Journeyman guitarist and legendary sideman Tim Pierce has released a play-along/commentary video regarding Trevor's role in YesWest and appreciation thereof, as well as of The Two Trevors (he previously worked with Trevor Horn on various recordings). As he is also an instructor with a long-running YouTube channel and Masterclass offering, he offers his analysis on how to approximate Trevor's sound as well.
Showing posts with label dear fandom: think outside the box. Show all posts
Showing posts with label dear fandom: think outside the box. Show all posts
Saturday, October 29, 2022
Friday, November 13, 2020
speculating about Cinema
I came across this particular YouTube upload during one of my usual forays and while I appreciate its' ambition I do have a few issues with its' premise...
The description box provides the context:
After Yes disbanded in 1981 following the Drama tour, bassist Chris Squire and drummer Alan White formed a new group with singer-songwriter/guitarist Trevor Rabin and former Yes keyboardist Tony Kaye. This new group was known as "Cinema." Demos were recorded and a debut album began to take shape... That album was never completed. As the album was being mixed, Jon Anderson returned to helm the vocals and the band name "Cinema" was jettisoned. Yes had returned! But what would that album have sounded like without Jon Anderson? Through the years, bits and pieces of the Cinema-era songs have surfaced. This video represents a "best guess," using the songs that were either completely recorded or contained elements and riffs that would later result in the official 90125 release. Some of these songs are complete, others a bit rough, but you will get the picture...
The description box provides the context:
After Yes disbanded in 1981 following the Drama tour, bassist Chris Squire and drummer Alan White formed a new group with singer-songwriter/guitarist Trevor Rabin and former Yes keyboardist Tony Kaye. This new group was known as "Cinema." Demos were recorded and a debut album began to take shape... That album was never completed. As the album was being mixed, Jon Anderson returned to helm the vocals and the band name "Cinema" was jettisoned. Yes had returned! But what would that album have sounded like without Jon Anderson? Through the years, bits and pieces of the Cinema-era songs have surfaced. This video represents a "best guess," using the songs that were either completely recorded or contained elements and riffs that would later result in the official 90125 release. Some of these songs are complete, others a bit rough, but you will get the picture...
First of all, that album was completed. If it wasn't, we wouldn't have had "Make It Easy" and "It's Over." According to Jon Dee (who was one of the only two fans who witnessed the Cinema lineup in action) there are extant copies of the Cinema album in the hands of at least a few people. I would well imagine each of the Trevors has one, for example. And likely Alan White as well. Also, designer Garry Mouat has stated that the album packaging was originally created for a Cinema release, and was subsequently altered to reflect the new/old identity. So there is a fundamental flaw in this particular assertion. However, I can wholly understand desiring to speculate regarding what a Cinema album would contain and what it would sound like. As his tracklisting illustrates, we have some basis to imagine a group led vocally by Trevor and Chris.
The playlist contains selections which are complete finished songs as well as demo recordings.
Presenting the album that almost was... "Yes: Cinematic"
1) Make it Easy 2) Owner of a Lonely Heart 3) Moving In 4) It Can Happen 5) Changes 6) Cinema 7) It's Over 8) Fools 9) Hold On 10) Promenade
My points of critique/response are offered thus:
-1- Everything on 90125 existed in some form before Jon's rejoining.
A Cinema album would have absolutely included "Leave It" and "City of Love." If you listen to "Leave It," for example, the vocals which are truly dominant are Chris and the two Trevors; it's definitely an example of how Jon was "flown in" (in audio engineering parlance) to flesh it out.
-2- It doesn't make any sense to include more than one version of a song.
As example, you wouldn't include both "Don't Give In" and "Make It Easy" - you would probably only have the latter. So why would you include both "Hold On" and "Moving In" - if it's simply for the purposes of illustration then the obvious choice is "Moving In."
-3- "Promenade" is not era-appropriate.
If we take Trevor at his word. he worked up a version of this composition for inclusion on Big Generator, not 90125 - even though, yes, there was an prior version of it (as we have the evidence of a demo from the early '80s).
-4- The appropriate date is still 1983.
Recording of the album was not actually completed until mid-1983, so even if it had been released as a Cinema album, it would have occurred in 1983, not 1982.
So in terms of my best guess, the Cinema album would have probably been more like the following if we consider comparisons for what made the final running order:
Owner of a Lonely Heart
Moving In
It Can Happen
Changes
Cinema
Leave It
Make It Easy
City of Love
Fools
...but you can certainly create a version which omits "Leave It" and "City of Love" and substitute with "It's Over" and "You Know Something I Don't Know," or "I'm With You" for example. Or even - though I shudder to think - "Would You Feel My Love." But that's just in terms of what we are aware of - the majority of fans don't know all of the songs which were recorded for the album, and we might never know.
Granted, Jon's contributions to 90125 are fairly significant even considering that he was only involved for about three weeks in the final recording process. Without Jon you would not have "Our Song" or "Hearts" but you would have a version of those songs. There are versions of all of the songs, but Jon did make a fair amount of changes/additions to the majority of the lyrics.
After my deep-dive examination of 90124 and what that album should have been if it was truly going to be a precursor to 90125, it strikes me that we could also consider the Cinema record as a version of 90124, since supposedly that was the original catalog number assigned (and thus the title). Naturally we are left with a certain amount of speculation, but my contention is that the game of What If is always better played when you know as much history as is out there to discover.
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."
Friday, June 26, 2020
Changes, disc one: Trevor Rabin
To order the Changes boxset (now shipping):
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media.)
* ~ * ~ *
To begin my series of reviews for the Changes boxset, I'd like to state - yet again - that Beginnings is not Trevor Rabin nor is the reverse true. Why? Because it seems like it's been implied more than once that the two releases are interchangable, and they are not. (I'm looking at you, Wikipedia.) What has been reissued and included in the Changes boxset is Trevor Rabin, which Gonzo Multimedia previously held the rights to reissue back in 2002 (and further muddied the waters by releasing it as Beginnings with the original artwork/packaging, but the Trevor Rabin tracklist). At some point that agreement expired and Trevor's early solo work was out-of-print again for several years.
I'm linking here to my essay from 2017 on Beginnings for context, but I believe at least some of the fanbase would have liked to have seen a reissue/remastering of that album and the press release for this boxset led us to believe that we would. However, I couldn't quite bring myself to believe it, given how confusing the information imparted in that document was to begin with.
Fool me once...
Which is not to say it's not great that Trevor Rabin is back in print because I have always believed that Trevor would be doing both himself and his fans a favor in ensuring this was the case in terms of his overall discography. And as I've commented in fandom realms of late, I think it might not be possible to reissue Beginnings in this fashion, the master reel/multitracks may be lost entirely.
Thus I am approaching this as a review of Trevor Rabin - again, its own entity - with my usual deep-dive focus, the same as I'd do for any album review, now that we've verified its identity; although I have already covered the making of the original album and then its remix and re-sequencing when released as the first album of his contract with Chrysalis. But just to recap: Beginnings was recorded in 1977 and released on RPM in South Africa in 1978, then Trevor brought the multitracks to London which were remixed by Gary Edwards at Wessex Studios and the album was re-sequenced. Two of the original tracks were dropped, one was reworked and retitled, and a previously-unreleased track was added. This was then released with new packaging as Trevor Rabin by Chrysalis in the fall of 1978 with a worldwide distribution.
(always) big in Japan - cover story from 1978
The original Chrysalis press release for Trevor Rabin makes absolutely no mention of his prior career in South Africa nor the existence of Beginnings, and as hilariously strange overall as it reads to me, I can understand why. That particular identity came with more baggage than I'm willing to bet Trevor and Shelley had when they moved to London. And thus this alternate-reality narrative of a wandering dreamer arriving on Albion's shores is, in some ways, worthy of a rock n'roll bildungsroman.
Trevor Rabin arrived in the spring of this year, unknown and in turn knowing no-one, but with a suitcase full of tapes and a headfull (sic) of ideas of how he wanted to play rock and roll.
Those tapes, wrapped up in the shirts and jeans stuffed inside his suitcase, were the result of his own wanderlust. A kind of musical gypsy, Rabin had spent several of his twenty-two years wandering, listening, playing guitar in bars and putting his songs down on tape. The tapes were all his own work, his songs, obviously, but his playing too on every instrument save the drums provided by Kevin Kruger, a session playing friend.
Arriving in London, Rabin's tapes opened the doors to the record companies for him. He talked a little, played a lot, and Chrysalis ultimately put him into Wessex Studios to put his tapes into shape. The result is his debut album. It says quite a lot about him.
Much like Prince, who also released his debut album in 1978, Our Trev had his age shaved off a bit in order to play up the wunderkind angle. The notion of Trevor Rabin, who experienced a particularly privileged upbringing in the suburbs of Johannesburg, being portrayed as an itinerant musician who just happened to turn up in London is particularly humorous to me. It's not wholly a fabrication to state that his recordings were "put into shape" via Wessex, but of course they were more than mere rough demos. Beginnings was an actual completed album, a physical release, and Trevor's proof-of-concept to begin the next phase of his career as a solo artist in the rest of the world.
Rabin's happy with music in general but happiest with his guitar in his hands. He studied classical music as a student but used that knowledge to work out different arrangements for the songs he played in garage bands he put together.
That wanderlust of his took him around the world in general and around Africa in particular where he taped ethnic African music - Bantu jive, he calls it, far removed from reggae and funk, and a long way from his own music, but then Bantu tribesman don't play high energy guitar.
There's a biographical veracity to the above passage, but not quite as stated. For example, I honestly don't believe Trevor had traveled outside of Africa until his first visit to London which occurred in either 1977 or '78. When Rabbitt was signed to Capricorn Records, Frank Fenter traveled as an émigré from Macon, Georgia to his former homeland to present the contract himself. As we know, one of the issues with the further advancement of the band's career had to do with not being allowed to tour outside of the continent due to sanctions against apartheid by the United Nations. This also impacted Trevor's ability to promote his own albums once he did relocate to London as he was still a citizen of South Africa, as he observed in the liner notes of the 2002 reissue.
But none of this fictional embellishment is particularly surprising in that era, where publicity could be quite elastic in terms of marketing image and content to the music-listening/record-buying populace. And Trevor wasn't completely unknown - if nothing else, what you hear on Trevor Rabin reveals its lineage indisputably. Only someone as melodically adept and a musical polymath such as the guy who masterminded the most popular pop-rock band in South Africa could have created that particular album.
American-based reviews of the album at the time were primarily positive and encouraging (and drew a lot of comparisons with another popular polymath, Todd Rundgren), although there's one very interesting comment from a review by Mike Diana of the Hampton Daily Press.
Trevor Rabin doesn't feel like a hit album. It does, however, sound like one of those near-misses that one hears about. It could even get butchered in the national press, but who cares. They're only a bunch of critics. Rabin has potential.
Trevor has only discussed the reaction to the album in the UK, as that was his immediate frame of reference at the time. As most long-time fans have viewed, he went on a bit of a tirade in the interview footage which was shot during the making of the 9012Live concert film in 1984 (later included on the DVD version in 2006). As a side note: watching the interviews again reminds me how Steven Soderbergh's editing is deftly humorous and we have an example of Peak Trevor hair to enjoy (styled to within an inch of its life for the occasion).
When I left South Africa in '78, I came to England, I lived in London for three years[...]I brought to England an album which I was so into and so determined it was gonna happen. I got to England in a very confused period, 'cause I got there and the Punk thing had just started, which was garbage to me. Absolute garbage, you know, the sort of Sham 69 and all that trash. I mean, it was just such garbage and I couldn't believe people were listening to it and buying it. Every record company just went and signed up any garbage that was around, you know. As long as they had the right image and as long as they only knew two chords they'd sign them up and that was the whole sort of attitude. And I went in there with an album which had, you know, some kind, a little bit of jazz-rock influence in it, very melodic and very produced and a lot of sweet harmonies and things like that. Which I knew was gonna happen, you know, it was gonna be the biggest album. And it kinda dribbled into insignificance in England.
Sales notwithstanding, it could be posited that reviews in the English press weren't particularly kind, although as I noted in my essay "Cover Boy" back in 2012, Sounds writer Geoff Barton was an early champion of the album and no doubt the reason why he was elected to profile Trevor for the publication's January 1979 cover story.
I have stated numerous times - both here on the blog and in fandom discussion - that Beginnings is my favorite of Trevor's early solo work, primarily because I feel it is such a singular experience in his discography. There is progression beyond what he achieved with Rabbitt even as there is also a through-line from their music to what he created on his own. Then a definite shift occurs again with Face To Face, as Trevor attempted to bring his music more in line with UK tastes and influences and whatever idea his handlers had of him. So Beginnings is an outlier of sorts, and its revision into Trevor Rabin illustrates a bit of careerist restraint and an outside influence which is actually sort of a good thing overall. Because in South Africa, Trevor was a law unto himself as a recording artist and I can't imagine any record company executive presuming to tell the Golden Goose what to do with his music. Whereas the UK staff of Chrysalis had no such censure with this rather unknown (to them) commodity.
But I believe Beginnings, and thus Trevor Rabin, deserves to be appreciated and examined as more than simply juvenalia, but as a creative work which fully illustrates the complexity of our favorite musician through the lens of a particular time and place. And it is the last time we get to hear Trevor singing in the high tenor register of his teens and early twenties, as his voice changed substantially by the time he recorded Face to Face.
Before I get into my track-by-track commentary, a few observations re: Beginnings versus Trevor Rabin.
Pros
- The reworking of "I Love You" into "Finding Me A Way Back Home" was a good decision in the end. It's an engaging song and the guitar-and-violin "duet" between Trevor and his father Godfrey is really fun to listen to. Sure, some of the lyrics are a bit naive but on the other hand I feel like it does contain an honestly heartfelt message.
- Re-sequencing the track order was also ultimately for the better.
Cons
- As I've stated before, the album artwork is not attractive. At all. Full-stop. And including a poster of the back cover image in this boxset? What?! My mind is well and truly boggled on that particular decision. Sure, perhaps the original artwork was a bit too whimsical for Brit sensibilities and Trevor likely had enough of being portrayed as a heartthrob (he was ultimately unsuccessful with that gambit, beauty game too strong!), but did they have to make it ugly? At least the alternate cover was a more palatable compromise, why couldn't that one be used instead for reissues?
- Also as stated prior, "Could There Be" should have been left on the album. I consider it the best "lost" song of the early solo era.
- The new mix subtracts some of the bravura of the original recording but I can also see why Chrysalis A&R decided that it needed a polish. If anything Trevor Rabin sounds more professional (i.e. legitimate). It is worth it, however, to compare the two because there are some marked differences. Beginnings is a really good-sounding album in terms of dynamics, which verifies Trevor's talents as both an engineer and a producer.
* ~ * ~ *
Side One
"Getting To Know You Better"
This remains (for me) the best opener of all the early albums, it roars out of the speakers at you, full of excitement and swagger. Like Trevor wants to grab you from the first minute and not let go. It's like a Rabbitt song with added heaviness. Those stacked harmonies are as always a nice touch.
"Finding Me A Way Back Home"
Musically I really love this song (in either version), it has an almost orchestral grandeur to it in the arrangement and performance. It shifts very dramatically from the introduction to the verse to the bridge to the chorus. It has a great marriage of rock and pop elements. I love this part of the chorus: yes you're floating downstream, yes you're joining my dreams, and I wanna change the world. It combines sentimentality and a yearning for transformation, which I find to be sort of an underlying theme of the album as a whole.
"All I Want Is Your Love"
Trevor had 18 songs recorded - 10 of which were selected for Beginnings - when he shopped for a label deal in London, so I believe it's safe to assume that this is one of the others from those same RPM sessions in Johannesburg. I think it's fine, I like the organ, I believe it's a Vox? It makes for a nice texture. What I primarily enjoy about this song is the chorus, although it's really more of a refrain. It's got yet another great stacked harmony - the whole thing sounds very Mutt Lange to me (and this is not surprising given their prior working relationship). Very punchy overall, that rideout is pretty sweet with all those layers.
"Live A Bit"
As I've chronicled previously in my "Five from five" essay, this is my favorite track and also one of the best songs of the early solo era. There's not much more I can add that I haven't already said regarding how great it is, but it sounds wonderfully adventurous and even poetic and philosophical and in that respect is rather unique in terms of Trevor's overall oeuvre. There's so many layers and elements which reward repeated and close listening. His rideout solo is gorgeously melodic, it's one of my all-time favorites and I think it was an excellent idea from an arrangement standpoint to save it for the end. Kevin Kruger is particularly strong on this track as well.
Side Two
"Fantasy"
I've previously opined regarding what this song is about (and subsequently why Trevor released it as a single in South Africa) and from a musical standpoint it plays like a parody of the Rabbitt sound (especially those harmonies in the bridge and the chorus), which I assume was entirely intentional, given the song's sardonic target (and a way for Trevor to comment without saying a word: Yeah, that sound? Guess who created it.). But that shift from the rock verse to the disco bridge is playful in a way I appreciate on this album. I continue to find the most damning line in the whole thing to be: But one thing you can't have, babe...you can't share my name. Essentially I interpret that as: "No matter what you do, you can't be me, so you're already screwed."
"Stay With Me"
I've never been particularly enamored of this song, I actually think it's the weakest of the ballads between the two versions, but I do concede it has a great chorus. And Trevor sounds so romantic, again, that breathy higher register which is thoroughly enchanting. But it is nice to hear a primarily piano-driven track.
"Red Desert"
This track always makes me think of Jeff Beck, though I don't know if Trevor was deliberately aiming for that particular association. That falsetto, though? Magnifique! There's a very wild infectious energy to this which is really fun, the sound of going for broke just because he could. Trevor would never sound quite like this ever again. This is another track where the mix differs significantly between the two albums, the remixed version sounds like there's a lot more compression utilized as overall sonic texturing.
"Painted Picture"
I consider this more of a mid-tempo song than a ballad, although lyrically it's reflective and philosophical, so definitely suited for a ballad. Trevor's playing on this song is also quite expressive and lyrical and his singing thoroughly emotional. I always wondered if maybe he composed this one from the point of view of being a painter himself.
"Love Life"
Speaking of alternate realities, if Trevor had decided to pursue jazz fusion instead of rock n'roll, he might have sounded a lot like this. I feel like since he had given himself license to do whatever he wanted, he was finally going to record something which reflected that part of his creativity, and I think it's really interesting, not to mention having a truly great solo therein. There's quite a bit of stylistic diversity on the album as a whole, and this is a perfect example as it shifts styles within the track itself - something he would reprise later in his career, most notably in many of the compositions on Jacaranda.
* ~ * ~ *
Included as bonus tracks are the single edits of "Getting To Know You Better" and "Stay With Me" - but as far as Chrysalis' choices for singles from Trevor Rabin it was "Painted Picture" not "Stay With Me" which was the A-side, so this is an interesting inclusion, I suppose? Maybe Trevor believed the latter song was always meant to be a single, although I could see Chrysalis desiring him to adhere more to the rock n'roll wunderkind role overall. "Stay With Me" does have that anthemic ballad vibe much like "Charlie" and "Everybody's Cheating" (as example). "Getting" is actually an edit of the original mix from Beginnings, definitely with more of a gritty feel to it, a few different elements and less of a focus on the remix's balance between Trevor's rock fervor and his melodic sensibilities. "Stay" is an actual needledrop (I know this because I can hear the vinyl noise and I find that marginally acceptable for a professional release) which makes me want to grouse about missed opportunities but I'll save that rant for another time. I believe "Stay" is the song which was the least remixed between the two albums, if at all. Back in the '70s, singles were sometimes remixed in such a way as to sound more compelling coming out of a radio speaker. "Take Me To A Party" from Wolf was remixed for single release and that version ended up on subsequent reissues of the album.
The cases for all the CDs are labeled on the spine with "Remastered" but as this album has always sounded good to me - far better, in fact, than either Face To Face or Wolf - it's difficult to know how much has been done to it from a remastering perspective. The credits show John Hughes handling those duties (Paul Linford performed the previous remaster when the Chrysalis albums were reissued in 2002). Mastering technology has evolved and progressed since then, so any remastering done now is going to sound better than it did back in the Aughts. I can opine that I do think it sounds better than previous versions I own.
All of the discs contain new(er) booklets which are of a decent quality, complete with period-appropriate images, press clippings and the like. In each of them are Trevor's original liner notes from the 2002 reissues as well as an excerpt from Trevor's official biography for context, applicable to the period of the album's release, plus the original album credits. All or most of the images also appear in the Images from the Trevor Rabin Archives booklet. The liner notes state this album was released in 1977 and that is incorrect as the original copyright date on the Beginnings vinyl center label is 1978. The advance single from Beginnings - "Fantasy" b/w "Lovelife" (sic) - was released in late 1977. However, since the actual album included is Trevor Rabin, then the release date should reflect the Chrysalis debut, which was the fall of 1978. And a credit for Godfrey playing on "Finding Me A Way Back Home" should have been added retroactively, as it were, since he was omitted from the original credits of Trevor Rabin. I'm a bit disappointed that Trevor didn't think of it.
Honestly, I don't think much of the industrial-looking mesh pattern used as the background for all of the covers (with the original artwork featured in the center on the front of the booklet) but I can see why it would be all of a piece in keeping with the overall design of the box. The aesthetic of the boxset is a tad understated for my tastes. In the case of the best album with the worst cover, I suppose it really doesn't matter, there's not much can be done to make it any less appealing on the outside.
Honestly, I don't think much of the industrial-looking mesh pattern used as the background for all of the covers (with the original artwork featured in the center on the front of the booklet) but I can see why it would be all of a piece in keeping with the overall design of the box. The aesthetic of the boxset is a tad understated for my tastes. In the case of the best album with the worst cover, I suppose it really doesn't matter, there's not much can be done to make it any less appealing on the outside.
Friday, December 14, 2018
Wotta Guy (but not that guy, necessarily)
Spotted on Twitter: I have to admit, when I saw this tweet my initial reaction was: "Really? This was debated?" Because I've been active in Yes fandom for many years now and I've never taken part in a debate regarding Trevor's involvement with or influence on Def Leppard.
-1- A long-standing friendship and working relationship with the producer of the album, Robert John "Mutt" Lange. As long-time fans are aware, Trevor worked with Mutt extensively during their formative years in the South African music scene. Mutt emigrated to London around the same time that Trevor did, although previously Trevor claimed that Mutt went there first, and encouraged the members of Rabbitt to come to London and allow him to produce their second album but they declined. During Trevor's years in London one would imagine they had regular contact and we also know that Mutt's ex-wife Stevie Vann contributed backing vocals to Trevor's third solo album Wolf.
-2- At the time in which Pyromania was being recorded in London, Trevor was also in London working with what was to become YesWest on 90125. So it's easy to imagine that there was social contact during that period.
And now for my speculation/editorializing:
-3- Is it possible that Trevor was one of The Leppardettes who are credited with backing vocals? Perhaps, but there's never been any indication that he participated in the actual recording of Pyromania. So to potentially infer that the sound of Pyromania was somehow an extension of Trevor's sound because he receives a namecheck in the credits is a case of incorrect attribution. It is abundantly clear that Def Leppard's particular musical idiom, beginning with High 'n' Dry, is a direct result of working with Mutt Lange who possesses a signature style of stacked choruses, anthemic hooks, and an overall densely-layered kind of AOR feel. And furthermore I would infer that Trevor's love of stacked choruses likely originated directly from working with Mutt.
But speaking of Pyromania, here's something which I did debate in Yes fandom, at the very least...
Back in 2009 a Yesfans member who goes by the name of Earl Grey conducted a series of informal interviews with keyboardist Tony Kaye, and what follows is Kaye's claim regarding his role on Pyromania. But Kaye is not included on the "Wotta Guy" list in the credits.
(I will note that I have kept the original formatting from the interview intact.)
TK: ...I, along with Rabin, originally wanted Mutt Lange to produce 90125, but Mutt was too busy working on something else at the time...
The Def Leppard album, 'Pyromania': Which I played on, by the way.
I actually did the keyboards on the album.
As a producer, Lange was such a sweetheart of a guy, and such a pleasure to work with.
And there was none of the tension that was happening in the 90125 studio.
EG: So, if Lange had been at the controls of 90125, it might have been a better experience for you?
TK: Who knows how it would have turned-out with Mutt.
But, working with [him] was such a positive experience.
Particularly what he had me doing.
There were actually no 'keyboards' per se on 'Pyromania': What he had me doing was playing the guitar parts on the synthesizer.
I was doubling the guitar parts, we were multi-tracking everything with the guitars on top.
The synths were playing what the guitars were playing, in exactitude, ...so you ended-up with this great wall of sound.
But then, there were no actual keyboard parts in-between.
It took hours and hours, finding the guitar parts I could play with one hand, and then, multi-tracking them.
And that's how we got that BIG sound on 'Pyromania'.
EG: T.K. and Def Leppard. Who knew? Certainly not I!
TK: I don't think anyone knows about that. There aren't any keyboard credits on the album.
However, Kaye is not the only musician to make this claim and in fact at the time the interview was posted on Yesfans some readers responded to note that Thomas Dolby has been the one revealed as "Booker T. Boffin" who is credited with "Other Keyboards" on the album. Several months prior to the interview with Kaye, an interview with Dolby was published wherein Dolby did assert the claim.
So I would posit that if anything need be known, that particular claim of Kaye's is the "truth" which should be uncovered regarding the making of Pyromania. Maybe someday someone might ask one of the Leps for their recollection - as Mutt is notoriously reclusive I'm willing to bet we won't be hearing from him.
To start with, what this person is referring to is Trevor's name listed in the "Wotta Guy" section of the album credits. His presence on that list is very likely attributable to two things:Hi Eddie,— AgentA Douglas (@TravelAgentA) December 13, 2018
RE: Def Leppard...
Q: "What is the 'TRUTH' about the extent of (Yes guitarist) TREVOR RABIN and his influence on the PYROMANIA album??"
(Rabin IS thanked in CD notes. Fans of Yes & Def Leppard have debated for YEARS...)#DefLeppard #Pyromania #TrevorRabin #Yes #ARW pic.twitter.com/LDv1SMTSBE
-1- A long-standing friendship and working relationship with the producer of the album, Robert John "Mutt" Lange. As long-time fans are aware, Trevor worked with Mutt extensively during their formative years in the South African music scene. Mutt emigrated to London around the same time that Trevor did, although previously Trevor claimed that Mutt went there first, and encouraged the members of Rabbitt to come to London and allow him to produce their second album but they declined. During Trevor's years in London one would imagine they had regular contact and we also know that Mutt's ex-wife Stevie Vann contributed backing vocals to Trevor's third solo album Wolf.
-2- At the time in which Pyromania was being recorded in London, Trevor was also in London working with what was to become YesWest on 90125. So it's easy to imagine that there was social contact during that period.
And now for my speculation/editorializing:
-3- Is it possible that Trevor was one of The Leppardettes who are credited with backing vocals? Perhaps, but there's never been any indication that he participated in the actual recording of Pyromania. So to potentially infer that the sound of Pyromania was somehow an extension of Trevor's sound because he receives a namecheck in the credits is a case of incorrect attribution. It is abundantly clear that Def Leppard's particular musical idiom, beginning with High 'n' Dry, is a direct result of working with Mutt Lange who possesses a signature style of stacked choruses, anthemic hooks, and an overall densely-layered kind of AOR feel. And furthermore I would infer that Trevor's love of stacked choruses likely originated directly from working with Mutt.
But speaking of Pyromania, here's something which I did debate in Yes fandom, at the very least...
Back in 2009 a Yesfans member who goes by the name of Earl Grey conducted a series of informal interviews with keyboardist Tony Kaye, and what follows is Kaye's claim regarding his role on Pyromania. But Kaye is not included on the "Wotta Guy" list in the credits.
(I will note that I have kept the original formatting from the interview intact.)
TK: ...I, along with Rabin, originally wanted Mutt Lange to produce 90125, but Mutt was too busy working on something else at the time...
The Def Leppard album, 'Pyromania': Which I played on, by the way.
I actually did the keyboards on the album.
As a producer, Lange was such a sweetheart of a guy, and such a pleasure to work with.
And there was none of the tension that was happening in the 90125 studio.
EG: So, if Lange had been at the controls of 90125, it might have been a better experience for you?
TK: Who knows how it would have turned-out with Mutt.
But, working with [him] was such a positive experience.
Particularly what he had me doing.
There were actually no 'keyboards' per se on 'Pyromania': What he had me doing was playing the guitar parts on the synthesizer.
I was doubling the guitar parts, we were multi-tracking everything with the guitars on top.
The synths were playing what the guitars were playing, in exactitude, ...so you ended-up with this great wall of sound.
But then, there were no actual keyboard parts in-between.
It took hours and hours, finding the guitar parts I could play with one hand, and then, multi-tracking them.
And that's how we got that BIG sound on 'Pyromania'.
EG: T.K. and Def Leppard. Who knew? Certainly not I!
TK: I don't think anyone knows about that. There aren't any keyboard credits on the album.
However, Kaye is not the only musician to make this claim and in fact at the time the interview was posted on Yesfans some readers responded to note that Thomas Dolby has been the one revealed as "Booker T. Boffin" who is credited with "Other Keyboards" on the album. Several months prior to the interview with Kaye, an interview with Dolby was published wherein Dolby did assert the claim.
Keyboards by “Booker T Boffin” on Def Leppard’s Pyromania: was that you then, and if so what other pseudonyms have you used over the years?Others have cited Dolby as the mystery keyboardist as well, including engineer Mike Shipley in a 2013 interview and Def Leppard co-manager Peter Mensch.
Yes, Pyromania and also parts of Hysteria. I didn’t really want to get tarred with the heavy metal brush, and the feeling was quite mutual—hence the pseudonym. It came about because Mutt Lange’s a great guy that’s not afraid to try odd things out."
So I would posit that if anything need be known, that particular claim of Kaye's is the "truth" which should be uncovered regarding the making of Pyromania. Maybe someday someone might ask one of the Leps for their recollection - as Mutt is notoriously reclusive I'm willing to bet we won't be hearing from him.
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, December 4, 2017
before it's officially official
Note: as this entry has many embedded videos, it might be difficult to load on older/slower browsers.
As we fans continue to wait patiently for news of the release of the March 25th show, I happened to spot a reference to it on Twitter the other day by Doug Gottlieb (who along with his brother Glenn designs various merchandising for Yes Official and published the fanzine Yes Magazine for many years).
But what can we expect to see? Well, thanks to audience members who filmed that night we can at least have a better idea of what it will be. And of course those who were there are looking forward to re-experiencing the show and hopefully their enjoyment of it.
But first I would like to state - given the nature of the fan inquiry above - that I do not find myself confounded or frustrated or alarmed by the lack of an update at this time. I've also stated this at the Yesfans discussion forum, and hey - it's post-tour and the holidays so whatever might be happening, I would say that Our Guys have earned some well-deserved relaxation and time to pursue other projects if they so choose. Would it be nice to know what's going on? Sure it would. Are they obliged to tell us? Absolutely not.
I will say that what I am going to miss from the DVD is "The Meeting" which was performed in London but not Manchester, and then also at some dates in Japan, but one can only hope that it might turn out to be a bonus feature.
As you can see in this excerpt from "Owner" there was a camera filming the walkabout as Rick and Trevor went up-and-down the aisles, while Jon, Lou and Lee kept going onstage.
This is sort of a behind-the-scenes video from the FOH area which includes part of "Owner" and all of "Roundabout" - because of where the filmer is situated the sound is really great, in my opinion.
Here's a bit of the epic grandeur of "Awaken" with the kaleidescopic effect of the changing color projections on the backdrop.
The YouTube channel MrMoogman features the entire show but rather than include all of it I prefer to note those aspects of interest to me as a viewer. However, one may view all the videos on his channel if so desired.
"Lift Me Up" features a rather comedic introduction from Jon.
Trevor does his best to reprise his classic phrasing on "Changes," making for one of the best renditions of the song in this era.
Lee positively outdoes himself on this performance of "The Fish" and when you consider that every performance of this piece was bravura-worthy, that is quite a feat.
As we fans continue to wait patiently for news of the release of the March 25th show, I happened to spot a reference to it on Twitter the other day by Doug Gottlieb (who along with his brother Glenn designs various merchandising for Yes Official and published the fanzine Yes Magazine for many years).
I believe a live album and video are in the works— Gottlieb Bros. (@GottliebBros) November 26, 2017
But what can we expect to see? Well, thanks to audience members who filmed that night we can at least have a better idea of what it will be. And of course those who were there are looking forward to re-experiencing the show and hopefully their enjoyment of it.
But first I would like to state - given the nature of the fan inquiry above - that I do not find myself confounded or frustrated or alarmed by the lack of an update at this time. I've also stated this at the Yesfans discussion forum, and hey - it's post-tour and the holidays so whatever might be happening, I would say that Our Guys have earned some well-deserved relaxation and time to pursue other projects if they so choose. Would it be nice to know what's going on? Sure it would. Are they obliged to tell us? Absolutely not.
I will say that what I am going to miss from the DVD is "The Meeting" which was performed in London but not Manchester, and then also at some dates in Japan, but one can only hope that it might turn out to be a bonus feature.
As you can see in this excerpt from "Owner" there was a camera filming the walkabout as Rick and Trevor went up-and-down the aisles, while Jon, Lou and Lee kept going onstage.
This is sort of a behind-the-scenes video from the FOH area which includes part of "Owner" and all of "Roundabout" - because of where the filmer is situated the sound is really great, in my opinion.
Here's a bit of the epic grandeur of "Awaken" with the kaleidescopic effect of the changing color projections on the backdrop.
The YouTube channel MrMoogman features the entire show but rather than include all of it I prefer to note those aspects of interest to me as a viewer. However, one may view all the videos on his channel if so desired.
"Lift Me Up" features a rather comedic introduction from Jon.
Trevor does his best to reprise his classic phrasing on "Changes," making for one of the best renditions of the song in this era.
Lee positively outdoes himself on this performance of "The Fish" and when you consider that every performance of this piece was bravura-worthy, that is quite a feat.
Of course the final product will be of professional caliber and entirely optimal for repeat viewing, I have no doubt. But at least we can tide ourselves over, after a fashion, while we wait.
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