A look into the musical world of Trevor Rabin: composer, performer, and a man of many careers.
Introduction:
A series of essays wherein I explore the numerous musical identities of my favorite musician: from child prodigy to teen idol to guitar hero to singer/songwriter to award-winning in-demand film composer.
Featuring news/updates and commentary/analysis of Trevor's career and associated projects. Comments are disabled but please feel free to contact me at rabinesque.blog@gmail.com.
Musician, songwriter, engineer/producer, and legendary figure in the ZA rock world Julian Laxton passed away on September 9th. As long-time fans are aware, the combined efforts of Trevor, Julian, and Patric van Blerk are responsible for the amazing production of the two Rabbitt albums which Trevor appears on, but particularly their second release A Croak and A Grunt in the Night. Yet another great production project from the team was Margaret Singana's album Tribal Fence from 1977.
This article notes many of Julian's achievements in the music scene over the years, although they fail to note that he came to prominence with '70s era seminal rock band Freedom's Children.
Trevor posted this tribute to his personal Facebook page last week:
It’s hard to believe that my brother in sound has passed. Julian Laxton was one of a kind. The 1st guitar player to blow me away. I was speechless. Johannesburg city hall. Early seventies. He was also the 1st engineer to blow me away. He was an absolute magician in the studio. He always managed to match his unbelievable imagination with technique and talent. No one could do what Jules did. A visionary. Jules was always loving and kind to me. A gentle soul with a fierce undeniable talent. I cannot believe you’re gone my brother. I loved you and will miss you . Trevor.
My condolences to his daughter Kashya and family, friends, and fans throughout the world.
The Queen of Rock n'Roll, Tina Turner, has passed away at the age of 83. From her beginnings as the frontwoman of the Ike and Tina Turner Review, to her worldwide enduring fame as a solo artist (which enabled her to be the second woman inducted twice into the Rock & Roll Hall of Fame), to all of the ways in which pop culture has made her an icon...Tina was a singular phenomenon and the world is less brightly bombastic without her and her fabulous legs.
Long-time fans are aware Trevor contributed to her 1996 album Wildest Dreams, playing and singing on the majority of the songs produced by Trevor Horn. On her cover of John Waite's hit "Missing You" both Trevors are providing backing vocals and are even credited as "(The Two Trevors)."
"Dancing in My Dreams" which closes the album, has a bit of the ZA sound to it, and Trevor's presence definitely adds to the authenticity of that mood.
Yesterday the lineup for the Alan White tribute show on October 2nd at the Paramount Theatre in Seattle was announced - Trevor and Ryan will be there! Along with a host of other musicians from Yes, the White band, and elsewhere as well as a few musical legends of the Pacific Northwest, which is also in tribute to Alan's homebase of many decades. Proceeds from the show will go to benefit the non-profit WhyHunger organization and tickets are available through STGPresents and all affiliated outlets.
Alan's former bandmates have provided tributes at the official Yesworld site, and Trevor is among them...
I’m infinitely sad. I always loved Alan. Over decades of being close, we never had an argument. A beautiful human. Hard to think of a world without him.
This was one of the highlights of the performances on the Around the World in 80 Days tour: Trevor and Alan having a little duet of their own during "Yours Is No Disgrace."
Trevor and Alan with Geddy Lee, Alex Lifeson, and Bill Bruford at the Rock & Roll Hall of Fame Induction Ceremony, April 2017.
It is with deepest sorrow that I report the passing of Yes drummer Alan White at age 72, mere days after announcing that he would not be participating in the band's upcoming tour of the UK due to illness.
Long-time fans know of the depth and breadth of Alan's career in Yes and in other musical concerns, most notably his contributions to the solo work of John Lennon, including the classic song "Imagine."
Alan joined Yes in 1972 and his performative and creative contributions over several decades have assured his place in Yesstory and rock n'roll history. But he also had a reputation for being easy-going and eager to collaborate. Trevor liked to say that the only bad thing one could say about Alan was that there was nothing bad to say about him, being well-liked by everyone. Trevor's chemistry with Chris and Alan - both personally and professionally - was instantaneous from their first meeting.
Trevor performed and recorded with Alan continuously during his time in YesWest, from 1981-1995, and Alan also contributed to Trevor's 1989 solo album Can't Look Away. They last shared a stage during Yes' induction to the Rock & Roll Hall of Fame in 2017.
My condolences to Alan's wife Gigi and their children, friends and family, bandmates, colleagues and fellow fans worldwide.
This is from last year - I wasn't aware of this project until I saw a passing reference from Henry Potts a few days ago. The producers of the documentary Claiming Peter Banks uploaded a "tribute trailer" on the anniversary of Peter's death last year. The film chronicles the life and career of Yes' first guitarist. Trevor is among the many musicians interviewed for the film, comprising bandmates and colleagues and contemporaries as well as those who came to be influenced by Peter's singular style in later years. According to Henry the film is still in post-production. Trevor's appearance in this clip comes around the 1:02 mark.
One of a series which examines Trevor’s musical career in South Africa.
Author's note: I first wrote about this subject in 2011 on the Yesfans forum but I decided to create a more formalized and better-researched essay sometime after that, and so here it is (finally).
The most powerful of voices can break through barriers of prejudice and oppression, especially with the help of South Africa's biggest hitmakers. This is the story, and the triumph, of Margaret Nomvula M'cingana (her surname later anglicized to Singana) - known to those who loved her as Lady Africa.
The reason I have titled the essays on Trevor's work during his time in South Africa "The Secret Discography" is because for many years not much was known about the numerous projects and sessions he created and performed on, apart from his role in Rabbitt, to fans in the rest of the world. Trevor has never been particularly forthcoming regarding this period, other than stating that he played on hundreds of recordings for all types of music, as well as responding to a few pointed questions. As the reach of the Internet began to extend everywhere, more information and credits were shared by record collectors all over the world, including South Africa. Websites and blogs devoted to the musical history of South Africa during the apartheid era began to appear and our knowledge grew from there. It is interesting to note, however, that among the credits which are listed on Trevor's official site, only Rabbitt and Margaret Singana are included in regard to that era. And seeing that information is what originally sparked my curiosity and began my search, many years ago...a search which has been wholly rewarding in terms of discovering such an inspirational and amazing talent. I choose to believe that her inclusion was meant as a gesture of respect and affection on Trevor's part.
Margaret's initial progress from Queenstown to the City of Gold in the 1950s to become a singer was slowed due to the inherent limitations of the apartheid system, but at key moments her talent was readily recognized by those who could lend a hand, and her career began with local theatre and the hit single "Good Feeling," (credited to Margaret Singana and the Symbols) but she came to worldwide prominence in 1973 as a lead vocalist in the musical Ipi N'Tombi and its' cast album The Warrior. As the liner notes predict: Whatever the outcome we are sure that lead singer Margaret Singana must certainly gain international recognition based on her incredible performances on this album. When anti-apartheid protests put an end to touring of the production, back in Johannesburg she continued on with recording the albums which made her a song stylist success on both sides of the national charts, as well as inroads into the international market courtesy of a contract with Casablanca Records. And for this it was especially wonderful that she had Patric van Blerk, Julian Laxton, Allan Goldberg, and Trevor Rabin on her side. This is not to imply that any of those individuals should inhabit a "white saviour" type of role, but rather that at least they could put their power and privilege to better use by giving Margaret a platform through which to gain further popularity and reach. The popularity of these recordings led to success in terms of sales and awards, but sadly her momentum was halted by a stroke she suffered in 1978. Margaret eventually returned to singing, and recorded another great anthem in 1986, the Shaka Zulu theme song "We Are Growing" (produced by Julian Laxton) but even with her sporadic appearances in the music scene, her passing in 2000 was the tragic loss of a national treasure: penniless and neglected.
There is more than one reason to enjoy Margaret's body of work - not merely due to Trevor's involvement, but for the inherent joy of her singing, over a wide range of musical styles. But I do believe that one of the major achievements of Trevor's career in the South African era was the time and care he put into these albums, these songs, contributing to the effort of making Margaret a star by providing his musical best. His profession allowed him to cross the color line and work with whatever musicians he desired to, music serving as the universal language and connection between human beings. But it also illustrated how wide those divisions were, how unjust and morally reprehensible.
It has been a difficult task to discern between the myriad releases and re-releases of Margaret's discography, but after several years research I have been able to verify - as I initially ascertained - that there are four mid-70s era albums which Trevor worked on for her. I have noted, where applicable, the various editions and titles. Lady Africa (1973)
Love Is The Power (1974)
Stand By Your Man (1975)
(aka Nomvula, reissued internationally as Where Is The Love in 1976)
Tribal Fence (1977)
(aka I Never Loved A Man)
Each album would usually feature at least a couple songs penned by Patric and Trevor, and this one from Stand By Your Man I think is particularly interesting, called "Open Your Mind." Trevor's music is a definite stone groove, an example of how he could compose in just about any idiom one could think of.
Primarily Margaret's choice of material for her Jo'Burg releases was meant to be inclusive and populist, consisting of rock, pop, soul, disco and traditional selections. Some were performed in Xhosa, such as "Hamba Bikele" but most were English-language songs. Her voice was so incredibly powerful and yet could embody the emotional import of whatever song she applied it to, from the country classic "Stand By Your Man" to the disco celebration of "I Surrender."
This particular track is notable for Trevor's dominant presence as producer, arranger, and playing most every instrument (including drums) as well as backing vocals on the chorus. From Tribal Fence, Margaret's cover of "Have You Ever Seen The Rain?" (beginning at 6:29 in this video) featuring a reggae arrangement.
Another favorite of mine from Tribal Fence is "Why Did You Do It?" with Trevor's arrangement skirting the line between rock n'roll edge and funk groove - Trevor once again playing nearly everything, accompanied by Rabbitt bandmate Neil Cloud on drums. Trevor's bass playing provides a great bottom end on this one, in my opinion.
Though none of Margaret's Jo'Burg releases have been reissued on CD to my knowledge, the 1996 compilation Lady Africa is a fairly inclusive collection of material, although I would encourage those interested in hearing Margaret's music to search YouTube as well as resources such as the Soul Safari and ElectricJive music blogs for further selections - short of buying the actual albums, which I would recommend to serious collectors, especially Tribal Fence, as that album was primarily stewarded by Trevor and Julian, with Trevor arranging the songs on Side One and Julian arranging those on Side Two (labeled as "The Other Side of the Fence") in addition to their production and performing contributions. Julian also provided engineering and the "magic" mix.
It's difficult to say farewell to a true legend - a man who changed the face of rock music forever - when his music can be heard on the airwaves every day. But Eddie is gone, having finally succumbed to his years-long battle with throat cancer.
It gives me a bit of a chill to recall that Trevor and I had discussed Eddie and their acquaintance only a few months ago, but as they were peers it was heartening to consider how they each had influenced and impressed the other. And so it makes me happy to think of them jamming and hanging out together in the past, just two guitar heroes communing in that golden time.
Eddie's music, and his once-in-a-lifetime talent, will continue to astound generations to come. My condolences to his family, friends, colleagues and bandmates, and to all fans worldwide. Let us honor that genius blazing across the heavens forevermore.
After an extensive and bravely-fought battle with pancreatic cancer, Quiet Riot drummer Frankie Banali succumbed to the disease yesterday at age 68. Besides his long-running famed career in heavy metal, fans are also aware that Frankie was in the band Trevor put together when he relocated to Los Angeles to embark upon his development deal with Geffen Records. Frankie's playing can be heard on some of the early demos featured on 90124 and in fandom circulation. That association was rather short-lived, as Trevor's contract was only for six months but also because Geffen didn't want to move forward unless Trevor was willing to join Asia (which as we know he did not). Back in 2014 Frankie posted on social media that the band worked on "about 22 different songs" in their time rehearsing and recording demos. He expressed positive memories of working with Trevor during that period. Frankie originally joined Quiet Riot in 1980 and a couple years later the band signed with Pasha Records and in 1983 released their hugely-successful Metal Health album, as both Trevor and Frankie were then to experience worldwide acclaim with their respective bands that year as well as throughout the 1980s.
Frankie had shared his battle on social media and was very honest about his struggles, as you can see in this interview conducted last year with radio personality Eddie Trunk. My condolences to his family, friends, and fans in the industry as well as around the world.
In observance of what would have been Chris Squire's 70th birthday, I thought I'd post some of the fabulous fanart available online in honor of The Fish. May his presence loom over us in benevolent - and booming - splendour for all time. The artists' love and respect for Chris is evident in each of these works and my gratitude to all of them for sharing their art with the fandom.
This portrait is from the hand of The Groovy Archives, her beautiful image features Chris wearing a crown of lotus and ivy.
This "green and submarine" drawing was created by my dear friend Jennifer Albright, it's been in fandom circulation for many years now, a testament to her talent.
Andy has created many wonderful images of Chris, and this is one of my favorites. They are so creative, encompassing a range of different styles to enjoy.
It's been quite a year once more for fans of Trevor, from seeing him onstage and on television - through multiple tours and Yes' induction into the Rock & Roll Hall of Fame - we've had much to be thankful for during these Golden Years of Trevor's career in his re-commitment to his legacy as a member of Yes and as a rock n'roll musician.
I wanted to wish my readers all around the world a joyous Holiday season - whatever tradition you might observe - with positive thoughts for the New Year bringing plenty of things to enjoy as regards the Yes 50th Anniversary celebration.
Although I know many of you do not celebrate Christmas, I wanted to include one of my very favorite holiday songs which I have loved for many years and I think it is also a fitting tribute to the memory of David Cassidy, whom as we know passed last month.
Thank you, ever and always, for your patronage and support, and an extra special thanks to those who have emailed me or messaged me via Yesfans with comments and questions throughout the year. Rabin-esque is a labor of love and I'm so grateful to be able to share it as a part of this wonderful fandom family!
I know all my readers join me in extending heartfelt condolences to Yes guitarist Steve Howe, his wife Jan and their family on the tragic loss of their youngest son Virgil, whose passing was announced today. Recently Steve and Virgil completed a father-and-son musical project entitled Nexus, which has a planned release date of November 17th.
My thoughts are with the Howes during this difficult time.
With thanks to The Groovy Archives tumblr page for unearthing this rare gem, here's a flashback to August 28th, 1992 and much like the photo I posted in July, it features members of YesWest doing what rock stars do (i.e. hanging out backstage with other musicians). It's always nice to see Trevor sporting the purple-flowered shirt. Given that the concept of an eight-man band version of Yes fell apart directly after the Japanese tour of '92, it's not surprising to read that Phil Carson re-signed YesWest so soon afterwards.
What is especially poignant about this photo now, of course, is the presence of Keith Emerson and Greg Lake, well-loved and much-mourned by prog fans the world over. It's wonderful to see them all enjoying that moment in time.
Wetton's masterful playing, immediately recognizable tenor and tuneful songwriting defined his tenure both in various ensembles as well as an enduring solo career. As long-time fans know, one of Trevor's early forays in the evolution of his 80s-era career was a two-week stint (give or take) with a certain burgeoning supergroup - and there's a recording on YouTube featuring his lead vocal on what later became one of Asia's biggest hits, "Only Time Will Tell."
My condolences to family and friends, colleagues and fellow fans.
ETA: a fan on Twitter shared this nice memory once again of Trevor, Keith Emerson and Billy Sherwood backstage at an Asia performance with John and Carl Palmer.
A beloved figure of Los Angeles radio has passed away after losing his battle with cancer, and Bob Coburn had his own unique place in YesWest history, similar to Philadelphia-based DJ Ed Schiaky's association over the whole of the band's history.
Anyone who grew up listening to KLOS, as I did, was well-acquainted with Coburn as a voice of AOR/Classic Rock programming and member of that station's family; but nationwide he came to prominence as the host of the syndicated call-in interview program Rockline which first aired in 1981 and Trevor appeared on the show several times along with his Yes cohorts. Coburn also hosted the Talk premiere party which was broadcast from the Hard Rock Cafe on March 16, 1994, serving as a highly-amused ringmaster for the rowdy proceedings.
Coburn's knowledge of and enthusiasm for music was evident in every broadcast, and his voice was a trusted one for my generation. My deepest condolences to family, friends and fellow fans.
If there's anything I mean to impart in the ongoing work of this blog it's this: it is, in fact, perfectly okay to do it all. Trevor had to struggle a bit in the early years to be take seriously as someone who could do it all, but now of course he is respected and celebrated as a man of many talents.
Which leads me to Prince, whom as we know died suddenly this past Thursday. Before I was introduced to Trevor - as most Americans were - in 1983, the first musical polymath I developed a direct relationship with was the aforementioned Prince Rogers Nelson, in January 1980 when he appeared on American Bandstand to promote his eponymous-titled sophomore release.
During the interview portion he gave one-word answers or even silence. And while some may see that as early evidence of his notorious penchant for being difficult or eccentric, to the 14-year-old me it marked him as an enigma I didn't understand but wanted to know more about - and his performance only enforced that desire. When I listened to Prince, and later on his debut album For You, I was amazed that someone so young was so talented and self-assured enough to do it all. As Brian Raftery notes in his tribute article for Wired:
[...]his first truly great album, 1979’s Prince, was pure alchemy, a record that brought together dancefloor come-ons like “I Wanna Be Your Lover” and heavenly axe-shredders like “Bambi” so smoothly, it was as if those two sounds had always existed in the same space.
And it began a love of his work which has encompassed the whole of my life.
But it's also important to remember that when you are gifted enough to be able to go your own way, another measure of that talent involves collaboration and the generosity which is shown as a result of working with other musicians, making the effort to find the nexus of creativity and audacity; as well as the enactment of a strict work ethic and devotion to musical expression. These are qualities I appreciate in both individuals.
The impact which the depth and breadth of Prince's artistic legacy had on his peers and the generations following after - but also the progenitors, many of whom respected him enormously - cannot be overstated. I don't necessarily mean to draw direct parallels between their careers, but without Prince's example of auteur vision and control, I'm not sure that I could have appreciated Trevor's work as regards not only his various talents, but his need to express his creativity strictly by his own hands, as it were. And someone who can make their music all on their own realizes the importance of not being restrained by labels and boundaries and perceptions. Prince - in any incarnation, any moniker - was someone who was only himself. His music was a mosaic of myriad influences and directions but containing an alchemy which was singularly solely his own. His integrity would allow no less.
There was only one Prince, and he was indeed funky. He was also so much more than that, but whatever he did, he made it joyful and reflective and sometimes raucous, sometimes sad, sometimes wild. But like all musical polymaths he was innovative and uncompromising. Prince walked his own path - and hoped we all might follow along - because there was no other way he could progress and evolve.
And Prince changed my life - and the lives of countless others - with his genius.
Because when you can do it all, what you do matters. And it endures forever.
The man I consider the father of modern record production passed away on March 8th at the age of 90. Martin leaves behind an enduring and timeless legacy not only for his association with the Beatles, but the very heart of his craft, always an innovative and adventurous artisan, and as many will attest, a true gentleman.
Trevor posted a remembrance of Martin on his Facebook page last night:
I was so sad to hear of the passing of Sir George Martin. Some years ago he called me. He was doing a concert at the Hollywood bowl with orchestra and a band. He asked me to play and sing. It was an evening of Beatles music."Sir George Martin and friends". I sang a number of songs including Golden Slumber and some other songs. It was a magical evening. He was one of a kind. He was brilliant, kind, and just a wonderful human being. The end of an era. Loved you Sir George. Never to be repeated.
When I interviewed Trevor in 2012, one of the things I asked him about was the following: I had read somewhere that when he first came to London, Martin offered to produce him but Trevor turned him down. However, Trevor did end up working with Geoff Emerick at Martin's facility AIR Studios on sessions for Face To Face. He replied that the only time - which he recalled - he ever interacted with Martin was performing in the LOVE show, which is a slightly different thing than he's relating in his post.
Update: thanks to the search-fu of another fan on Facebook, there was raw rehearsal footage which did include Trevor singing "The Long and Winding Road" at the end of the clip, around the 00:48 mark, but unfortunately the video has now been deleted from YouTube.
Sad to report yet another musician loss this month...
One of the enduring institutions of UK hard rock, singer/bassist Jimmy Bain passed away doing what he loved: performing for enthusiastic audiences. Associated with some of the most well-known bands of the 1970s and '80s, Bain worked with Rainbow, Dio (co-writing some of the ensemble's most well-known songs), and Scorpions, as well as a number of other music legends such as Phil Lynott, Gary Moore, Vinny Appice, and John Cale. He was also the founder of Hear n'Aid, a charity formed to raise funds for famine relief.
Trevor crossed paths with Bain in his London-era career when he co-produced the debut for Wild Horses, The First Album, released in 1980.
Here, from a bootleg audience recording, is Trevor guesting with the band in London, 1979.
Today there's an article on the Rolling Stone website which gives Trevor a nice namecheck in regards to that Texas tornado known as SRV on the anniversary of his passing:
http://www.rollingstone.com/music/lists/10-great-stevie-ray-vaughan-tributes-20150827
As I noted in a previous entry, Trevor is the featured lead guitarist on a cover of "Tightrope" from the 1996 release Crossfire: A Salute to Stevie Ray which includes Billy Sherwood on bass. But in honor of Stevie Ray, here's one of my favorites of his, a song where he's paying tribute to another legend, and I hope that pantheon is burning it down every night in the great six-string beyond.
It is with great sorrow that I note the passing of the man - taken from us far too soon - who was not only the literal foundation of Yes, but also a dear friend and wonderful collaborator to his bandmates, and especially Trevor - their creative partnership defined the YesWest years as much as any other element of that assemblage of musicians.
Those of us who have loved Yes for much of our lives as music fans, we know Chris was blessed with an incredibly charismatic personality and a musical talent to match, and both the sound and the sight of the band is forever imbued and articulated with his qualities as a musician and a performer. A huge part of what made Yes so beloved and innovative over the whole of their career is attributable to his contributions.
There will never be another like him, nor should there be. The world was lucky to hold just one Fish. My deepest condolences to his family, friends, bandmates and collaborators, and fellow fans.
