required for YesWest fans to own.
Access All Areas
This is a behind-the-scenes look at the '84 tour, but it's also almost an inversion of the expected format. I would call it perhaps an "observational documentary," a short film with a particular editorial perspective, one which is rather more frank about the backstage experience (but not in an overtly salacious kind of way). It's largely humorous but at times that's because all Steven has to do is point the camera and whomever is in the lens is "on." But I completely understand why it wasn't released in 1985, it's simply too honest about the business of touring and the business of YesWest - if in fact it was meant to be released at all; it's possible Soderbergh shot it for the organization's amusement, or his own for that matter. The ridiculous and the cunning are presented with equal focus and directness. I suppose you could say that it does dilute the glitz of what we imagine rock stars experience in that we witness the job of required social interaction with journalists, contest winners, radio station employees, and Atlantic Records reps in an endless parade of introductions and small talk. I am also amused that in those sequences the two people you don't see are Chris and Trevor. In fact you don't see a lot of Chris in general, which I assume is purposeful. Although you do get two distinct examples of his drier than a gin martini humor - Chris Squire was the master of a well-timed quip.
The most obvious example of commentary I can think of is the "Meanwhile..." intercut, illustrating that the performative aspect of rock n'roll touring only works as well as it does because it's actually powered not by its' stars, but by the people who take care of everything else behind it. The fact that the conversation in question is about a decision which one of those stars made (and it is something The Goon did not agree with) only underscores the distinction in terms of the power dynamics at work in this particular milieu.
And speaking of the little people: as much as the role of Casey Young has been downplayed over the years by various people (and then those claims subsequently debunked by Casey via social media) just think about how many times you see him backstage. He wasn't just a tech, he traveled with the band. He is actually identified in the end sequence. So let that perspective speak for itself, as it were. Casey had a job to do, but don't believe anyone who tries to convince us he didn't work all that hard.
And that reminds me! A recent edition of Yes Music Podcast features an interview with Casey - check it out (if you haven't already).
https://yesmusicpodcast.com/whos-that-under-the-stage-its-casey-young-and-hes-happy-to-talk-about-it-444/
Speaking of unsung heroes - the legendary road manager Richard Fernandez (the guy in the white hat) is shown several times along with his assistant Mickey Heyes, and these are the guys who really do all the work, along with the road crew, which Steven doesn't seem to be particularly interested in because we've never treated to a sequence showing load-in or out. It was kind of a cliche at that point, I suppose. But this leads me to ask...who is The Goon, exactly? He's a man who can make things happen, that's for sure. You always need a good fixer on the road, where anything can happen (and frequently does).
Naturally the greatest virtue of this short film is Trevor Rabin: sometimes bitchy, mostly goofy, wholly adorable. Who wouldn't want to just follow him around and chronicle his hijinks?
I think perhaps the most compelling aspect of Trevor's appearance is his air of Oh isn't this entirely ridiculous? coupled with the charm and charisma he has obviously possessed since birth, infusing his entire personality. The camera loves him, and so do we.
The Interviews
This is b-roll footage and it's uncertain what it's meant for but filmed concurrently in Edmonton. These segments were edited by his long-time collaborator Larry Blake (who was the sound recordist on Access All Areas). I think the whole is far more interesting for what isn't said as much as what is. But I also think they all tend to come off equally guarded and unguarded. There's as much equivocation as candor in their replies. And hairspray - lots and lots of hairspray.
9012Live and 9012Live: The Solos were released simultaneously in November 1985, the album was created as a companion to the film. The DVD release of the film came in 2006, featuring bonus content and a Director’s Cut without the Charlex effects, then an expanded version of the album was released in 2011 featuring two extra songs. But we still don’t have an officially-released pro-shot/recorded version of an entire 9012Live show...and we probably never will.
Although Charlex's involvement in the world of music videos would be relatively short-lived (though the company is still in operation to this day), their participation in the production of 9012Live was considered rather groundbreaking at the time. In May of 1985, Billboard covered Charlex’s work on the film for the Video Music section of the publication - Charlex was brought on board the project to “modernize” and “enhance” the film, to bring it more in line with the way music videos were being created at the time. This was the first time the special effects production company had been asked to work on a longer-form project, on the heels of their award-winning contributions to The Cars’ video for “You Might Think.” Lookout Management liked what they had done with The Cars' Heartbeat City videos collection from 1984 and asked them to do something similar for 9012Live. But while Charlex created only transitional pieces for The Cars' video album, they did much more for 9012Live, even beyond what was originally negotiated for their contract. They envisioned each song as a type of music video on its own while also including transitional pieces between songs as well as a framing device to begin and end the film (as long-time fans are aware, the ending is where the title for the next album came from), and used the palette of the album design and stage production as their guide for those elements which appear in color. Since all of the Charlex footage came from the 1950s (educational and industrial training films, for example), I find it amusing that it’s considered a modernization, but I know that’s strictly meant in terms of the use of post-production SFX. There’s all kinds of effects used for the “living electronic collage” they created as the framing device.
The source of the intro/outro:
"Young Man's Fancy" created for the Edison Electric Institute in 1952.
"Young Man's Fancy" created for the Edison Electric Institute in 1952.
By the time Charlex received the film it had been edited down to nine songs. They were asked to leave “Owner of a Lonely Heart” alone - hence the sort of gimmicky (but not in a bad way, in my estimation) editing you see in that song instead, although I love that “smash cut on speed” utilized at the beginning, sequenced to that one famous sample. I wonder if maybe they considered releasing another single and video for “Owner” around that time consisting of that part of the film (hence why it has more obvious edits), but their choice was “Hold On.”
While I certainly prefer watching the film without the Charlex effects, I can appreciate the effort which went into them, both thematically and technically. As a piece of conceptual video I think it works some times ("Changes" and "City of Love") and not others ("Hold On" - which really just needs to be viewed in all its' actual bromantic glory). Historically I can understand why the braintrust thought it was a good idea to contemporize the band's efforts overall. Love it or hate it, YesWest has a distinct visual identity in the continuum and that's a big reason why I love it.
Oh, and this. I love it for this too.
Filmed in Edmonton, Canada in September 1984 near the end of the North American 9012Live tour, the film is a mix of live footage and pick-up shots which were filmed during the day of the second show - it was a two-night stand, and they filmed both nights. I think it’s edited quite well but you can tell the difference, especially when it comes to “Starship Trooper” where everyone looks rather more sweaty in certain shots but not in others. Apparently the film was also meant to include the encore “Roundabout” but it was cut, perhaps because there’s a continuity error - Trevor isn’t wearing the same pants in all shots. In some it’s the black satin pants with the yellow striping, in others black leather pants. I think the leather pants may have been from when they were filming the pick-up shots. That portion is included as bonus content on the DVD release.
Watching the Director’s Cut versus the original version gives you an appreciation for the way Soderbergh decided to film the show, there’s an immediacy achieved without having to necessarily resort to the kind of editing and post-production which was typically utilized at the time by directors like Russell Mulcahy, Wayne Isham and Marty Callner. It seems a far more “natural” experience of a concert, if you could see a show up-close in that way. Compared to the way Yessongs was produced in 1972, for example. Yessongs is very dark and it’s primarily close-ups shot from the photographer’s pit mixed with long shots from the balcony and then also shots from the side of the stage. In 9012Live there are intentional editing cuts to the music at some points, and the use of varying types of composition to emphasize that this is a band onstage. The staging itself dictates a sort of artificiality of perspective and use of the space. Originally Yes was going to have Berlin as their opening act for the 9012Live tour but the raked stage set meant there was no room for another band to set up, thus fans got to watch cartoons while waiting for showtime and this set a precedent over the course of their particular career trajectory. But overall the editing is wholly engaging and dynamic and adds great value in terms of repeat viewing. Soderbergh stated in an interview from 2012 that at the time he was working on the film he believed he was turning into a formalist - he liked to polish things - but I don't view it as a drawback in this case.
The best thing about 9012Live, in my estimation, is that it is shot on film rather than video. It makes everybody look so gorgeous. And despite being an artifact of its' time that particular medium provides it with a certain timeless aura when viewed in the present day. It's amusing to me that many fans deride the '80sness of the film, especially in terms of hair and wardrobe but the truth is Yes has always been a band of its' time in that respect. They've always worn rather fancy stage outfits and sported haircuts which were trendy (Chris especially). So it's rather less hypocritical to opine that their '80s look was not to one's taste but the '70s were fine because reasons. It's certainly laughable now on some level, but really I think it's wonderful to have a document of a time when they were young and popular and excessively glorious. Because that's never happening again. I find it's something more than mere nostalgia to experience. To watch 9012Live provides something beyond memories of my own youth, it's joy in a particular triumph and that translates to their performances. If I'm depressed, 9012Live never fails to give me happiness. So in these trying times it's become entirely necessary in maintaining my overall mental health.
That's right: 9012Live is my self-care. There, I said it.
But it's not as if the performative aspect is underplayed in this film, there's editing choices which emphasize the personalities and staging very distinctly - such as "Leave It" which as we know now was pretty much entirely lip-synched (save for Trevor and Jon's lead verses and end refrains) and set to the single version of the song, augmented with a few instrumental flourishes. Certain parts of the performance are choreographed, and probably even more so for the sake of the film. As well, certain aspects of the production had changed by the second North American tour, as the laser effects were omitted but they continued to utilize the fairly large Vari-Lite rig. But it makes for an entertaining experience, even if it's one which makes you laugh (and possibly even sympathetically cringe). Again, Chris Squire was known for more than a few things, and his outsize personality and flamboyance onstage were legendary. The uniqueness of the situation is part and parcel of the film itself, meant to celebrate YesWest as much as market them to any portion of the public not already in their thrall. The Arena Rock performative aspect is entirely necessary in terms of entertainment value. It's also interesting to have a document which primarily focuses on their contemporary identity, as when the band performed they had to continue to acknowledge the past, culminating with the Eighty Dates tour in support of the Union release and a setlist which was more Classic Yes in its' makeup than what they were ostensibly supposed to be promoting. Fans were then somewhat shocked to witness the band playing nearly the entirety of Talk in 1994, as they had grown so used to the preponderance of Classic Yes songs in a typical YesWest setlist.
But this is what touring used to be about in the Long Long Ago - playing the new songs. And by taking on the mantle of Yes - and thus the collective history of the continuum - even an updated version of the band could never wholly focus on cultivating their own identity.
And so even the live album - if you can call it that - was again focusing on contemporary Yes, with the "solo" setpieces within the '84 setlist as well as two songs from 90125. It really comes off as more of a novelty than anything, although I think it's enjoyable as a live document even as it also subverts the established expectations of fans.
The additional songs included on the 2011 reissue had both been previously released:
"It Can Happen" - as the b-side of "It Can Happen" (Atlanta 4/16/84)
"City of Love" - as the b-side of "Rhythm of Love" (from 9012Live - Edmonton '84)
...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo setpiece of sorts and makes for a nice overture (as both YesWest and ARW amply demonstrated in their shows). But I certainly recommend getting the reissue for anyone who's a completist or perhaps has never owned a copy of this release previously. It's unfortunate that only the original release has been licensed for streaming. Of those full songs included, I do think the two which are most indicative of the YesWest live experience are "Hold On" and "City of Love" which sound so amazingly alive and masterful in their renditions. And I will say as someone who has never been that big of a fan of "It Can Happen" - the Atlanta version, while heavily augmented by sampling and backing tapes, is also really engaging. Repeated listening has caused me to realize that the figure Trevor plays behind the verses sounds a lot like the riffing in "Run Like Hell."
One consideration is if YesWest had released a traditional live album then the solo spots would have likely been omitted in favor of songs and so I suppose given a choice of one or the other it's understandable that someone (like the band) would have wanted documentation of this aspect of the live experience. It could even be that because we don't see this aspect in the film it also prompted the decision to make the solos the focus of the album.
Given what has been included overall via officially-released sources, here is how 9012Live: The Solos should be sequenced (in my opinion).
Hold On
Si/Solly's Beard
Changes
Soon
It Can Happen
Amazing Grace/Whitefish
City of Love
More than a few fans have also posited that they believe the version of "Solly's Beard" included on the remastered version of Trevor's Live in L.A. album was sourced from 9012Live: The Solos and I will say I also believe that's likely correct. I've done some comparative listening and it's definitely from 1984 as well as nearly identical in length. It certainly would have been the easiest source to obtain. It makes sense from a logistical standpoint but not a contextual one, which I elaborated upon in my "Trevor vs. Trevor" essay from 2016. But it is one of the best versions and also best-recorded, so I get it, even as it makes the research geek in me twitch because it's not a historically-accurate inclusion. Speaking of sources, the solo spots themselves are from their June 24th show in Dortmund (which was also filmed and televised in part) and the full songs from the 9012Live recording.
But also speaking of expansions...let's talk about the DVD extras because 9012Live is an example of a reissue which is entirely desirable with new (to us) and exciting bonus material (unlike pretty much everything else having to do with YesWest archival releases at least in the past decade or so). This is the visual release (besides YesYears) which is absolutely required for YesWest fans to own.
Access All Areas
This is a behind-the-scenes look at the '84 tour, but it's also almost an inversion of the expected format. I would call it perhaps an "observational documentary," a short film with a particular editorial perspective, one which is rather more frank about the backstage experience (but not in an overtly salacious kind of way). It's largely humorous but at times that's because all Steven has to do is point the camera and whomever is in the lens is "on." But I completely understand why it wasn't released in 1985, it's simply too honest about the business of touring and the business of YesWest - if in fact it was meant to be released at all; it's possible Soderbergh shot it for the organization's amusement, or his own for that matter. The ridiculous and the cunning are presented with equal focus and directness. I suppose you could say that it does dilute the glitz of what we imagine rock stars experience in that we witness the job of required social interaction with journalists, contest winners, radio station employees, and Atlantic Records reps in an endless parade of introductions and small talk. I am also amused that in those sequences the two people you don't see are Chris and Trevor. In fact you don't see a lot of Chris in general, which I assume is purposeful. Although you do get two distinct examples of his drier than a gin martini humor - Chris Squire was the master of a well-timed quip.
The most obvious example of commentary I can think of is the "Meanwhile..." intercut, illustrating that the performative aspect of rock n'roll touring only works as well as it does because it's actually powered not by its' stars, but by the people who take care of everything else behind it. The fact that the conversation in question is about a decision which one of those stars made (and it is something The Goon did not agree with) only underscores the distinction in terms of the power dynamics at work in this particular milieu.
And speaking of the little people: as much as the role of Casey Young has been downplayed over the years by various people (and then those claims subsequently debunked by Casey via social media) just think about how many times you see him backstage. He wasn't just a tech, he traveled with the band. He is actually identified in the end sequence. So let that perspective speak for itself, as it were. Casey had a job to do, but don't believe anyone who tries to convince us he didn't work all that hard.
And that reminds me! A recent edition of Yes Music Podcast features an interview with Casey - check it out (if you haven't already).
https://yesmusicpodcast.com/whos-that-under-the-stage-its-casey-young-and-hes-happy-to-talk-about-it-444/
Speaking of unsung heroes - the legendary road manager Richard Fernandez (the guy in the white hat) is shown several times along with his assistant Mickey Heyes, and these are the guys who really do all the work, along with the road crew, which Steven doesn't seem to be particularly interested in because we've never treated to a sequence showing load-in or out. It was kind of a cliche at that point, I suppose. But this leads me to ask...who is The Goon, exactly? He's a man who can make things happen, that's for sure. You always need a good fixer on the road, where anything can happen (and frequently does).
Naturally the greatest virtue of this short film is Trevor Rabin: sometimes bitchy, mostly goofy, wholly adorable. Who wouldn't want to just follow him around and chronicle his hijinks?
I think perhaps the most compelling aspect of Trevor's appearance is his air of Oh isn't this entirely ridiculous? coupled with the charm and charisma he has obviously possessed since birth, infusing his entire personality. The camera loves him, and so do we.
The Interviews
This is b-roll footage and it's uncertain what it's meant for but filmed concurrently in Edmonton. These segments were edited by his long-time collaborator Larry Blake (who was the sound recordist on Access All Areas). I think the whole is far more interesting for what isn't said as much as what is. But I also think they all tend to come off equally guarded and unguarded. There's as much equivocation as candor in their replies. And hairspray - lots and lots of hairspray.
PS: here's a couple fun facts...Soderbergh was only 21 when he directed 9012Live, and his birthday is the day after Trevor's. Capricorns: Most Likely to Become a Wunderkind.
PPS: I've brought this up before, but recently I read a retrospective review of 9012Live on a film blog and the person who wrote it joked that Soderbergh gave James Spader in Sex, Lies, and Videotape Jon Anderson's hairstyle and that is not correct. Don't get distracted by the blond thing. Soderbergh gave him Trevor's haircut circa the Edmonton shoot. It's positively uncanny.
Sunday, June 28, 2020
"acapella Disneyland" upside-down
There's so many reasons to enjoy the video for "Leave It" even as weird as it might be perceived to be (not the least of which is the incredibly rare sight of Trevor in a three-piece suit) and co-creator Kevin Godley of the world-famous Godley & Creme production team (and formerly of 10cc) gives us some insight into the process via a new post on Instagram.
As all 18 versions were reportedly shown on MTV back in 1984, fans were also treated to an "MTV Extra" making-of special filmed for the channel (and you can see Shelley on set at the 13:44 mark). This is the source of the urban legend (courtesy of the man himself) that Trevor suffered from polysplenia. The part Kevin refers to where the crew deserted the band during the shoot is also included.
Wednesday, May 1, 2019
This date in Yesstory: a rare unity
Spotted on Instagram: a great nod to yesterday's 28th anniversary of Union, the Yes album and tour which featured members from the Classic Yes and YesWest lineups. This shot - from the filming of the video for "Lift Me Up" - is a nice grouping of that once-in-a-lifetime lineup.
And because now is always a good time to watch the video...
Thursday, March 28, 2019
#tbt: the Golden Age of VHS
Spotted on Instagram: I know many of us long-time fans remember those glorious days of VCRs and VHS tapes (and probably still have them!) and seeing this photo takes me back, although I have both these releases on DVD. For newer fans, these are definitely videos you want in your collection: the YesYears: A Retrospective documentary released in 1991 and Greatest Video Hits from 1992.
Tuesday, October 23, 2018
Live At The Apollo review
Caveat lector: I have opinions. Not all of them are positive as regards this release.
Also many thanks to my colleague Graham for technical support.
The release of Live At The Apollo is finally here and by and large it has been positively reviewed both in the press and by fans. I agree that it's a great thing to own which will provide much enjoyment. But I also think there are some problems with it and so I plan to discuss both sides in my review.
It's truly superfluous for me to state that this is my opinion - my blog my opinion, doncha know - and I can certainly understand why many fans don't have any issues with the release. But I do want to make it clear that in a review I am going to provide my critical opinion and you can choose to agree with me or not. But don't come at me for having an opinion either way, thanks. I tend to think these days in the fandom realm people get confused regarding the uses of criticism; and even as I may be largely positive about many things I approach it all from a perspective of discernment.
I also wanted to note that I'm not including a lot of screencaps in my review because I'm planning at least two other entries devoted to that sort of thing, just in case you were wondering.
The Good Stuff
I had three reasons, primarily, for desiring this release:
-1- As an avid collector of YesWest live recordings I wanted yet another audio/video release featuring Trevor. I know there are plenty of other people out there with this same desire.
-2- I have attended ARW shows, but could never afford to sit close to the stage. A professionally-filmed show would allow me that perspective.
-3- Not that I'd say I'm the only one but...I wanted a professional-quality version of "Long Distance Runaround/The Fish" primarily for Lee Pomeroy's solo.
So I got two out of three of those desires, and like the song says: that ain't bad.
I really do enjoy this release; I know there are some in fandom who believe I am protesting unduly or am willing to trash the whole thing because item number three was not granted to me (or anyone else who might have wanted it). That is simply not true. As someone who attended multiple shows (even though it was not as many as I wish I could have seen) there is much replay value to this release for me and I've already watched/listened more than a few times just to reach the point where I can write this review from an informed perspective.
The 2016 setlist, once it was solidified, was a good one in my estimation and I'm just fine with the song selection as represented in this document. It is wonderful to have a professional-quality recording of this setlist as played by an ensemble who had finally reached a point of performance cohesion with the material and their chemistry as a band. As I've noted in my reviews of the performances/tours I think by this particular point in their collective history, ARW was turning in solid performances all around.
Even as I might find some fault with the way it was filmed, I appreciate that a seasoned director helmed this project and that it was shepherded at a professional level. It's well done, if not quite 9012Live in terms of cinematic perfection. Then again, that is just not possible anymore, for so many reasons.
To be honest, I'm just happy we actually have it, because I wasn't sure if it was going to be released. Although it was produced by an outside concern that wasn't necessarily enough assurance in terms of reaching the finish line (though I ardently wished that it would be, and it turned out okay in the end). So about that...
The waiting is *insert metaphor here*
Unless it was the plan all along as regards the observance of the anniversary or to coincide with the US tour, I don't understand why it took a year-and-a-half to get this release to market. As example, this November Eagle Rock is releasing a live album/video by prog legend Steven Wilson of a performance from March of this year in five different formats, also with a 5.1 Surround mix - thus proving that it does not take a year-and-a-half to accomplish such a feat. Since this release was available to buy at the recent shows I can only think that we were meant to wait that long. Of course, there might have been another reason entirely. I say this because, according to my research, the project cycle for an Eagle Rock live release tends to be about 6-8 months from production to sale.
"I think we should change the cover, though. A bit late!"
The above is an actual quote from Trevor, and certainly one may argue he was just joking but maybe not. I am on record as not having any particular affinity for Jay Nungesser's design work for ARW. For me, it's primarily the new logo, I don't like it. His ARW logo was much more appealing compared to the new Yes logo. I think the "Quintessential Yes" version of the overall design is far better still but I imagine the artwork for Live At The Apollo was created long before the new website design was completed so therefore it incorporates all of the previous elements (i.e. the maze and the cubes). The typeface and photos and all are fine, although I find it interesting that in the collage of photos Jon and Trevor are at the top of the page and Rick is relegated to a space with the sidemen at the bottom. I don't have a particular issue with the color scheme, but I have to admit I was a bit disappointed to discover that the packaging was reflecting the old design elements.
I know I'm not the only one who feels this way but I wanted to note this from a recent review of the Blu-ray on the AudiophileReview website:
(vigourous applause)
This next point has been a source of tireless debate in fandom thus far, and I have an opinion as does everyone else. Nobody is right or wrong I would say, but everyone is entitled to feel however they will about it. I'm taking a stand to declare that berating or ridiculing others regarding their feelings on this matter is not cool and if you've done this in fandom discussion or on social media, you should just stop it.
The added crowd noise in the audio (what I have referred to as crowd swells) is indeed annoying from my perspective but if you listen to it enough times solely on the audio I find it just becomes background noise. It's definitely strange strictly from the perspective of - if you were at the show or if you've watched audience footage of the show - knowing those in attendance were a typical prog-loving respectful UK-based audience and simply did not cheer every 30 seconds or so. Here's an example of what this crowd really sounded like during "Heart of the Sunrise" - I picked this video specifically because it is filmed from directly behind the production/mixing area so most of the crowd on the floor is in front of the person filming.
And in the Live At The Apollo video you can, at different points, witness the general demeanor of the audience, which is completely at odds with what you're hearing on the audio. There are washes of cheering during "And You and I" which you hear while you see the audience calmly absorbed within the performance before them. You hear one thing, you see another. I'm going to be blunt: that's just dumb. But what's done is done so fans will deal with it as they will. I can certainly understand the pushback occurring on social media, but I don't believe anything will be accomplished to remedy or change the release. However, in time I fully expect that a hobbyist audio engineer will at some point circulate a "hype-free" mix of the audio where the crowd noise has been turned down, so to speak.
Bare Bones
There are no bonus features on this release. None. I'm disappointed, sure, although I feel like it would have been too much to expect given how long it took to release this. I've noted before that there is a distinct lack of organization in the ARW business concern and I can't help but wonder if perhaps Eagle Rock requested that bonus features be provided or suggested that they be filmed, only to be met with resounding silence from the principles. I think at the very least we should have been provided with an audio track of "The Meeting" from a prior performance as that was an element of the 2016-17 setlist.
Digital-itis
It's not like I'm Quentin Tarantino demanding that movies be shot on film and projected from film, but the HD digital mediums for music and video are not entirely ideal in my opinion. There's something distinctly clinical about both aspects which can be both good and bad.
Interestingly, it's the nuance - there is so much nuance in Paul Linford's mix (and yes, I know that Paul and Trevor receive co-credit for the mix but Paul receives the leading credit so I'm going to assert it's primarily his mix) - which makes it an interesting and exciting experience to listen to, but at some points it is a little too cold for my tastes. But I do enjoy it even so, it shows the true character of this ensemble far better than any particular performance ever could, in my opinion, even with the enhancements (which I think are fairly unobtrusive). But I also know it's an all-digital recording so I would say that's probably the culprit. On the other hand, the HD video equipment used for shooting allows for any number of interesting camera angles and pans but it's a little too revealing sometimes. Things don't always look attractive in HD digital video. They call it the "Soap Opera Effect" and it can provoke Uncanny Valley levels of visual dread at times.
But also I have issues with some of the camera angles, like the camera which was placed somewhere in the vicinity of Trevor's right hip in order to capture shots of Lee (behind Trevor on his platform) which are just oddly-framed because of the positioning. And the very long shots where the stage appears in seeming miniature and granted, from the back of the hall (which seats 3500) it probably does look that way but I just don't see the point of including those kinds of shots. Some of the focus-pulls which I'm assuming were added in post are jarring to me as well. And the tracking is a bit too mechanical, as the cameras were all on automation. Far more convenient and less distracting in terms of having extra bodies on stage, but the movement of the cameras calls attention to that very consideration and so I found that distracting instead. And there are parts of Rick's solos where they fast-cut to every single camera angle they had for him and it reminded me of this one guy who had a cringingly amateurish music video show reel on YouTube and it was something like 20 cuts in 30 seconds which had the effect of making me want to claw my own eyes out.
On another point I did want to acknowledge the whimsy of making the opening sequence look like a film from 1968 which I thought was a nice touch; it actually enhanced the whole scripted quality of the band's entrance rather than emphasized the non-subtlety of it.
Consigned to the Recycle Bin of history
There's been some editing done to "Owner" because the segue into "Sunshine Of Your Love" has been cut out although I believe you can hear them coming out of it back into "Make It Easy" and then to the end of the song. Granted, it's a brief part when compared to other later renditions.
I do actually understand this edit for a couple reasons:
-1- Jon does not actually know the words, and it's funny but I don't know how well the joke would stand up in repeated listening/viewing.
-2- Who wants to pay licensing/royalties on something that's actually kind of a throw-away interpolation?
Speaking of edits, this brings me to one particular complaint I have with this release (and it shouldn't surprise any of my long-time readers) - the exclusion of Lou and Lee's solos. They weren't edited down, but rather cut completely out of the songs in which they were performed. And this truly baffles me because even if the reasoning is that someone at home might be bored by a five-minute solo, they could have still retained a minute or so to avoid the completely abrupt and confusing transitions where their solos are supposed to be.
Again, I'll be blunt: there is no good reason for this to have happened. Don't like the solos? Skip them. But give us the choice, don't edit out any of the performance when there's no need to do so, and there absolutely was not. It's like all of the generosity which allowed them to have a moment in the spotlight was then negated by excising those moments like they never existed at all. And I find myself very disappointed with whomever ultimately made that decision.
It's not totally spoiled but...
This was just a gaffe but it does disappoint me that the version of "Rhythm of Love" on this recording is missing an entire verse. It's my favorite of the setlist and again, I really wanted to have a professionally-recorded version of it. But for what it is, missing verse and all, it's a lot of fun although to my surprise I think the version of "Hold On" has more of a classic rock band kind of vibe to it. There's a certain crunchiness which is missing compared to previous performances of RoL.
Returning to my main gripe: the combined track of "Long Distance Runaround/The Fish" on Live At The Apollo comes to 6:17. The actual performance time of the songs - based on the audience video I've seen of that particular rendition - is a little over eleven minutes (if you subtract Jon's introductory remarks). Lee's solo comprises about five minutes of the total song. I'm not speaking from a position of attempting to demand anything from the production team, this is not me making an entitled rant. But I honestly don't understand why one of the highlights of the show - so much so that they actually made this section twice as long as it had been upon the original debut in 2016 - would be wholly deleted from the recording and concert film. Lee's performance of "The Fish" throughout those touring cycles was a wonderful tribute to Chris Squire as well as adding an additional layer of Yes-like legitimacy to the endeavor because to perform Yes music you need a great bass player, and I imagine now no one would dispute that Lee Pomeroy is one of the best the UK has to offer. His bravura and upbeat attitude made me a fan, and as a fan I'm gutted that it's not there. But I have already amassed a collection of audience videos and recordings on my hard drive to remind me of the good times, and you can't take that away from me, guys.
And I know what you're thinking: "Hey, there's nearly two minutes of Lee soloing in 'Heart of the Sunrise!'" And that is certainly true, and I truly appreciate that song didn't get edited down, trust me. I suppose if the reasoning was that Lee could have one solo but not two, well, okay - but that strikes me as a rather lame excuse if in fact it is one.
It has been suggested, due to the number of interpolations of other Yes songs in Lee's solo, it would have meant more of a licensing expenditure than what was already accomplished and thus provided a reason for its' exclusion, and I'll concede that might very well be. It's a reasonable assertion even as it also strikes me as a bit of pretzel logic. I don't accept it's the primary reason but it could certainly have influenced the decision though it's difficult to believe that Eagle Rock's licensing budget for this release would have been absolutely drained by such a consideration.
As much as the principles might have disapproved of YouTube videos - and thus this release was a response to such things - now audience recordings seem to be the only way to view the show as it was actually performed in toto.
So the video quality of this recording is not the greatest, although the sound is okay - but here is what we're missing in terms of experiencing a high-quality version of this section of the show (and I want to note that I found this particular video last year and added it to my collection, I'm not just now discovering it for the purpose of supporting my assertions).
Definitively not definitive
The interesting consideration for me as a fan and as someone with a critical appreciation for such things is that the audio and video releases present different experiences for different needs. When I need to listen to this great performance and enjoy it for what it is, then the audio serves that desire beautifully, whereas when I want to remember the experience of seeing ARW, the experience of the show itself, then I will (and have) listen to audience recordings instead. Same with the video - I'll watch a VOIO. What I get from the video portion of Live At The Apollo is an appreciation for their interplay and sense of enjoyment and fun, but not necessarily a true portrait of an actual show.
And given the reason this project was accomplished - to provide the definitive version of a recording of the live experience - I find that a bit ironic. This in fact does not replace audience recordings. It is certainly better quality overall but the decisions which were made from a production standpoint end up being at odds with what actually occurred.
But I also find that I'm enjoying it in the same way I enjoy recordings of the Union era and the Eighty Dates tour - an appreciation that this happened at all and we have the memory of that unique glory. Even if this release is not exactly what I want, it is quite enjoyable for the same reason that I enjoyed the ARW live experience to begin with: it gave me so much more elation than even I would have expected it to. And I truly hope that it does the same for you as well.
Also many thanks to my colleague Graham for technical support.
The release of Live At The Apollo is finally here and by and large it has been positively reviewed both in the press and by fans. I agree that it's a great thing to own which will provide much enjoyment. But I also think there are some problems with it and so I plan to discuss both sides in my review.
It's truly superfluous for me to state that this is my opinion - my blog my opinion, doncha know - and I can certainly understand why many fans don't have any issues with the release. But I do want to make it clear that in a review I am going to provide my critical opinion and you can choose to agree with me or not. But don't come at me for having an opinion either way, thanks. I tend to think these days in the fandom realm people get confused regarding the uses of criticism; and even as I may be largely positive about many things I approach it all from a perspective of discernment.
I also wanted to note that I'm not including a lot of screencaps in my review because I'm planning at least two other entries devoted to that sort of thing, just in case you were wondering.
The Good Stuff
I had three reasons, primarily, for desiring this release:
-1- As an avid collector of YesWest live recordings I wanted yet another audio/video release featuring Trevor. I know there are plenty of other people out there with this same desire.
-2- I have attended ARW shows, but could never afford to sit close to the stage. A professionally-filmed show would allow me that perspective.
-3- Not that I'd say I'm the only one but...I wanted a professional-quality version of "Long Distance Runaround/The Fish" primarily for Lee Pomeroy's solo.
So I got two out of three of those desires, and like the song says: that ain't bad.
I really do enjoy this release; I know there are some in fandom who believe I am protesting unduly or am willing to trash the whole thing because item number three was not granted to me (or anyone else who might have wanted it). That is simply not true. As someone who attended multiple shows (even though it was not as many as I wish I could have seen) there is much replay value to this release for me and I've already watched/listened more than a few times just to reach the point where I can write this review from an informed perspective.
The 2016 setlist, once it was solidified, was a good one in my estimation and I'm just fine with the song selection as represented in this document. It is wonderful to have a professional-quality recording of this setlist as played by an ensemble who had finally reached a point of performance cohesion with the material and their chemistry as a band. As I've noted in my reviews of the performances/tours I think by this particular point in their collective history, ARW was turning in solid performances all around.
Even as I might find some fault with the way it was filmed, I appreciate that a seasoned director helmed this project and that it was shepherded at a professional level. It's well done, if not quite 9012Live in terms of cinematic perfection. Then again, that is just not possible anymore, for so many reasons.
To be honest, I'm just happy we actually have it, because I wasn't sure if it was going to be released. Although it was produced by an outside concern that wasn't necessarily enough assurance in terms of reaching the finish line (though I ardently wished that it would be, and it turned out okay in the end). So about that...
The waiting is *insert metaphor here*
Unless it was the plan all along as regards the observance of the anniversary or to coincide with the US tour, I don't understand why it took a year-and-a-half to get this release to market. As example, this November Eagle Rock is releasing a live album/video by prog legend Steven Wilson of a performance from March of this year in five different formats, also with a 5.1 Surround mix - thus proving that it does not take a year-and-a-half to accomplish such a feat. Since this release was available to buy at the recent shows I can only think that we were meant to wait that long. Of course, there might have been another reason entirely. I say this because, according to my research, the project cycle for an Eagle Rock live release tends to be about 6-8 months from production to sale.
"I think we should change the cover, though. A bit late!"
The above is an actual quote from Trevor, and certainly one may argue he was just joking but maybe not. I am on record as not having any particular affinity for Jay Nungesser's design work for ARW. For me, it's primarily the new logo, I don't like it. His ARW logo was much more appealing compared to the new Yes logo. I think the "Quintessential Yes" version of the overall design is far better still but I imagine the artwork for Live At The Apollo was created long before the new website design was completed so therefore it incorporates all of the previous elements (i.e. the maze and the cubes). The typeface and photos and all are fine, although I find it interesting that in the collage of photos Jon and Trevor are at the top of the page and Rick is relegated to a space with the sidemen at the bottom. I don't have a particular issue with the color scheme, but I have to admit I was a bit disappointed to discover that the packaging was reflecting the old design elements.
I know I'm not the only one who feels this way but I wanted to note this from a recent review of the Blu-ray on the AudiophileReview website:
My only real nit pick on this release has nothing to do with the audio, the video or the performance. It is simply that the packaging design is lackluster for a release of this caliber. Even though the cover art does not feature design by Roger Dean -- the legendary artist whose images have become somewhat synonymous with the band -- the logo used here is rather ... well... pedestrian. Its just not iconic enough to match the stature of the band and this performance. This band deserves better.One thing I have noticed is that there is no packaging design/artwork credit for this release - to my knowledge Nungesser has never been publicly credited for his work on the previous website and merchandising (other than his own postings to social media) and you have to wonder if that's intentional. Unless Nungesser was the one to request that his name not appear, that is.
(vigourous applause)
This next point has been a source of tireless debate in fandom thus far, and I have an opinion as does everyone else. Nobody is right or wrong I would say, but everyone is entitled to feel however they will about it. I'm taking a stand to declare that berating or ridiculing others regarding their feelings on this matter is not cool and if you've done this in fandom discussion or on social media, you should just stop it.
The added crowd noise in the audio (what I have referred to as crowd swells) is indeed annoying from my perspective but if you listen to it enough times solely on the audio I find it just becomes background noise. It's definitely strange strictly from the perspective of - if you were at the show or if you've watched audience footage of the show - knowing those in attendance were a typical prog-loving respectful UK-based audience and simply did not cheer every 30 seconds or so. Here's an example of what this crowd really sounded like during "Heart of the Sunrise" - I picked this video specifically because it is filmed from directly behind the production/mixing area so most of the crowd on the floor is in front of the person filming.
And in the Live At The Apollo video you can, at different points, witness the general demeanor of the audience, which is completely at odds with what you're hearing on the audio. There are washes of cheering during "And You and I" which you hear while you see the audience calmly absorbed within the performance before them. You hear one thing, you see another. I'm going to be blunt: that's just dumb. But what's done is done so fans will deal with it as they will. I can certainly understand the pushback occurring on social media, but I don't believe anything will be accomplished to remedy or change the release. However, in time I fully expect that a hobbyist audio engineer will at some point circulate a "hype-free" mix of the audio where the crowd noise has been turned down, so to speak.
Bare Bones
There are no bonus features on this release. None. I'm disappointed, sure, although I feel like it would have been too much to expect given how long it took to release this. I've noted before that there is a distinct lack of organization in the ARW business concern and I can't help but wonder if perhaps Eagle Rock requested that bonus features be provided or suggested that they be filmed, only to be met with resounding silence from the principles. I think at the very least we should have been provided with an audio track of "The Meeting" from a prior performance as that was an element of the 2016-17 setlist.
Digital-itis
It's not like I'm Quentin Tarantino demanding that movies be shot on film and projected from film, but the HD digital mediums for music and video are not entirely ideal in my opinion. There's something distinctly clinical about both aspects which can be both good and bad.
Interestingly, it's the nuance - there is so much nuance in Paul Linford's mix (and yes, I know that Paul and Trevor receive co-credit for the mix but Paul receives the leading credit so I'm going to assert it's primarily his mix) - which makes it an interesting and exciting experience to listen to, but at some points it is a little too cold for my tastes. But I do enjoy it even so, it shows the true character of this ensemble far better than any particular performance ever could, in my opinion, even with the enhancements (which I think are fairly unobtrusive). But I also know it's an all-digital recording so I would say that's probably the culprit. On the other hand, the HD video equipment used for shooting allows for any number of interesting camera angles and pans but it's a little too revealing sometimes. Things don't always look attractive in HD digital video. They call it the "Soap Opera Effect" and it can provoke Uncanny Valley levels of visual dread at times.
But also I have issues with some of the camera angles, like the camera which was placed somewhere in the vicinity of Trevor's right hip in order to capture shots of Lee (behind Trevor on his platform) which are just oddly-framed because of the positioning. And the very long shots where the stage appears in seeming miniature and granted, from the back of the hall (which seats 3500) it probably does look that way but I just don't see the point of including those kinds of shots. Some of the focus-pulls which I'm assuming were added in post are jarring to me as well. And the tracking is a bit too mechanical, as the cameras were all on automation. Far more convenient and less distracting in terms of having extra bodies on stage, but the movement of the cameras calls attention to that very consideration and so I found that distracting instead. And there are parts of Rick's solos where they fast-cut to every single camera angle they had for him and it reminded me of this one guy who had a cringingly amateurish music video show reel on YouTube and it was something like 20 cuts in 30 seconds which had the effect of making me want to claw my own eyes out.
On another point I did want to acknowledge the whimsy of making the opening sequence look like a film from 1968 which I thought was a nice touch; it actually enhanced the whole scripted quality of the band's entrance rather than emphasized the non-subtlety of it.
Consigned to the Recycle Bin of history
There's been some editing done to "Owner" because the segue into "Sunshine Of Your Love" has been cut out although I believe you can hear them coming out of it back into "Make It Easy" and then to the end of the song. Granted, it's a brief part when compared to other later renditions.
-1- Jon does not actually know the words, and it's funny but I don't know how well the joke would stand up in repeated listening/viewing.
-2- Who wants to pay licensing/royalties on something that's actually kind of a throw-away interpolation?
Speaking of edits, this brings me to one particular complaint I have with this release (and it shouldn't surprise any of my long-time readers) - the exclusion of Lou and Lee's solos. They weren't edited down, but rather cut completely out of the songs in which they were performed. And this truly baffles me because even if the reasoning is that someone at home might be bored by a five-minute solo, they could have still retained a minute or so to avoid the completely abrupt and confusing transitions where their solos are supposed to be.
Again, I'll be blunt: there is no good reason for this to have happened. Don't like the solos? Skip them. But give us the choice, don't edit out any of the performance when there's no need to do so, and there absolutely was not. It's like all of the generosity which allowed them to have a moment in the spotlight was then negated by excising those moments like they never existed at all. And I find myself very disappointed with whomever ultimately made that decision.
It's not totally spoiled but...
This was just a gaffe but it does disappoint me that the version of "Rhythm of Love" on this recording is missing an entire verse. It's my favorite of the setlist and again, I really wanted to have a professionally-recorded version of it. But for what it is, missing verse and all, it's a lot of fun although to my surprise I think the version of "Hold On" has more of a classic rock band kind of vibe to it. There's a certain crunchiness which is missing compared to previous performances of RoL.
Returning to my main gripe: the combined track of "Long Distance Runaround/The Fish" on Live At The Apollo comes to 6:17. The actual performance time of the songs - based on the audience video I've seen of that particular rendition - is a little over eleven minutes (if you subtract Jon's introductory remarks). Lee's solo comprises about five minutes of the total song. I'm not speaking from a position of attempting to demand anything from the production team, this is not me making an entitled rant. But I honestly don't understand why one of the highlights of the show - so much so that they actually made this section twice as long as it had been upon the original debut in 2016 - would be wholly deleted from the recording and concert film. Lee's performance of "The Fish" throughout those touring cycles was a wonderful tribute to Chris Squire as well as adding an additional layer of Yes-like legitimacy to the endeavor because to perform Yes music you need a great bass player, and I imagine now no one would dispute that Lee Pomeroy is one of the best the UK has to offer. His bravura and upbeat attitude made me a fan, and as a fan I'm gutted that it's not there. But I have already amassed a collection of audience videos and recordings on my hard drive to remind me of the good times, and you can't take that away from me, guys.
And I know what you're thinking: "Hey, there's nearly two minutes of Lee soloing in 'Heart of the Sunrise!'" And that is certainly true, and I truly appreciate that song didn't get edited down, trust me. I suppose if the reasoning was that Lee could have one solo but not two, well, okay - but that strikes me as a rather lame excuse if in fact it is one.
(with thanks to Cee for this screencap)
As much as the principles might have disapproved of YouTube videos - and thus this release was a response to such things - now audience recordings seem to be the only way to view the show as it was actually performed in toto.
So the video quality of this recording is not the greatest, although the sound is okay - but here is what we're missing in terms of experiencing a high-quality version of this section of the show (and I want to note that I found this particular video last year and added it to my collection, I'm not just now discovering it for the purpose of supporting my assertions).
Definitively not definitive
The interesting consideration for me as a fan and as someone with a critical appreciation for such things is that the audio and video releases present different experiences for different needs. When I need to listen to this great performance and enjoy it for what it is, then the audio serves that desire beautifully, whereas when I want to remember the experience of seeing ARW, the experience of the show itself, then I will (and have) listen to audience recordings instead. Same with the video - I'll watch a VOIO. What I get from the video portion of Live At The Apollo is an appreciation for their interplay and sense of enjoyment and fun, but not necessarily a true portrait of an actual show.
And given the reason this project was accomplished - to provide the definitive version of a recording of the live experience - I find that a bit ironic. This in fact does not replace audience recordings. It is certainly better quality overall but the decisions which were made from a production standpoint end up being at odds with what actually occurred.
But I also find that I'm enjoying it in the same way I enjoy recordings of the Union era and the Eighty Dates tour - an appreciation that this happened at all and we have the memory of that unique glory. Even if this release is not exactly what I want, it is quite enjoyable for the same reason that I enjoyed the ARW live experience to begin with: it gave me so much more elation than even I would have expected it to. And I truly hope that it does the same for you as well.
Monday, September 10, 2018
media blitz roundup
Spotted on Twitter: the producer of WGN's Morning News being a total fanboy upon the visit of Our Boys this past Friday...
...and a review of Live At The Apollo courtesy of the notorious Darren Lock of Prog Review.
.@YESfeaturingARW @TheJonAnderson @trevorrabin @GrumpyOldRick The word epic gets tossed around a lot. Well, producing your appearance and surprise on @WGNMorningNews & seeing your show at @RaviniaFestival was beyond words. Thanks for your music & for being so damn cool. pic.twitter.com/tHWwjGM2Cw— Groovyhoovy (@Groovyhoovy) September 8, 2018
...and a review of Live At The Apollo courtesy of the notorious Darren Lock of Prog Review.
Friday, September 7, 2018
Happy Release Day!
Live At The Apollo is finally available and to celebrate Eagle Rock has uploaded one more video from the concert film to enjoy - and to convince you to pick up the DVD/Blu-ray if you haven't already pre-ordered it or purchased a copy at one of the recent shows. Today's selection is Trevor's entry in the all-time popularity pantheon...now Move yourself! and have a great day, everyone.
Tuesday, September 4, 2018
new reviews of Live At The Apollo
With thanks to Yesfans member yesfan123 for the heads-up.
Published this past Friday on Blu-ray.com is a review of the Blu-ray version of Live At The Apollo for all those who prefer their concert film experiences in high-definition and Surround sound.
http://www.blu-ray.com/movies/Yes-Featuring-Anderson-Rabin-Wakeman-Live-at-the-Apollo-Blu-ray/208759/#Review
With an overall rating of 4.5 out of 5 and cited as "Highly recommended," I would say the release appears to be a winner, although the verification that there are no bonus features on the DVD/Blu-ray comes as a bit of a disappointment for me. There's also a number of screenshots provided which attest to the clarity of presentation (as have the videos already previewed by Eagle Rock).
EDIT: and here is another review of the video (DVD) from Ultimate Classic Rock.
http://ultimateclassicrock.com/yes-live-at-the-apollo-dvd-review/
Today also brings an advance review of the music itself, which is equally complimentary.
https://www.keyboardmag.com/artists/album-review-yes-featuring-jon-anderson-trevor-rabin-and-rick-wakeman-live-at-the-apollo
Published this past Friday on Blu-ray.com is a review of the Blu-ray version of Live At The Apollo for all those who prefer their concert film experiences in high-definition and Surround sound.
http://www.blu-ray.com/movies/Yes-Featuring-Anderson-Rabin-Wakeman-Live-at-the-Apollo-Blu-ray/208759/#Review
With an overall rating of 4.5 out of 5 and cited as "Highly recommended," I would say the release appears to be a winner, although the verification that there are no bonus features on the DVD/Blu-ray comes as a bit of a disappointment for me. There's also a number of screenshots provided which attest to the clarity of presentation (as have the videos already previewed by Eagle Rock).
EDIT: and here is another review of the video (DVD) from Ultimate Classic Rock.
http://ultimateclassicrock.com/yes-live-at-the-apollo-dvd-review/
Today also brings an advance review of the music itself, which is equally complimentary.
https://www.keyboardmag.com/artists/album-review-yes-featuring-jon-anderson-trevor-rabin-and-rick-wakeman-live-at-the-apollo
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