Some may have seen this photo before, it's from the archives of Philadelphia rock station 93.3 WMMR, featuring Trevor and Tony posing with two of the station's DJs: Buzz Barkley and Pierre Robert. Going strictly by their wardrobe, I tend to think this is from 1994, but it could also be from 1988.
Showing posts with label fashion watch. Show all posts
Showing posts with label fashion watch. Show all posts
Friday, April 28, 2023
Thursday, January 5, 2023
#tbt: a brush with greatness
Recently, multi-talented musician Dave Kerzner shared a photo of himself with Trevor at what I am guessing is a NAMM convention in 1989, which likely would have been the West Coast edition in March. Their collective '80s hair is still very much in place and we love to see it!
Friday, September 17, 2021
Fashion Watch: What's black and yellow and rad all over?
Many of us are dedicated followers of the history of Trevor's sartorial choices and one thing we know for sure is if he's worn something once, he's probably going to wear it again. But even I was surprised of late, courtesy of Alfred Ligammari II sharing his concert photographs of Yes via his Instagram page. He's posted several shots of the April 26th 80 Dates show in Buffalo, NY and because there are not a lot of photos from the tour entire in circulation it was a bit of a shock to see Trevor's 9012Live shirt revived for this particular performance. Below are the links for all of the photos from that gig he has posted thus far.
https://www.instagram.com/p/CTTkSGzLYh8/
https://www.instagram.com/p/CT5KueXLlXK/
https://www.instagram.com/p/CT5MDFCrX0h/
https://www.instagram.com/p/CT5Rs1Crd9X/
https://www.instagram.com/p/CT5XzQ0rEHU/
https://www.instagram.com/p/CT5fRdSrQBZ/
https://www.instagram.com/p/CT5fW9Hrz7u/
https://www.instagram.com/p/CT5v8naLhdH/
https://www.instagram.com/p/CT70IgCr0Fd/
https://www.instagram.com/p/CT71MG2rXZL/
https://www.instagram.com/p/CT71oXWrgFP/
https://www.instagram.com/p/CT8HZNvL0Fh/
As one of Trevor's most iconic pieces of clothing we know it's had a life even beyond its' appearance during the 9012Live tour (and in the 9012Live concert video) - as Ryan wore it at various times during his tenure with GROUPLOVE, such as this interview in 2013. THAT JACKET THO - it almost seems as if it's meant to be worn with the shirt.
Let us hope the shirt is well-stored now so that the next Rabin generation can also wear it proud someday.
Thursday, June 10, 2021
A Guide to Field Recordings: Around the World in 80 Dates (part four: Opening Night)
A series examining recordings from the Around the World in 80 Dates tour of 1991-92 in relation to the Union Live 30th Anniversary reissue.
Preface
Before discussing the first show of this tour (as well as the first show included in the Union 30 set), I wanted to touch on Jon Kirkman's recent appearance on The Prog Report podcast. I cannot help but think this was in response to fandom commentary on social media regarding the nature of the boxset contents, as well as - perhaps - direct inquiries to the distributor since the release had been announced. This is not the first time, by a long shot, that Kirkman has served in a promotional capacity for Gonzo Multimedia and its' associated enterprises. But Kirkman did do something he did not do when attempting to engage with fandom ten years ago, which was explain why there is very little professionally-produced media in either of the Union Live boxsets. Context which should have been provided at the outset, but perhaps was now necessary in the wake of pushback from consumers. Appearing in a friendly/sympathetic environment was no doubt the ultimate motivator for this action. And as it turns out, I was correct about the rights to live recordings belonging to Larry Magid. More interesting, perhaps, is the caveat that despite retaining the rights, Magid did not have the right to commercially release any of the material without a full consensus from all other involved parties: band, management, record label, production companies. This likely explains why there was never a worldwide release of live material in the 1990s. As well, Kirkman stated that if any of the professionally-produced media was used in any form, whatever was unused had to be destroyed. From this I suppose one could assume that whatever material was originally produced is no longer extant save for that which ended up either in an associated release or fandom circulation. I find this a very strange detail for a contract, but he appears to infer that such arrangements were standard in that era. However, we saw a few years back the upload to YouTube of b-roll footage from the rehearsals in Pensacola (filmed for the YesYears: A Retrospective documentary by A*Vision Entertainment, which is a subsidiary of Atlantic Records) indicating that there might still be material available in private collections if not artist and/or corporate archives.
Despite what Kirkman states about the boxset being spearheaded by Larry Magid, I believe I have discovered who is really driving both this project and the recent ARW storefront, and that is Rick Wakeman. One might rightfully point out this is not a surprise, given how Rick has been involved in the promotional efforts, but Rick is one of the actual individuals behind these projects because they are both administered by RRAW Enterprises Ltd. which is a company wholly owned by Rob Ayling and Rick Wakeman. I'm assuming that is meant to provide at least a sliver of legitimacy re: the Union Eight but I would assert that in fact there doesn't need to be a consensus because the material itself is not actually official, though Kirkman states that the organization(s) gave the okay. The sticky wicket in this case might be the inclusion of the Denver and Mountain View shows which were professionally-produced, but as both were originally licensed for broadcast/distribution, it may be a circumstance which is ultimately allowable in this era (especially since both shows are likely sourced from existing bootlegs rather than the original media). There's something inherently humorous/ridiculous about the rights holder having to give permission for a third party to sell bootlegs of recordings of which he (allegedly) does not possess original sources.
I can certainly understand the desire to monetize certain elements of the legacy which - due to various circumstances - have lain dormant and are perhaps being taken advantage of by others in regards to turning a profit. However, I would assert that economic logic dictates you need to offer something better than what fans can already obtain in the greater marketplace. The idea of reselling things which might have already been sold and/or traded, or offering merchandise which isn't actually any more attractive than what was previously available is a business model which I find extremely lacking. Despite whatever motivation is driving such efforts, it's not enough to sustain the scheme in the long run. I would state that if you cannot afford to offer anything better because you're running a shoestring operation, then you don't deserve to attempt to profit yourself despite whatever legal right or permission you may possess to do so.
*~*~*~*
Note: I will be discussing each show in chronological order (which may not be how it is sequenced in the boxset).
April 9th, 1991
Pensacola Civic Center, Pensacola, FL, USA
Setlist
Firebird Suite (intro)/Yours Is No Disgrace/Rhythm of Love/City Of Love/Heart of the Sunrise/Leaves Of Green/Concerto in D-Clap/Make It Easy-Owner of a Lonely Heart/And You And I/Drum Duet/Hold On/Shock to the System/Solly's Beard/Changes/Take The Water to the Mountain-Soon/Long Distance Runaround-Whitefish-Amazing Grace/Lift Me Up/Excerpts from The Six Wives of Henry VIII/Awaken
Encore: Roundabout, Starship Trooper
There's definitely something of the typical fan VOIO in First Union, but because this is a video created by The TooleMan it means there's also a definite professional aura about the way in which it was shot and edited and mixed, using a two-camera setup and upgraded to surround audio when it reappeared in trading circles in 2010. Originally filmed in 8mm and then transferred to VHS, what we have now is the VHS transfer to DVD (as the original source was lost in 2005), so there is some degradation of quality but overall this version is quite good for an artifact from 30 years ago.
If there's no credit to the source in the packaging, shame on them, but give copious thanks to TooleManTV, which has provided a number of quality Yes bootlegs over the years. And I don't think it's okay to appropriate his work in this fashion, but that's a whole other rant so I'll comment no further on this point, except to say that I don't believe there's been any attempt to profit from this recording by anyone other than those involved in the Union Live boxsets.
One detail of this video which I find both amusing and morbidly fascinating is that it reveals there's a cemetery directly next door to the Pensacola Civic Center, and I wonder if those who have gone on to their final rest are entertained or disturbed by all the goings-on of their neighborhood entertainment venue.
 |
| A gentlemen's agreement: getting ready to hit the stage in Pensacola. |
Due to the in-the-round setup of the stage, the band has to come out from the backstage area and walk through the crowd to the stage, which I think actually adds to the "drama" one might say, of the event, their entrance announced - as is tradition - by the strains of Stravinsky's The Firebird suite. We see a bit of this in the video for "Lift Me Up' though it's not clear to me where it was filmed. It is an incredibly thrilling introduction, having experienced my own version of it I can attest to that. We get a good shot of how the "wedding cake" stage (as Bill Bruford described it) was set up, not wholly dissimilar to the last time Yes toured in-the-round in 1978. Jon is at the top of the construction and the rest of the band ring the circumference with Alan and Bill across from each other, Chris next to Alan, then Rick, then Steve, and on the other side of Bill is Tony and then Trevor. So even with the inclusive staging there is still a delineation between Classic Yes and YesWest. However, everyone with a stringed instrument could move about as they pleased. The stage itself rotated slowly throughout the show so that the audience perspective would eventually encompass all involved participants.
They opened the show with "Yours Is No Disgrace" which was a warhorse of both lineups in performance and therefore the easiest route to (seeming) harmony. But immediately battle lines are drawn in fandom with the direct contrast between the solo spots, as Steve and Trevor had each performed the section according to their own style (and Steve sticking primarily to the way he had played it for the original recording) and that difference was glaringly apparent. Personally I think it was quite interesting that they did this for both YIND and "Starship Trooper" and while Trevor's brashness in the arena rock setting was perceived to be disrespectful, I think maybe some Classic fans forget that Yes was an arena rock band, and therefore required to be entertaining on some level. Did he want to piss all over Steve's carpet (in a manner of speaking)? I don't believe so, Trevor is a well-mannered individual overall. I think he desired - rightfully, logically - to be Trevor Rabin and despite what some fans thought of that, it wasn't a crime.
And the reaction to his pyrotechnics was always a loud roar of approval, according to all the bootlegs I've watched/listened to.
Opening night jitters manifest themselves in a flub Jon then makes, but this is such a spectacle I imagine no one is particularly disappointed. Nearly the first twenty minutes have passed in a blink of an eye, and Steve was a lot more energetic than I remember him being.
After this the setlist is constructed such that we take a breather between epics, with shorter songs and instrumental interludes spaced between the beloved behemoths. "Rhythm of Love" remains in the tour but "City Of Love" was dropped after this performance and as much as I enjoyed it during the 9012Live tour, I can certainly understand why it wasn't a good fit for the Union Eight, although it was likely considered simply because it hadn't been performed since that time. It is certainly fortuitous that the stage had revolved to a spot so Trevor could be zoomed in on for his big solo in RoL. Hearing the song again in this context reminded me of ARW's version, especially Rick's solo. But playing "City" so early in the set is not quite the vibe it should be. "Shock To The System" was moved up after "City" was cut, and that was a good decision overall to keep the energy flowing. Part of the reason "City" comes off rather stiff is because we don't get the Bromance choreography which we're used to. But they do keep it like the record, which reminds me of Trevor's rant in Access All Areas, but that doesn't really work, in my opinion, because the glorious ridiculous excess of those performances was the point of having such a song in the set.
At this point I can comment that the sound is pretty average for this kind of arena-based audience recording, and I would say the value of this kind of VOIO is more about witnessing the show. It appears to me that all ROIO versions of this concert are also taken from First Union in one form or another unless there were other audience-sourced recordings, but it's not clearly documented if that is the case. To get a better sense of how the band sounded you would have to listen to other shows, as Yes is notorious for not being well-rehearsed in any case, hence the first week of shows tends to be rather fast-and-loose.
It's onto the next epic, and Jon yields the floor to Chris for his signature bass vamp in "Heart of the Sunrise." There's a bit of interaction with Steve and Trevor centerstage, it's all feeling very friendly.
I appreciate that even though the zooms are a little shaky the person filming this part of the show knows when to zoom in for the most part. So it's a fairly nice combination of close-ups and medium shots from what I would presume to be mid-level upper deck, perhaps even loge or mezzanine-level. Given the layout of the stage I feel this presents a better overall view.
A quiet interlude follows, with Jon, Steve and Rick spotlighted on the "Leaves of Green" section of "The Ancient (Giants Under the Sun)" from Tales from Topographic Oceans, and as we know ARW also performed this on their opening night, also in Florida, as a duet with Jon and Rick. Strangely this song never seems to make it past the first night in any era which involves YesWest, which is a shame because I think it's quite beautiful. We then go into the first of the solo sections, featuring Steve having a moment with a bit of Vivaldi and his own acoustic alchemy. You can see Trevor clapping for him as Steve comes back up to centerstage to take a bow. Again, friendly diplomacy is the mood of the evening. Bill and Steve then take a break as the band moves into "Take It Easy/Owner of a Lonely Heart" and Rick solos on this one as well, then Bill comes back after Trevor's solo. It could be considered that Tony was quite generous with assenting to Rick having a few more turns even on YesWest material, but I suspect that wasn't a decision for him to make but rather an indicator of how well Trevor and Rick were getting on, an almost instantaneous chemistry.
A quiet interlude follows, with Jon, Steve and Rick spotlighted on the "Leaves of Green" section of "The Ancient (Giants Under the Sun)" from Tales from Topographic Oceans, and as we know ARW also performed this on their opening night, also in Florida, as a duet with Jon and Rick. Strangely this song never seems to make it past the first night in any era which involves YesWest, which is a shame because I think it's quite beautiful. We then go into the first of the solo sections, featuring Steve having a moment with a bit of Vivaldi and his own acoustic alchemy. You can see Trevor clapping for him as Steve comes back up to centerstage to take a bow. Again, friendly diplomacy is the mood of the evening. Bill and Steve then take a break as the band moves into "Take It Easy/Owner of a Lonely Heart" and Rick solos on this one as well, then Bill comes back after Trevor's solo. It could be considered that Tony was quite generous with assenting to Rick having a few more turns even on YesWest material, but I suspect that wasn't a decision for him to make but rather an indicator of how well Trevor and Rick were getting on, an almost instantaneous chemistry.
Time for another epic! "And You And I" is another warhorse for both sides, but deservedly so. And both lineups were by that point renowned for their respective versions, however different their interpretations. But an interesting aspect of watching this is to consider that the stage is set up so that nearly everyone is performing with their back to everyone else (save the four points of the compass - so to speak - on drums and keyboards), because Steve chooses to face the center of the stage for the introduction rather than the crowd. I imagine any number of people thought it was great to hear the Moog again, I will always be in favor of a version of AYAI featuring Rick. But of course what makes any version of the song transcendent is that "Eclipse" transition at the end of "The Preacher, The Teacher" leading into "Apocalypse" which on a good night can levitate the roof right off the venue. I think the combination of Steve on pedal steel and Trevor on his Strat works really well in those sections, building tones together to create that expressive gravitas. And just as they did once more in ARW, Rick and Trevor provide a nice dramatic moment playing off of each other in the climax.
The band then takes a well-deserved set break...it's amazing to think there used to be three-hour shows, back when we all possessed more stamina.
The second half of the show opens with Bill and Alan's "duet" (with Tony on supporting keyboards) which is a lot of fun, unfortunately the recording does cut in after it's already begun so we don't get much of it. This segues right into "Hold On" but boy, that vamp goes on forever! I assume that's because Trevor was late making it back to the stage, as we see him hurrying to plug in after Alan has already started his intro. There's two things which I wonder about:
-a- Is it just my imagination, or is this the fastest version of "Hold On" ever?
-b- Steve on acoustic is...kinda weird? Especially that little flourish during the last instrumental section. I certainly respect the spirit of (apparent) cooperation going on, but there are a few spots in the show where it does seem like people are just doing things to do things.
During this song the filmer captures one of the other cameramen, in support of my assertion that the entire show was pro-shot. In stage blacks and trying to be as unobtrusive as possible, of course.
There's a cut-out where I'm assuming a tape change took place and "Shock To The System" is already underway when we come back. Jon is really hitting it like he's a hair metal frontman, which is totally adorkable. I think one of the reasons "Shock" sounds better live is because it's not so stiff and attempting to appropriate a style it doesn't quite manage. It's played by an actual rock band and they are rocking the eff out! It makes the studio version sound odd by comparison. "Shock" contains my favorite Epic Bromance moment and if Trevor is not enjoying himself, he certainly had me fooled.
But now The Cheese stands alone...just kidding. It's time for my favorite part of the show! I wrote an entire essay about the evolution of "Solly's Beard" in performance - it had already begun to mutate during Trevor's club tour in 1989, and now with 80 Dates it was going to progress further into numerous stylistic quotations in order that he should make his mark upon the Eight-Headed Monster. Moving into the center with his stool and his white Yairi, it begins much as any previous version. Trevor then segues into "Etoile Noir" but that's the only detour he takes in this first outing. Within a month, however, it would be quite a different beast.
This small part of the show belongs to Trevor, as "Solly's Beard" and "Changes" continue to be paired in the setlist, at least in the first North American run. During the TPR episode I was previously discussing, Geoff Bailie asks Jon Kirkman about The Game, and as we know from Rick Wakeman's comments in the ARW profile in PROG back in 2017, it actually began during the 80 Dates tour, and the song had to be either "Changes" or "Lift Me Up" because those were the only ones featuring Trevor on co-lead vocals. The intro seems rather extended, but I like it that way. Jon and Trevor switch places, which I find a bit shocking, but also appropriate. And Trevor holds that money note for a good eight seconds, which is very good for him. But it doesn't appear he's playing the game, although there is a flub in the latter half of the song when Jon and Chris are singing two different refrains.
Time for a new song, and it's Union's closer - "Take The Water to the Mountain" - which I actually like somewhat. In this tour opener they played three songs from the album they were ostensibly promoting, and while it would seem strange for that time, we're already well aware of why the setlist was always going to be skewed towards the weight of Yesstory as opposed to current concerns. But I will say that like a lot of Union, this song doesn't sound any more Yes-sy than what people say about "Lift Me Up," for example. It really sounds like a leftover from one of Jon's solo projects. This is one of the other causalities of Opening Night; a few dates later they add in "I've Seen All Good People" a little earlier in the set, but they don't include anything else from Union for the rest of the initial dates. "Saving My Heart" isn't added until the Summer run of shows. But it does make a nice transition for "Soon" which was then and still remains Jon's signature solo piece, a moment of emotive beauty. Trevor returns to play acoustic along with Steve's pedal steel, again a lovely combination of textures.
After a bit of a corny intro by Jon, Classic Yes convenes to perform "Long Distance Runaround." Seeing this beloved lineup play together once more is as much a pleasure as is the scheme entire, I would say. The YesWest contingent returns to the stage as "The Fish" begins, which eventually leads into Chris' extended solo spot, featuring the "Whitefish" duet with Alan and his rendition of "Amazing Grace." It's always fun observing Chris' outsize stage persona become the life of the party.
(There's a fade which occurs at this point which might indicate an edit to another camera position.)
"Lift Me Up" is a highlight of the show overall, I'd say, and while that is inherent bias it's also a shot of energy which I think is necessary to keep this enterprise afloat in their three-hour tour (See what I did there?). I really wish Bill's vamp on his Simmons pads could have gone on a bit longer, it's a real groove. Unfortunately at this angle we can't really see Trevor, but - again - we do see one of the cameramen over by Steve. There are many shows yet to watch/listen to in this series, but I do wonder if this is the only time Trevor got the lyrics right! I mean, you all know I love him but...bless his heart. And the original live ending, which has the quieter section with the refrain and then the instrumental climax - that is the way to play "Lift Me Up" and you all know I'm right.
Next is Rick's solo spot, which normally consisted of him playing various pieces from his 1973 album The Six Wives of Henry VIII. I enjoy watching Rick solo, I always will, even as some may find his "I have nine keyboards up here and I'm going to play them ALL" routine to be rather cheesy. Trevor then appears for a bit of who can play the fastest fun, and again, their performance chemistry was instantaneous from Opening Night. Again I spy a cameraman capturing it all (but thanks to this cameraman the view of Trevor's jeans in this section is *chef's kiss*).
 |
| Can we just talk about how this was such A LOOK?! |
And now the rest of the evening is devoted to the quintessential Yes pursuit: the epic.
Many fans find the 80 Dates take on "Awaken" to be one of the best, adhering to tradition but also containing a bit of something new. Steve is again full of energy, hopping about, and Jon is in fine voice, even given the inherent limitations of the recording. The instrumental section spotlighting Jon, Rick and Trevor seems very much like foreshadowing now, given recent history. I love the way it builds in the traditional way, it does feel very magical in the moment. Even as it's not one of my favorite epics, "Awaken" does embody the ethereal grace which represents Yes at its' very best, and it is entirely fitting to conclude the show.
Hugs all around...well what do you know? They actually pulled it off!
Another fade out/in as the band returns to the stage for the encore. The image quality is the best in this section of the VOIO, I find it looks much more first-generation than the rest of the transfer.
What's nice about the eight-man band performing "Roundabout" is that Steve can concentrate on his acoustic flourishes which, to me, are essential for the song. And a touch of whimsy to see Broof grooving as he bangs a tambourine at several points in the song. It retains both the classic feel and the arena rock intensity with its' rendering.
And then...my favorite, and it's thrilling to me to see them play "Starship Trooper" as it represents the most Yes that Yes has ever Yes-ed, no matter which lineup plays it. But it doesn't appear at first that they planned to play it (and dropped it the next night), and I can understand why - the entire show is a marathon and even in their prime it must have been difficult to maintain the stamina to get through it all. Interestingly, Trevor uses his Pantera on this song, whereas previously he had always played it on his Strat. He actually comes over to Steve's side of the stage during "Würm" and though I know it's wholly performative it still makes me smile. As I noted before, both Steve and Trevor play solos during this part and I love it, Steve is actually being rather Guitar Hero at this point (although his devotees will swear he's always tasteful) and I wish this could go on for, like, an hour. Trevor has travelled all over the stage by the time they get to the speeded-up part and then a truly climatic finish.
Despite all the baggage of this scheme, that is what made it transcendent.
*~*~*~*
As I've noted above, I spied a cameraman/cameramen throughout the show, so I believe my assertion about the entire Pensacola show being pro-shot is correct. And I suppose we're now supposed to believe that this footage no longer exists, having been destroyed after excerpts were used in YesYears: A Retrospective and (possibly) the video for "Lift Me Up." If that is true, what a damn shame. Pensacola is special in terms of the setlist but also for being the first of the tour and a unique moment in time. I believe, ten years ago same as now, as this recording - which I would assert doesn't belong to anyone save the people involved in creating it, much less Larry Magid - was and is being sold to people who absolutely do not need to buy it and we should have been given an explanation as to why we would be expected to buy a bootleg instead of the actual professionally-shot and recorded performance.
It's definitely a decent bootleg for what it is and an enjoyable experience in terms of getting to view that unique moment in time for a variety of reasons. I've had a copy ever since it was originally re-seeded for DVD but I've never really studied it as I've done for this review, and it does hold up to repeat viewing, I think, in that the quality is good given the inherent limitations of the source.
But you still absolutely do not need to buy it, because we were never meant to in the first place.
As for considerations of the artists receiving their perceived financial compensation, think of this: were it not the existence of audience recordings used in this manner, the band would have never seen any money from live recordings because there weren't any to be sold, save for the Japan-only release which was a contractual obligation to the promoters in Japan. So in terms of the "we might as well profit from this too" attitude, I wonder how much they think bootleggers are making from having sold copies of the Mountain View show, for example. Certainly not as much as the band got paid to perform it in the first place. I think it's rather disingenuous to make it appear as if Yes is being financially slighted for this when they wouldn't have stood to profit at all originally. If, on the other hand, a taper had presented someone with a recording which had never been circulated and had the agreement of Magid to sell it, that would have been a legitimate reason to put together a lavish collectible to tempt the fans.
It's just unfortunate that for those professional sources we do have the benefit of enjoying via bootlegs, we (in the rest of the world) never received an actual consumer-grade release which would have been worth paying for. I think it speaks not only to those who would prey upon fans' loyalty, but also an organization who would agree that it's better to take the easy way out and sell bootlegs to fans who can obtain the exact same material online for free rather than try to search out something better and unique means that they have ceased caring about the goodwill of that loyal fanbase at all.
Saturday, September 26, 2020
A Big album needs a BIG show
Spotted on Instagram: a nice set of The BIG Tour photos enabling us to appreciate those stage outfits, including a rare shot of Trevor's rather more "sparkly" leather set.
(Unfortunately embedding is not cooperating for some reason, so here a link.)
Friday, July 17, 2020
Changes, disc three: Wolf
To order the Changes boxset (restocking in August):
(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, such as Yes historian/critic Simon Barrow and Kevin Mulryne of Yes Music Podcast. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media. And also many many thanks to The Man himself for conversing with me about this album and its' associated era.)
Way back in 2016 when I first began working on an essay regarding Trevor's third solo album Wolf, my working title was "Perfectly Imperfect" and I find I still feel that way about this album. It's really good in some aspects, but in others the problems/weaknesses which Trevor had experienced during the making of Face To Face were still lurking in the background. But I can understand why Trevor considers it the best of his Chrysalis releases. It has a unique sound to it in some ways, which I would attribute to the different methodology he utilized. Playing and singing with other people in real time lends a particular immediacy to the end result. In other words: he recorded an album just like most everyone else recorded an album at that time. Put the talent in the studio and surround him/her with a strong supporting cast, pick the best songs, roll tape and go for broke, then polish and refine as needed.
My opinion has evolved even from that previous point, I would say, as this is how I originally opined:
In considering the overall narrative of this period of Trevor's career, if Face To Face was the sound of Trevor not knowing who he should be, then Wolf is the sound of him finding his footing again, moving forward in a more determined direction. For the span of an album, a very brief moment, and then it was over. And one could find that ironic, occurring just as he had accomplished something which might have garnered actual commercial success had there been more time and effort to propagate it to the public. I told Trevor in our most recent exchange that I firmly believe Wolf could have succeeded in America with more promotion because it was exactly the sound beginning to take hold in terms of AOR rock radio. He thought I was probably right about that.
Wolf appeared to have two releases: sometime in the second half of 1980 in the UK and Europe (and also Japan) though 1981 is the correct year of release for the US (which is also supported by an article I'll mention later); although of the multiple copies I own, one of them is a UK pressing with a 1981 copyright, so it's a bit confusing. The album was recorded in 1980 at a facility Trevor was already familiar with: Konk Studios in London's Crouch End.
As he's stated in various interviews, the 1979 tour of the UK Trevor undertook as a special guest of fellow guitarist Steve Hillage was a transformative experience for him, the return to live performance providing a reminder of more immediate rewards gained outside of the hermetic studio environment. Trevor described it thus in a 2004 interview:
Either Trevor made a few edits to his original liner notes for Wolf from the 2002 reissue or they were included in their original unedited form for this release - the additions are in bold. It does have one part I am confused about.
Here's an interesting detail concerning Trevor's public performances of the previous year:
On the other hand, years ago I found this scan which appears to provide evidence of Trevor being considered for other tours - and apparently this show in Brussels did go off, but with Trevor as the opener? Well no, because on that night Trevor was playing with Steve at the Manchester Free Trade Hall. I asked Trevor about additional gigging when I interviewed him recently and he said no, he didn't do any other touring in the London years. Long-time fans are also aware of Trevor taking the stage with Wild Horses just a couple days after his showcase gig. But it is interesting to consider how and why Trevor ended up on this advertisement nonetheless.
The press release goes on to quote Trevor regarding how his one-man band attitude evolved into considerations of utilizing an ensemble:
Working on the road with a band and then in the studio with Wild Horses made me feel that I wanted to work with other musicians myself. The first two albums were recorded with me playing everything except drums - maybe they missed that spark that comes with working with and bouncing ideas off other musicians.
Being in the studio with people like Jack Bruce, Manfred Mann and Simon Phillips really made a difference to my playing as well. It might sound corny to say that they inspired me but it's true.
It's entirely obvious to state that the people involved in the recording of Wolf are what sets the album apart in Trevor's discography, but I think it's important to consider the participants in terms of their connections to Trevor as well as the industry at large. And so now let us view the...
Musicae Personae
Trevor Rabin: guitars, bass, keyboards, lead and backing vocals (the Alpha Wolf)
Simon Phillips: drums (well-known session player and touring drummer)
Jack Bruce: bass (one-third of Cream, solo artist, and one of the most esteemed bassists/singers in rock n'roll history)
Mo Foster: fretless bass on "Heard You Cry Wolf" (well-known session player)
Manfred Mann: keyboards (one of the most well-known musicians to come out of South Africa, leader of the Earth Band; Trevor produced their 1980 album Chance)
John "Rabbit" Bundrick: keyboards (well-known session/touring musician and long-running sideman with The Who)
Chris Thompson: backing vocals (lead vocalist for Manfred Mann's Earth Band)
Stevie Lange: backing vocals (then-wife of producer Robert John "Mutt" Lange and session singer/solo artist; Trevor worked with her numerous times in the South Africa and London years)
Noel McCalla: backing vocals (former lead singer of UK-based band Moon and vocalist with Sniff 'n' The Tears; Trevor produced his 1979 solo album Night Time Emotion)
Ray Davies: Associate Producer (co-owner of Konk Studios, songwriting/vocalist mastermind of The Kinks and lyricist for "Long Island").
Of this last participant it is noted:
Wolf was co-produced by chief Kink Ray Davies, who also seems to have rung some changes albeit fairly subtle ones: "He was a great influence, helping me to take a more detached view of my own work. The album is rawer and less orchestrated - simpler, but I think more effective."
I would opine that perhaps strangely enough, this cast of characters actually had the effect of making the album sound far more unified than any of his others, which may have been a determined and premeditated choice, or perhaps an expression of the atmosphere created by the sessions themselves. But it's a wonderful thing to now have a view into their labors courtesy of The Making of Wolf booklet in the boxset. It provides evidence of general bonhomie, hard work, near exhaustion, and Trevor at the center of it all as he always ensures he is, the auteur of his creative destiny.
As I noted, the year of Wolf changed everything which had been previously established in terms of Trevor's career. But there were some pieces of the past remaining which were causing a sort of cognitive dissonance in terms of how he was attempting to present himself to the listening/record-buying public. Here's a guy who plays a mean guitar and writes and sings a catchy tune, but is also a multi-faceted self-sustaining industry with seeming ambitions beyond being simply a solo act and yet desperately wants to orient himself squarely in the rock n'roll game. Write, record, rehearse, tour...and maybe when all that's done then play and produce some sessions too.
But then there's things like this...and remember, it's not 1977 anymore. On the other hand, that jacket? Amazing.
(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, such as Yes historian/critic Simon Barrow and Kevin Mulryne of Yes Music Podcast. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media. And also many many thanks to The Man himself for conversing with me about this album and its' associated era.)
* ~ * ~ *
Way back in 2016 when I first began working on an essay regarding Trevor's third solo album Wolf, my working title was "Perfectly Imperfect" and I find I still feel that way about this album. It's really good in some aspects, but in others the problems/weaknesses which Trevor had experienced during the making of Face To Face were still lurking in the background. But I can understand why Trevor considers it the best of his Chrysalis releases. It has a unique sound to it in some ways, which I would attribute to the different methodology he utilized. Playing and singing with other people in real time lends a particular immediacy to the end result. In other words: he recorded an album just like most everyone else recorded an album at that time. Put the talent in the studio and surround him/her with a strong supporting cast, pick the best songs, roll tape and go for broke, then polish and refine as needed.
My opinion has evolved even from that previous point, I would say, as this is how I originally opined:
Of the three albums which Trevor released in his post-Rabbitt and London-era career, Wolf (1981) is generally considered the best of the lot. It's not an opinion I completely agree with, but I would say I agree with Trevor that it was a better representation of the techniques he was using in that era. Even so I would say, again, it errs on the side of merely presenting him as a guitar hero/pub rocker kind of musician when we all know he's so much more, and it seems to have hindered him in terms of breaking through to a larger audience.But there is one thing which makes Wolf a stronger album and his name is Simon Phillips. You never realize how important the drummer is until you've got a drummer who can kick your ass six ways from Sunday, as they say.
* ~ * ~ *
 |
| In his native (at the time) habitat: Trevor at Konk Studios. |
Wolf appeared to have two releases: sometime in the second half of 1980 in the UK and Europe (and also Japan) though 1981 is the correct year of release for the US (which is also supported by an article I'll mention later); although of the multiple copies I own, one of them is a UK pressing with a 1981 copyright, so it's a bit confusing. The album was recorded in 1980 at a facility Trevor was already familiar with: Konk Studios in London's Crouch End.
As he's stated in various interviews, the 1979 tour of the UK Trevor undertook as a special guest of fellow guitarist Steve Hillage was a transformative experience for him, the return to live performance providing a reminder of more immediate rewards gained outside of the hermetic studio environment. Trevor described it thus in a 2004 interview:
I think I found myself again. I toured Face to Face and opened for Steve Hillage who was the nicest guy in the world. It was great to be on the road with him. It was all about the music and we got on very well. At the time, the punk explosion in England was massive and appeared to be obliterating everything in its path with regards to people having ears at radio stations. I think after that tour, I realized there’s still room. It’s not like people are going to stop doing what they’re doing unless they have a large bolt through their nose. So, I really started to work with a lot of passion when writing Wolf. It was really enjoyable and I got some fantastic musicians to play on it.Even interviews of the time were referencing Trevor's new direction, such as his profile in the May 1980 issue of Guitar World.
He's currently at work on a third solo LP and plans a US tour this summer. Trevor continues to experiment with production techniques and playing styles, believing that they go hand-in-hand. "A concept I'm particularly fond of now is trying to capture a strong, live feel in the studio. I've tried it with Wild Horses and myself to varying degrees. I find playing and producing evolve on parallel tracks - a process I plan to continue because one seems to help the other so much."In an interview he gave to Sylvie Simmons (writing for Kerrang!) in early 1981, Trevor reiterated his goals for the recording: "I went into Wolf deciding to make an album that was more passionate, more alive, more down to earth."
* ~ * ~ *
Either Trevor made a few edits to his original liner notes for Wolf from the 2002 reissue or they were included in their original unedited form for this release - the additions are in bold. It does have one part I am confused about.
I'm kind of sorry that they never benefited from later record sales that would occur with my releases for the Geffen record label.
Uh...the ones that didn't actually happen because you were dropped from the label? I'm assuming what he really means is either the YesWest records (on ATCO) or Can't Look Away, which was released on Elektra. Unless he was speaking of albums which he was expecting to record, even as it never came to pass.
Another change is that he lists most of the musicians who took part in the recording, which I do think is a nice acknowledgment of the session power he had surrounding him.
The other observation I find interesting is this:
My 1979 release Face To Face had not reached expectations for Chrysalis. In spite of this they wanted another album, which showed a lot of belief on their part.
That could well be true, but it could also be true that Trevor had a three-album deal with Chrysalis and so why wouldn't he deliver the last record? If he were to be dropped, it would have likely occurred after the release of his first album. And it's not like either of the prior releases performed well overall. But he was earning them money as a producer as well, so I find it unlikely that they considered Trevor an abject failure in any way. And there's also the consideration of Trevor likely spending more money to make Wolf than the previous album, given the number of people involved with the project and the fact that it was recorded at a studio not affiliated with either Chrysalis or Blue Chip Music. It would appear that they were behind this project and Trevor's determination to create something new and exciting. Or, they were simply letting contractual obligations run their course.
The new CD booklet also features photos from The Making of Wolf which means it's the nicest of all those from a aesthetic perspective, but several shots (including the back cover photo) are printed with that annoying red filter. How is that even a good idea?! But there are no credits included, presumably because all the credits are listed in the bonus Making of booklet instead. And sure, that's fine for someone who buys the boxset, but what about someone who just wants a copy of that album?
The new CD booklet also features photos from The Making of Wolf which means it's the nicest of all those from a aesthetic perspective, but several shots (including the back cover photo) are printed with that annoying red filter. How is that even a good idea?! But there are no credits included, presumably because all the credits are listed in the bonus Making of booklet instead. And sure, that's fine for someone who buys the boxset, but what about someone who just wants a copy of that album?
So now let's turn to the original press release...which was the actual source of that moniker Trevor has often cited: the godfather of Heavy Metal. It is pretty hilarious when you think about it. But Wolf is a hard rock album for the most part, so this positioning into a new identity makes sense even if it's not entirely fitting in terms of Trevor's instincts and abilities. It does, as did the previous press release for Face To Face, own up to Trevor's past in South Africa (although of course the context is not apologetic but rather expository). There's still a bit of sticking to the established narrative concerning his arrival in London, but overall it's far more factual than previous documents.
Here's an interesting detail concerning Trevor's public performances of the previous year:
The second album, Face To Face, consolidated Trevor's reputation and a spell on the road, culminating in a headline appearance at The Venue, won some enthusiastic support as well as rave reviews.The Venue, a nightclub in Central London, had been in operation for about a year prior to Trevor's showcase date, which took place on November 29th, 1979 (a Thursday, which is one of the prime spots on a club's schedule).
On the other hand, years ago I found this scan which appears to provide evidence of Trevor being considered for other tours - and apparently this show in Brussels did go off, but with Trevor as the opener? Well no, because on that night Trevor was playing with Steve at the Manchester Free Trade Hall. I asked Trevor about additional gigging when I interviewed him recently and he said no, he didn't do any other touring in the London years. Long-time fans are also aware of Trevor taking the stage with Wild Horses just a couple days after his showcase gig. But it is interesting to consider how and why Trevor ended up on this advertisement nonetheless.
The press release goes on to quote Trevor regarding how his one-man band attitude evolved into considerations of utilizing an ensemble:
Working on the road with a band and then in the studio with Wild Horses made me feel that I wanted to work with other musicians myself. The first two albums were recorded with me playing everything except drums - maybe they missed that spark that comes with working with and bouncing ideas off other musicians.
Being in the studio with people like Jack Bruce, Manfred Mann and Simon Phillips really made a difference to my playing as well. It might sound corny to say that they inspired me but it's true.
It's entirely obvious to state that the people involved in the recording of Wolf are what sets the album apart in Trevor's discography, but I think it's important to consider the participants in terms of their connections to Trevor as well as the industry at large. And so now let us view the...
Musicae Personae
Trevor Rabin: guitars, bass, keyboards, lead and backing vocals (the Alpha Wolf)
Simon Phillips: drums (well-known session player and touring drummer)
Jack Bruce: bass (one-third of Cream, solo artist, and one of the most esteemed bassists/singers in rock n'roll history)
Mo Foster: fretless bass on "Heard You Cry Wolf" (well-known session player)
Manfred Mann: keyboards (one of the most well-known musicians to come out of South Africa, leader of the Earth Band; Trevor produced their 1980 album Chance)
John "Rabbit" Bundrick: keyboards (well-known session/touring musician and long-running sideman with The Who)
Chris Thompson: backing vocals (lead vocalist for Manfred Mann's Earth Band)
Stevie Lange: backing vocals (then-wife of producer Robert John "Mutt" Lange and session singer/solo artist; Trevor worked with her numerous times in the South Africa and London years)
Noel McCalla: backing vocals (former lead singer of UK-based band Moon and vocalist with Sniff 'n' The Tears; Trevor produced his 1979 solo album Night Time Emotion)
Ray Davies: Associate Producer (co-owner of Konk Studios, songwriting/vocalist mastermind of The Kinks and lyricist for "Long Island").
Of this last participant it is noted:
Wolf was co-produced by chief Kink Ray Davies, who also seems to have rung some changes albeit fairly subtle ones: "He was a great influence, helping me to take a more detached view of my own work. The album is rawer and less orchestrated - simpler, but I think more effective."
I would opine that perhaps strangely enough, this cast of characters actually had the effect of making the album sound far more unified than any of his others, which may have been a determined and premeditated choice, or perhaps an expression of the atmosphere created by the sessions themselves. But it's a wonderful thing to now have a view into their labors courtesy of The Making of Wolf booklet in the boxset. It provides evidence of general bonhomie, hard work, near exhaustion, and Trevor at the center of it all as he always ensures he is, the auteur of his creative destiny.
* ~ * ~ *
As I noted, the year of Wolf changed everything which had been previously established in terms of Trevor's career. But there were some pieces of the past remaining which were causing a sort of cognitive dissonance in terms of how he was attempting to present himself to the listening/record-buying public. Here's a guy who plays a mean guitar and writes and sings a catchy tune, but is also a multi-faceted self-sustaining industry with seeming ambitions beyond being simply a solo act and yet desperately wants to orient himself squarely in the rock n'roll game. Write, record, rehearse, tour...and maybe when all that's done then play and produce some sessions too.
But then there's things like this...and remember, it's not 1977 anymore. On the other hand, that jacket? Amazing.
Appearing in UK teen magazine Oh Boy!, June 1980.
(courtesy of The Groovy Archives)
(courtesy of The Groovy Archives)
I'm thinking of that axiom any publicity is good publicity, and Trevor was certainly still in demand as That (Slightly) Obscure Object of Desire; long-time fans are aware this would never really change for the next twenty years or so. It appears Trevor did not object to such things quite so much as he might have us believe. And I think it's perfectly okay for Trevor to play to all his strengths (as an attractive person who is also an amazing musician). But there's no apparent consensus in the collective zeitgeist...yet. I find it interesting that Trevor achieves more of a cohesion of image in a band setting rather than as a solo artist.
In the aforementioned Kerrang! interview, the end of the era seemed to have occurred rather suddenly, with Trevor stating that he was dropped by both Chrysalis and Blue Chip Music just as the album was due to be released. And according to this same article, Wolf was not initially released in the US, but that would occur later in 1981. And thus the window of opportunity he might have used to break through in that market - possibly aided by an opening slot on Van Halen's touring schedule - was lost.
Trevor's parting of the ways with Blue Chip is something I find very surprising because it always seemed to me that Matt Mann formed the company for the purpose of showcasing Trevor and advancing his career overseas. Mann possessed the utmost respect for Trevor's talent (just a year prior Mann referred to Trevor as "the best producer") and after all, Trevor had been incredibly successful in South Africa as the head of a musical powerhouse of various projects, and RPM reaped the associated rewards. Trevor characterized the change of heart as "(they) seemed not exactly to get on with me" and I can't help but wonder if it had more to do with Trevor meeting David Geffen (their introduction was brokered by Manfred Mann). When I attended Trevor's in-store appearance in 2012 he related the story of having dinner with Geffen in London and being amazed by his first encounter with a true industry mogul. It must have seemed such an incredibly exciting opportunity...despite Geffen (both the company and its' titular executive) desiring a situation for Trevor he was ultimately unable to accept.
In the aforementioned Kerrang! interview, the end of the era seemed to have occurred rather suddenly, with Trevor stating that he was dropped by both Chrysalis and Blue Chip Music just as the album was due to be released. And according to this same article, Wolf was not initially released in the US, but that would occur later in 1981. And thus the window of opportunity he might have used to break through in that market - possibly aided by an opening slot on Van Halen's touring schedule - was lost.
Trevor's parting of the ways with Blue Chip is something I find very surprising because it always seemed to me that Matt Mann formed the company for the purpose of showcasing Trevor and advancing his career overseas. Mann possessed the utmost respect for Trevor's talent (just a year prior Mann referred to Trevor as "the best producer") and after all, Trevor had been incredibly successful in South Africa as the head of a musical powerhouse of various projects, and RPM reaped the associated rewards. Trevor characterized the change of heart as "(they) seemed not exactly to get on with me" and I can't help but wonder if it had more to do with Trevor meeting David Geffen (their introduction was brokered by Manfred Mann). When I attended Trevor's in-store appearance in 2012 he related the story of having dinner with Geffen in London and being amazed by his first encounter with a true industry mogul. It must have seemed such an incredibly exciting opportunity...despite Geffen (both the company and its' titular executive) desiring a situation for Trevor he was ultimately unable to accept.
* ~ * ~ *
Before I begin my track-by-track commentary, I would like to state I think it's rather shameful that the packaging and the disc itself contain two errors in the song titles, especially when you examine the metadata for the disc - the information is correct. There's really no excuse for this, in my opinion.
Side One
"Open Ended"
I'm not sure if this is the best opener for the album, although I understand why Trevor decided to put it up top. The title is kind of a pun for the listening experience, if you think about it. The intro is rather dramatic, but I don't know if the rest of the song quite lives up to that. However, given the extended metaphor of a guitar serving as the primary obsession of a musician's life, I'm really proud of Trevor for taking his own shot at the theme. And that bridge coming out of the chorus is everything good for sure.
I'm not sure if this is the best opener for the album, although I understand why Trevor decided to put it up top. The title is kind of a pun for the listening experience, if you think about it. The intro is rather dramatic, but I don't know if the rest of the song quite lives up to that. However, given the extended metaphor of a guitar serving as the primary obsession of a musician's life, I'm really proud of Trevor for taking his own shot at the theme. And that bridge coming out of the chorus is everything good for sure.
"Heard You Cry Wolf"
This song is my favorite of the album and I've previously discussed why in my "Five from five" essay, but it continues to come down to: strong lyrics + great riff and melody + great arrangement and performances (especially that ride-out solo) + just the right amount of production = a truly great track and Trevor knew it too (as I assume that's why he chose to perform it on the '89 club tour). In terms of singing, especially, Trevor is at his most nuanced and melodic here. And Mo Foster is superb on the fretless bass.
In a retrospective review of the album published in 2000, Malcolm Dome (who recently interviewed Trevor for PROG) equally waxed rhapsodic on this one, calling it "breathtaking" and "an epic sweep of AOR heaven, there have been few better tracks of this type ever written or recorded."
In a retrospective review of the album published in 2000, Malcolm Dome (who recently interviewed Trevor for PROG) equally waxed rhapsodic on this one, calling it "breathtaking" and "an epic sweep of AOR heaven, there have been few better tracks of this type ever written or recorded."
"Do Ya Do Ya Want Me"
Fun fact: if you look up "filler" in some edition of the dictionary you will encounter this song used as example. Okay, not really but honestly that's exactly what it is. I find that the music is rather paint-by-numbers as well. Before embarking upon numerous listening sessions for these reviews I will admit I haven't willingly listened to this track in years.
"Stop Turn"
I consider this song a precursor of sorts to "Hold On" except that it's a mid-tempo bluesy kind of thing, but it has that same "stroll" in the chorus, like there's a similar chord progression and arrangement. I don't expect most to agree, but once you hear it, you can't unhear it. I like this song even as I find Trevor's vocal to be a little strident in spots, like he's singing over the chorus rather than with it. I think this works better as a lover's lament than "Pain" does.
"Lost In Love"
This track is rockin' for sure but those lyrics...I just...oh, Trevor. I tend to skip this one as well. I love to write reviews but I'm not having a good time right now. Side One could have been so much better if not for the filler. That synth freak-out at the end is a bit much, though. I know Trevor didn't discover synthesizers in 1980, but he sure acts like he did.
Side Two
"Looking For A Lady - (Wolfman)"
There's been discussion and debate over the years regarding: "Did Van Halen steal the intro to 'Hot For Teacher' from this song?!" and I asked Trevor about it in my recent interview with him and the answer is, apparently: "Yes they did." All these years later it amounts to trivia of a kind because one of those songs is a Classic Rock chestnut and the other...well, it's rather obscure, except to us die-hards, that is. But I like it - it's well-crafted and the lyrics are humorously saucy, and Trevor's singing really fits the mood and the key this time (finally). On an album which rocks pretty darn hard, this track has great swagger and energy, proving an excellent use of his power trio. And I believe that's Manfred Mann on keys, punctuating it all quite nicely.
There's been discussion and debate over the years regarding: "Did Van Halen steal the intro to 'Hot For Teacher' from this song?!" and I asked Trevor about it in my recent interview with him and the answer is, apparently: "Yes they did." All these years later it amounts to trivia of a kind because one of those songs is a Classic Rock chestnut and the other...well, it's rather obscure, except to us die-hards, that is. But I like it - it's well-crafted and the lyrics are humorously saucy, and Trevor's singing really fits the mood and the key this time (finally). On an album which rocks pretty darn hard, this track has great swagger and energy, proving an excellent use of his power trio. And I believe that's Manfred Mann on keys, punctuating it all quite nicely.
"Pain"
I know fellow Rabinites will understand exactly what I'm referring to when I say that one of the most unintentionally hilarious interview segments with Trevor is the 1988 Japanese interview where he's backstage at the Pacific Ampitheatre, looking somewhat dead-eyed and dead-tired as he responds to questions, and in the background for some reason they're playing..."Pain."
I always laugh at that, I can't help it.
This is a better ballad than "You" but it's in more of a rock vein. The lyrics are still...struggling...but everything else saves it from being wholly terrible. Stevie Lange is the MVP here, I would say.
"Take Me To A Party "
I previously stated that "Candy's Bar" is the most English song Trevor wrote, but this would also qualify except that it's a bluesy rollicking slab of Good Times. It fits the mood of its subject perfectly and that's primarily why it's so good. It already sounds like a party, never mind being a demand to actually locate a knees-up to crash. These are some of the best lyrics Trevor has ever come up with, just in terms of a rock song which is about wanting to do anything but deal with mundane everyday bullshit. My favorite lines are: I pour down the Lucozade and I clean up my face, roll into the bedroom, get ready for the alien race. It's a perfect summation of recovering from the post-bacchanal blues, as it were. This is a song where the backing vocals are an especially important element and they all sound wonderful.
"She's Easy"
I have previously written about this song in my Halloween Special entry, but Dear Reader I am proclaiming to you now that I unironically love this song. There, I said it. Because it friggin' rocks, y'all. I don't care that it's about a succubus wanting to do all the things that succubi do and this guy, whoever he is, feels compelled to perform a public service by warning everybody about her. Said strange and amusing lyrics (well, if you consider Trevor is essentially kink-shaming a demon of all things) are set to an absolute burner of a track in every way. It's like the music is a bewitching hellion of sorts as well, having its way with your ears and your immortal soul. Am I seduced? You betcha!
"Long Island"
Ray Davies' lyrics are very much in keeping with his usual wry observations and overall acumen as one of the songwriting voices of his generation. It's a droll and yet also charming portrait of longing to return to a summer romance. The music is catchy in its' way but not necessarily the most artful of Trevor's offerings even within the context of the album itself. It's rather a happenstance pairing, I would say, but I enjoy this song except that I feel Trevor is straining against his new(er) range again. Though I really love Noel McCalla's backing vocals on the chorus.
* ~ * ~ *
There's no bonus material included on this disc, and as usual I take issue with that as well. At the very least, since needledrops and bootlegs form a portion of this boxset's contents, then we also could have had the original album mix of "Take Me To A Party" - good-quality vinyl copies of Wolf are very easily obtainable on the secondary market. So I consider that omission a definite failure. The differences are rather obvious between the two versions - there are more guitar overdubs and a thicker, more gritty kind of mix, compared with the clarity you get on the vocals in the verses on the original.
But also, since Live in Boston had to be split up due to length, with two tracks ending up as bonus content on Can't Look Away, why not put "Heard You Cry Wolf" on this disc as an extra? Doesn't that make sense? Every other studio album has bonus content (even if, in the case of Face To Face, it's not actually there) so this comes off to me as laziness or a lack of vision.
I've compared the available audio (meaning: whatever flat-transfer source has been used for the CD releases over the years) with the original album pressing and also the 2002 remaster and the 2020 remaster, and I will say that the new remastering sounds somewhat better, but the true issue lies with the source itself. In an interview from 2011, Trevor revealed that the original multitracks for Wolf had later been recorded over, so they no longer exist. Sadly that means we can't have a remixed/remastered edition of this album like we might for other albums (not that I expect it to happen, but it appears Trevor did have the idea to do this for Wolf at some point). But since the flat-transfer source being used for any reissue is at least a generation removed from the multitracks, there's only so good it can sound overall. And that's a shame for an album he does retain a certain amount of regard for. I will say that I still consider a first edition vinyl pressing the best way to experience Wolf, but if you only had the new remastering to go by, then it's probably the best from a digital perspective.
So let's talk about that vicious cover...
This ad for the album looks better than the actual cover, in my estimation, because you don't get that immediate sense of...how shall I put this...taxidermy. And I wouldn't necessarily fault Peter Wagg (the same guy who designed the UK packaging for Face To Face) except that I don't understand how any of the people involved, Trevor included, could have thought that there was anything...uh...visceral about a stuffed wolf, which it most obviously is. The framing for the image itself, the eerie atmosphere of the background, is wholly appropriate, as is Geoff Halpin's lettering for the title, meant to approximate clawmarks. It probably would have cost more to commission an illustration of a snarling wolf but I think that would have been far more effective. Dealing with the original scheme - and this probably goes against everything they teach you in Graphic Design 101 - I would have made the opposite choice for the images on front and back: the cover somewhat cropped and rendered in dramatic monochrome gradients with the title still in red, and the photo of Trevor and his canine companion in color. I will say only in this case, the cover image used for the Changes disc is an improvement. There continues to be something endearingly hilarious about the back cover photo (although it's also a deliberately comedic subversion of the purported menace of the front cover). Dog lover that he is, it's not difficult to imagine some version of Trevor looking for a lady with his best friend in tow, but on the other hand it appears he's lurking about in what we can reasonably assume are derelict structures? Now that's just...creepy.
"What do you mean it's not called Woof? That's a great title!"
So let's talk about that vicious cover...
This ad for the album looks better than the actual cover, in my estimation, because you don't get that immediate sense of...how shall I put this...taxidermy. And I wouldn't necessarily fault Peter Wagg (the same guy who designed the UK packaging for Face To Face) except that I don't understand how any of the people involved, Trevor included, could have thought that there was anything...uh...visceral about a stuffed wolf, which it most obviously is. The framing for the image itself, the eerie atmosphere of the background, is wholly appropriate, as is Geoff Halpin's lettering for the title, meant to approximate clawmarks. It probably would have cost more to commission an illustration of a snarling wolf but I think that would have been far more effective. Dealing with the original scheme - and this probably goes against everything they teach you in Graphic Design 101 - I would have made the opposite choice for the images on front and back: the cover somewhat cropped and rendered in dramatic monochrome gradients with the title still in red, and the photo of Trevor and his canine companion in color. I will say only in this case, the cover image used for the Changes disc is an improvement. There continues to be something endearingly hilarious about the back cover photo (although it's also a deliberately comedic subversion of the purported menace of the front cover). Dog lover that he is, it's not difficult to imagine some version of Trevor looking for a lady with his best friend in tow, but on the other hand it appears he's lurking about in what we can reasonably assume are derelict structures? Now that's just...creepy.
"What do you mean it's not called Woof? That's a great title!"
Sunday, June 28, 2020
"acapella Disneyland" upside-down
There's so many reasons to enjoy the video for "Leave It" even as weird as it might be perceived to be (not the least of which is the incredibly rare sight of Trevor in a three-piece suit) and co-creator Kevin Godley of the world-famous Godley & Creme production team (and formerly of 10cc) gives us some insight into the process via a new post on Instagram.
As all 18 versions were reportedly shown on MTV back in 1984, fans were also treated to an "MTV Extra" making-of special filmed for the channel (and you can see Shelley on set at the 13:44 mark). This is the source of the urban legend (courtesy of the man himself) that Trevor suffered from polysplenia. The part Kevin refers to where the crew deserted the band during the shoot is also included.
Thursday, June 25, 2020
#tbt: "This dude, am I right?!"
Spotted on Instagram: UK-based musician Willy Norton shows us why it's good to be monochromatic as he poses with Our Trev, who is modeling his chic Balmain jacket.
Bonus: (also) spotted on Instagram, another happy fan has received their shipment!
Subscribe to:
Posts (Atom)