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.
Published today is a listicle-of-sorts regarding some of the songs recorded in '82-83, I assume this originally appeared as a sidebar in the full issue of PROG featuring the 90125 cover story.
Of the six songs listed here, I have already provided some commentary in my entry about 90124 from the Changes review series (that particular entry was posted in August of 2020) but I'll comment here too.
"Time"
In fandom circles this is considered the true lost track, and Trevor notes that it would have included "Cinema" in its' complete version, but I have a theory that the original instrumental version of "Make It Easy" which is in fandom circulation may actually include "Time" as well. I think the reason why it generates so much conversation/speculation is the belief that "Time" represents a sort of lost prog potential for YesWest which, as with many popular myths, doesn't necessarily hold up.
"Make It Easy"
...and the author noted that detail too (re: the relationship between "Time" and this song). "Make It Easy" is a definite part of Yesstory given the use of the intro in live performances of "Owner" as well as its' archival release on the remastered/expanded version of 90125, and so I feel like it doesn't necessarily always need to be included in the discussion of "lost" tracks.
"It's Over"
What is truly interesting to me about this song is that - beyond its' inclusion on the reissue of 90125 - there isn't some other version of it floating around in fandom circulation. It's credited solely to Trevor but it really feels like it was something which became fully-realized when subjected to the Cinema process.
"Red Light, Green Light"
My esteemed fandom colleague Henry Potts refers to this song as "mysterious" as regards its provenance in Yesstory. Trevor Horn made mention of it in an NME interview from 2021, noting that the drumloop on the Art of Noise track "Beat Box" originally came from the recording of this track (which, according to this article, took place at Air Studios). And Alan's playing is right on the money, as always! So one thing we could speculate about "Red Light, Green Light" (as it languishes in relative obscurity) is that it was probably at least somewhat funky. Now this is the song Trevor should be asked about, rather than the 1001th inquiry regarding "Time."
"Carry On"
AKA: "You Know Something I Don't Know," and as I've noted previously, this song was resurrected briefly as an instrumental performed on Trevor's solo tour in 1989. Its' inclusion in the Cinema rehearsal recording which is in circulation means that this song is usually cited in these kinds of discussions.
"Open Your Doors"
For years I saw this song referred to as "Open The Door" but when you listen to the recording, it really does sound like open your doors. This is a definite outlier in the Cinema oeuvre (with a really bad-quality version in circulation). The article states that it sounds "nothing like Yes" which is true but they weren't trying to sound like Yes at that time. So it represents just as valid a direction as any other in my estimation.
Spotted on YouTube: Trevor appears on yet another listicle, this time of the video kind...and honestly, if he hadn't I would have had a bone to pick with one of the Internet's most well-known Boomer pundits, Rick Beato.
"Owner" comes in at number five (but Rick notes it could have been number one) on his Top 20 Strangest Guitar Solos of All Time, and that's fair enough.
Rounding out the top five are solos from Eddie Van Halen, Frank Zappa, Allan Holdsworth and Jeff Beck. Good guitar company indeed!
With thanks to YF member flatopfreak for sharing the article.
Music writer Brett Milano offers his own list of the heavy hitters in the Prog world on guitar, published on the uDiscovermusic website, and in this "essential top 25 countdown" all of the Yesmen have made the cut, with Trevor in the top ten this time.
10: Trevor Rabin (Yes) Long before he joined Yes, Trevor Rabin was known as a musician of prodigious chops; he’d already done solo albums playing all the instruments. While he did bring more of an arena-shredder sensibility than any other Yes guitarist, that doesn’t mean he couldn’t serve the song. One of 90125’s highlights, “Changes,” has a taste of everything he does well: Orchestral leads, Police-like rhythm parts, and those flashy cadenzas in the intro.
Here's the article link for those interested in the full lineup:
I've previously blogged regarding people pretending to be Trevor on social media and it looks like there's another one now on Instagram - the account @tcryes. I imagine this has already been discussed in some of the Facebook groups but as I'm not a member of any of those I only found out about it this week.
There's not much content - just a story linked and one post - but both of those things raise various red flags to me as well as any long-time die-hard fan who is familiar with Trevor's online presence and posting habits up to this point - a subject I have also covered/opined upon over the years.
In support of this impression I thought I would list my reasons as to why I am asserting this account is fake; and I certainly welcome any views/feedback/insight via email as to why someone might think I'm wrong or lacking particular information. But I really do think it's fairly obvious.
The name: I honestly do not believe Trevor would name an Instagram account in that fashion, as I would imagine he'd be able to obtain a verified account as a public figure/celebrity in the same way he did for Facebook and Twitter.
Frequency of social media engagement: Most of us are fully aware that Trevor has not posted on Facebook (his primary venue for the aforementioned activity) in over two years now. So why would he now create an Instagram account and start a podcast? As someone who spoke with him over the past year, I can verify Trevor is focused on finishing his new solo album and even if he were to start another project or hobby, I honestly can't believe it would involve podcasting. It's true that a lot of people are getting into podcasting - both as an acknowledgment of its' popularity as well as the way in which the online world has been impacted by the pandemic - but given Trevor's existing relationship to social media overall I would say he would be one of the least likely people to do this.
Bio: That bio is just...weird. The whole thing. I could break down every detail but I would hope it wouldn't be necessary for the people who read this blog. But especially linking 90125 on Spotify because although Trevor has promoted his own work he's never been a shill for it. If he was going to link anything in his bio it would likely be the Sharespace website he announced back in 2018.
Additionally, I will say that the choice of the user icon is the only likely thing which might be considered legit.
The story: as noted there is an story linked - we've seen details of Trevor and Shelley's house over the years via various sources and I really don't think that's it. But I will say I believe that they do celebrate secular Christmas so it's not the presence of a Christmas tree which is the tell, so to speak.
The post: This is really the bait, of course, though to what end exactly I couldn't say. But I have not been able to find actual evidence of this alleged podcast anywhere, even beyond the outlets listed in the post. There is a podcast with that name, but created by someone else.
I address these comments to "Trevor" in reaction to parts of the text:
-1- Behind the scenes producing our album "Close to the edge"
Uh...do you mean the 1972 Yes album Close To The Edge which you were not involved with at all?
-2- Episode 1 is joined with a good friend and film writer John Grey, John and I worked closely on one of my first film appearances in The Glimmer Man.
That guy you've got pictured there, that's director John Gray. I mean, if it was someone you valued you'd want to get their name correct, right? But also, the real Trevor wouldn't necessarily want to devote an entire podcast episode to that movie - and I know this because I've discussed it with him on two separate occasions and I know what he thinks of it.
In summation...it was fairly easy to debunk this for anyone, not just me, and I imagine there's other fans who've done just that in the two weeks since this account appeared. I just feel bad for anyone who might have thought this was genuine. As we know, if Trevor desires to give any update on social media he's going to post to his Facebook page (which will automatically crosspost to his Twitter account) and although I think many of us would love it if he decided to create his own podcast, I really don't see it happening. And that's okay too, even if his current non-presence means that certain bad actors with parasocial fixations/lack of boundaries are attempting to fill the void.
Like most popular songwriters of his generation, Trevor has written a number of love songs and so on this particular day (which you may or may not celebrate) I thought we could use a little love from Our Trev.
I still believe this might be the most personal love song he's ever written.
"I Love You" - Beginnings, 1978
A classic of the Rabin-van Blerk partnership.
Rabbitt, "Hold On To Love" - A Croak and A Grunt in the Night, 1977
Wouldn't we all like to eat at Chez Nous?
Yes, "Love Will Find A Way" - Big Generator, 1987
One of Trevor's heartfelt works of social commentary.
"Eyes of Love" - Can't Look Away, 1989
This song is about cosmic love...but also far more earthbound impulses.
Yes, "Real Love" - Talk, 1994
This became a popular song in fandom after its' release, one of the batch which Trevor wrote in the early '80s.
"Would You Feel My Love" - 90124, 2003
Love is strictly a euphemism here, as this is Trevor's "just sex" song.
And so it was apt that today a thread was posted at the Yesfans discussion forum asking members to guess three songs which would be added to the setlist. I responded that it was difficult for me to guess but in the interests of being a good blogger I'll make an effort here.
"South Side of the Sky"
(Jon mentioned this one in a recent interview, so it's potentially a lock.)
"I Am Waiting"
(Another song Jon has mentioned, it seems a likely choice from Talk.)
"Shoot High, Aim Low"
(I'm hoping that perhaps now they'll find themselves the equal of this song, as Trevor had named it as a definite inclusion for the last tour.)
Bonus guess:
"Starship Trooper"
(Just because I want them to bring this one back so badly.)
If you've got guesses you want to share, hit me up on email - and we'll know who is correct tomorrow!
It's all because I'm a cheeky Cockney geezer! I think it's a lot of work and little bit of luck. I've always had a good work ethic and a can-do approach to music and that seems to stand me in good stead.
- Lee Pomeroy, 2014
Regular readers of the blog will note that since the 2016 ARW tour I've taken quite a shine to Lee Pomeroy, but who can blame me? He is an amazing bass player, and his resume and professional reputation only serve to underscore that impression. But I also know there are any number of people (especially in the UK) who are asking: where have YOU been?! And my answer is: I don't know. I feel rather out of the loop, believe me.
It was touching to observe many fans online feeling a bit sad at Lee's absence during the Japanese tour (with no offense meant to the capable Iain Hornal) which brought the realization that Lee plays in no less than three different bands every year, at least of late. And so it serves to emphasize that Our Guys were fully enthusiastic in terms of including Lee as part of ARW even with the consideration of his prior commitments.
Not paying attention in prior years means I missed out on a lot of great playing...but wait - this is the 21st Century and we have YouTube to save us from total ignorance of such things. And let me tell you: there is a lot of footage of Mr. Poms out there on the Internet (I have spent months watching it and there's still footage I haven't seen). Because, as he's stated in several interviews, his philosophy was and is to play as many gigs as possible, so there's plenty of his work to enjoy in various genres. Lee seems to fit effortlessly into whatever situation he finds himself in, I have yet to hear him play something where I thought: no, that's not quite right. He is always right on time. So I thought I'd curate what I believe is some of the significant work of Lee's career as a performing musician - if, like me, you're just learning of this man's greatness. Or if you already know, you can experience some of the highlights once more. But this is gathered according to my specific tastes/impressions, so there are gigs I've left out, I'm aware of that.
Genaside II
This clip is from 20 years ago and a true testament to the archival nature of YouTube, immortalizing the moment which Lee has cited as his big break (playing festivals on a bill with The Prodigy, this performance was for 350,000 people in Moscow's Red Square and broadcast on MTV), and you can, in fact, spy a few shots of a long-haired bass player holding down the low end of "Mr. Maniac" from the album Ad Finite. Leelater joined trip-hop band Archive for several years.
English Rock Ensemble
Those who knew of Lee's work with the ERE found it no surprise that he was selected for ARW; Lee has been playing (and goofing around) with Rick Wakeman for nearly twenty years now.
These two performances of "Merlin the Magician" - five years apart - are an interesting snapshot illustrating how Lee displays incredible chops, but further experience has brought refinement to his overall style.
From the 2005 Made In Cuba DVD release:
This performance from the 2010 Cropredy Festival features an example of the aforementioned silliness.
The Tar Babies
The UK-based version is a pub band which everyone involved with does for fun and they have an excellent repertoire of cover songs, as well as a retro vibe which is reflected in their choice of stage attire. Lee has performed with them periodically for over ten years now. This first video from 2011 isn't the best quality but I selected it for two reasons:
-1- they play my favorite Pink Floyd song
-2- they also play Focus' "Hocus Pocus" with Lee on lead yodel. And Lee has also actually performed with Focus (the photographic evidence is on his website).
This next video isn't the best quality visually but sound-wise it's really great. It's an excerpt from their 2007 performance at Music on the Meadow - I don't know what the guys are playing but it sounds fusion-y (and if someone recognizes it, please email me and tell me what it is!). This was the first video I ever saw of The Tar Babies with Lee on bass and I was completely sold. I don't believe Lee has time to play with them on a regular basis now, but one just never knows when he might turn up again.
Headspace
A progressive metal ensemble which is the passion project of all its' members, the core is Lee, Adam Wakeman and Damian Wilson, who originally performed together in Rick Wakeman's English Rock Ensemble in 2000-2002 (Damian and Lee also played on Rick's 2003 album Out There). With all of them so busy in other bands and projects, the only way they could spend any time together was to form another band, and so they rounded it out with mutual friends Richard Brook (however, Darby Todd is their current drummer) and Pete Rinaldi. They've released three recordings (an EP and two full-length albums) but haven't performed often, so when they do it's something very special. I love this band, and I really want everyone else to love them too, but I realize that's rather an unrealistic goal. But if you think you might like them, please give them a chance!
This particular video takes a commitment of your time and attention, but as their epic it's entirely worth it, trust me. It is also the only known recording of this song (from their album I Am Anonymous) in performance.
It Bites
This UK-based prog-pop band has been around since the mid-80s and Lee was a fan from the beginning, so it was a dream come true for him to get the job, originally for the tour to support the release of The Tall Ships in 2008. Now you might already know that It Bites had a sort of stage uniform in those days - everyone wore white. But in Lee's first appearance with the band. he was the black sheep.
His role then progressed to what John Mitchell referred to as "a real bass player" for the band on their next album Map of the Past, and he initially participated in the subsequent tour, but I do not believe he's actually played with them since 2011-12 so it's not clear if Lee is even in the band any longer.
"All in Red" was It Bites' first single back in 1986 and I'm particularly enamored of this version, which is a bonus feature on the It Happened One Night live DVD, presumably from the soundcheck for the gig which was filmed.
"Great Disasters" is from The Tall Ships and this footage is from the live DVD, I love the vibe of this song, it's somewhat retro but it does hew to that line between genres which the band seems to straddle.
Three Friends
Another dream job for Mr. Poms was touring with this offshoot of beloved and influential prog rock band Gentle Giant, and this particular song (one of my GG favorites) is a great example of what Lee means when he says that Ray Shulman is "the funkiest bass player in prog rock." This performance is from 2013, featuring great interplay between Lee and guitarist Gary Green.
Steve Hackett's Genesis Revisited
Speaking of dream jobs, playing in a band which celebrates the music of Genesis with an actual member of Genesis is the very definition of an offer Lee would never refuse. And we see him here in the GRLive at Hammersmith DVD release adeptly handling Mike Rutherford's double-neck bass guitar duties on "Dance On A Volcano" originally from A Trick of the Tail.
Anderson Rabin & Wakeman
I offer no commentary, only the request that you sit back and experience this man performing the music of his original bassist hero with love and respect and joy.
I thought it would be fun to compare those selections to the Desert Island Discs list he proffered to Tim Morse for the Yesstories book (published in 1996). I have annotated each of these selections for further context.
In no particular order...
-1- Leonard Bernstein conducting the New York Philharmonic doing the 1812 Overture
(Trevor might be referring to the 1963 Columbia Masterworks release.)
-2- Ashkenazy playing the Rachmaninoff C-minor
(Trevor might be referring to Vladimir Ashkenazy's 1963 recording with the Moscow Philharmonic.)
-3- The Paganini caprices performed by Heifitz
(It seems Trevor is referring to more of a wishlist item than an actual recording, as it appears Jascha Heifitz only recorded three of Paganini's 24 caprices.)
-4- Any Schoenberg
(Trevor has cited Arnold Schoenberg as his musical hero in prior interviews.)
-5- Apocalypse - Mahavishnu Orchestra
(released in 1974)
-6- Electric Ladyland - Jimi Hendrix
(released in 1968)
-7- Bookends - Simon & Garfunkel
(released in 1966)
-8- The Bulgarian Choir
(It's not clear whether Trevor is referring to the Bulgarian State Television Female Vocal Choir or Trio Bulgarka.)
-9- Anything with Oscar Peterson. I love him - he's a tremendous player.
(When I interviewed him, Trevor told me jazz pianist Oscar Peterson was also his mother's favorite.)
-10- Rimsky-Korsakov, Scheherazade is one of my favorite pieces.
(Trevor has cited a specific recording of this composition in prior interviews, but I can't recall which one it was.)
-11- Antonio Carlos Jobim with Elis Regina did an album called Elis and Tom. A phenomenal record.
(released in 1974)
It is clear when contrasting these lists that there is a focus on guitarists in the new list, whereas the other comprises music Trevor deeply loves, much of it classical. However, it is a fitting list for a guitar magazine.
What is interesting about the new list is that it displays how heavily Trevor has been influenced by guitarist John McLaughlin - which I have commented on several times over the years - as of those five recordings, three are from projects featuring the fusion fire of Johnny Mac. Electric Ladyland is the only overlap between the two lists and also another choice which speaks to his burgeoning influences, as Trevor has cited Hendrix multiple times and stated his father Godfrey was a fan as well. In a 1995 interview when discussing his influences, he noted:
Hendrix was an amazing experience for me. People say he was this great guitarist, but beyond that to me his lyrics, demeanor, production and his voice all had so much passion.
His choice of Return To Forever is also not surprising to me, as he has mentioned keyboardist Chick Corea as an influence, concurrent with his discovery of jazz fusion in the 1970s. Romantic Warrior is the ensemble's most popular release, featuring the amazing talents of jazz legends Corea, Stanley Clarke, Al DiMeola and Lenny White.
And so for Trevor to name five classics of fusion (because Electric Ladyland can be considered from that same perspective, given how it blends blues, funk and psychedelia, for example) shows that his taste has always been deeper than what people would expect...and broader than they would imagine.
Note: this post is image-heavy (for those of you with slower browsers.)
Say what you will about people and their smartphones and digital cameras at concerts - I say bless you, because there have been some really wonderful photos to enjoy from this tour. Here are some of my favorites, with my gratitude to those who captured these moments...hit me up on email with your picks!
The AMAZING Lee Pomeroy and his current guitarist.
Note: this post is image-heavy (for those of you with slower browsers.)
(With thanks to my fellow Rabid Rabinite Judy Davis for the Akron photo.)
As the first month of the ARW tour is now in the books, if we consider the wardrobe choices of the boys (including Lou and Lee as well), Trevor was the one who showed the most diversity in his onstage attire. Given that we live in the age of the Internet and can observe this tour occurring in real time, there is documentation of every show. Some nights featured similar outfits, but unlike Rick (who wears the same thing every night) and Jon (who has a couple suits), Trevor was switching it up more frequently. So let's relive the glory of the many looks of the Maestro - and hit me up on email to let me know what you think is the best outfit!
(Me? I think it was the dark flowered shirt and black pants - different from the black track pants - but I'm of the opinion that Our Trev was born to wear flowered shirts. A snazzy and classy Guitar God is what I like to see.)
Of late there's been a couple listicles floating around regarding what is the best of Trevor's work in the YesWest era. So I'd thought I'd join in on the fun except I wanted to approach it from two perspectives: my favorite track as well as the one I think is the best - because with the way my mind works those two assessments are often applied to different songs. However, I have previously written about some of these songs, so I'll be taking the liberty of quoting myself. And of course it is gratifying to know that three of my selections have made the ARW setlist for the current tour.
My Favorite: "Changes"
Even with the changes to "Changes" it is every bit as much Trevor's signature song as is "Owner" - and a work which successfully melds Trevor's melodic sensibilities with Yes' prog-minded ambition.
The Best: "Hearts"
The first of those songs which fans would come to refer to as "epic" as regards YesWest, and one which features amazing performances and a wonderfully dynamic sense of drama and emotion, topped with Jon's cosmic fairy-dust.
Big Generator
My Favorite: "Rhythm of Love"
This song manages the feat of being a hit single and showing a bit more grandeur in its' use of harmonies and various touches of production filigree... it is seductive in every way. And it's got one of Trevor's best solos.
The Best: "I'm Running"
This is my favorite YesWest epic.
My comments from the entry "something Fishy"
The most ambitious, intricate, and interesting song on an album which tends to be underrated even now; the story goes Chris drove Trevor a bit nutty during sessions by playing the bass riff which opens the song over and over again as an idea he wanted to work on. At first Trevor wasn't sure of its' potential but then he finally relented and wrote a Latin-themed melody to go with it, as well as some of his best lyrics (then added to with a refrain by Jon). The song shifts frequently in dynamic and mood and sounds quite unlike anything they'd done (or would do ever after) with great performances and production and lots of interesting little touches (including the hilarious use of a duck call as a transition) and I believe it's a great example of Trevor taking the foundation of Chris' idea and building a beautiful edifice on top of it, even as he used the analogy that Chris was "polishing the vase" due to his obsession with the riff while the building fell down around him!
Union
My Favorite: "Lift Me Up"
Trevor's greatest anthem, 'nuff said.
My comments from the entry "something Fishy"
Long-time fans know Trevor originally wrote this song prior to its inclusion on the album, as he and his touring band played the opening sequence as their entrance music on the club tour of 1989. But Trevor has recounted that he and Chris worked on the lyrics together, and the choice of words lends a sense of grandeur to the whole. This remains an incredibly compelling song, and also a highlight of the Union tour setlist.
The Best: "Miracle of Life"
This is another of Trevor's anthems, and an excellent one given its' specific subject of animal rights. But also it is an interestingly complex take on what might be considered his version of progressive rock (even as Trevor recently said he's not too fond of the term).
Talk
My Favorite: "Real Love"
This song never fails to give me chills, and I would play it as evidence of what I love about Trevor's playing and production/mix skills.
My comments from the entry "something Fishy"
On an album which is largely defined by the efforts of Trevor and Jon, choosing to make their own collaboration the core of the production, this is a moment in which Trevor does his best once again to take Chris' idea and expand and elaborate upon it until it is something epic in the realization. Their harmonies on the bridge refrain before the chorus are absolutely wonderful, and the groove and growl and power with touches of a more mysterious atmosphere of the song entire is something yet again unique in their catalog while also a perfect expression of what YesWest was meant to be as an ensemble.
My comments from the entry "Talk and the modern sound of YesWest"
At the album premiere party, Trevor described "Real Love" thus:
"It’s a song that one should listen to late at night, with headphones on, in a certain frame of mind."
In what I believe is the very best couplet, the song moves from considerations of the macro: Far away, in depths of Hawking's mind
to the micro: to the animal, the primalistic grind.
From the vastness of the universe to the tiny fraction of space between two coupling bodies: Trevor not only drawing inspiration from his reading of A Brief History of Time, but also the way in which he tended to juxtapose Jon's more cosmic concerns with those of the physical world, invoking the marriage of Earth and Air. And the multiple layers and textures, the dynamic movement of the arrangement, the way Trevor makes Jon's vocal sound like he's literally floating out in space, then suddenly moving right in front of us, and the wild panning of the end solo (shades of "Owner") complimented by the rumbling waves of Kaye's Hammond organ - it's an amazing ride.
The Best: "Endless Dream"
Many fans consider this the only YesWest epic and for me the way in which it moves through distinct passages, changing moods and ambitious musicianship is nothing short of amazing.
My comments from the entry "Talk and the modern sound of YesWest"
"Endless Dream" calls to mind other Yes epics like "Close To The Edge" and "Yours Is No Disgrace" in terms of arrangement, progression, and textures. But it goes beyond these traditional structures to include a wholly three-dimensional experience which - especially on headphones - moves around you with adventurous sound placement and layering. The "Talk" section of the song contains so many interesting passages, including the section where the listener is placed in the very center of the sonic image, with intricate harmonies, sound effects (created by guitar), rhythmic bass and percussion, and textured vocals. The ambition and grandeur of the music is perfectly balanced with the emotion of Jon's performance, as the heart and conscience of the composition, as well as brilliant two-part and three-part harmonies from Jon, Chris and Trevor. The contrast between the verses which Trevor and Jon sing is yet again that marriage of Earth and Air, even as each invoke philosophical and emotional import. Trevor deliberately textures his voice to provide a particular mood, juxtaposed with Jon's clear natural register. The song evokes the traditional values of Yes: progressive, far-reaching, complex and engaging long-form compositions, but rendered with the tools and taste of their current musical context. Indeed, how else would we expect YesWest to create such a work?
This is just my theory, but the electronic synth element we hear at a couple points in the song - during what I refer to as the "celestial" passages - sounds nearly identical to a loop from Cybotron's "Clear" which was originally released in 1983. The loop has been sampled numerous times over the years, including a few instances in the early 1990s, and was originally inspired by Kraftwerk's "Hall of Mirrors" from 1977.
As I mentioned there was a callback in "State Of Play" and I hear two in "Endless Dream" - one is the harp sound from the intro to "Rhythm Of Love" at approximately 8:06 and then the hook from "Where Will You Be" around 15:06.
Of course, no listicle would be complete without an embedded playlist, so here is mine, from my Rabin-esque YouTube channel.
A series featuring commentary on live recordings from my collection.
As I was working on my essay regarding the YesWest legacy as it pertains to audio/video of live performance, I dug deep into my collection of bootlegs and thus an idea for a new series was born, but one which directly relates to my Collector's Corner series, so consider it an offshoot if you care about that sort of thing. My focus for the inaugural entry is Trevor's 1989 club tour.
"We must be in (insert name of city here)!"
-Trevor Rabin, at every gig he played in 1989.
Back when the remastered edition of Live In L.A. was released, my review of the album contained historical commentary on the tour as a whole. However, at the time I had compared the official recording with my copy of the Boston show, rather than all the recordings I have, so I missed a few details which I thought would be interesting to mention now. My main point in this entry is: for those fans interested in live recordings, you're not getting the entire experience from Live In L.A. It is certainly the best-quality recording in all aspects and the one which Trevor is satisfied with in terms of presentation, but I would recommend for those who want to hear - and (for those lucky enough to originally attend) relive - the complete set they should seek out a copy of the Boston show; as a radio broadcast it is the best available of those in circulation. And hearing the entire show gives fans a chance to truly experience Trevor as the focus of a performance, which many of us have never known in our long relationship with Trevor's career. It is wall-to-wall guitar goodness - which we at least possess a tangible document of in the form of Live In L.A. - at the arguable peak of his Rock God powers.
In Toronto, Trevor asked the audience if he looked okay in his polka-dot suit.
Before the entrance music which the band played (the introduction to "Lift Me Up"), a section of "The Cape" was played over the PA. The way in which the Boston show is edited you can't hear it, but I have audience recordings from other dates which include this portion. I'm assuming it was played as the lights went down.
I find it interesting that the portion of "Birdland" in "Sorrow (Your Heart)" is not noted in the credits of Live In L.A.; one would think that these days, due to the ubiquitous use of sampling/interpolation, that the copyright acknowledgement wouldn't have been overlooked.
I stated Trevor had the audience sing along with "Owner" at every date, and that's not correct. I tend to think it depended on the audience. It appears he was battling a cold during the entire tour (so we can assume, as noted by Mark Mancina, that Trevor's infamous demand for "More brandy!" was strictly a medicinal request), and makes mention of it several times in the recordings I have, but if the energy level of the audience seemed to be lacking he didn't necessarily encourage them to sing along. Thus I have a couple versions of the song with Trevor singing a step down for his register, which isn't bad, but it seems to me the band as a whole should have tried to get every audience involved. But knowing the Los Angeles show was being recorded I think it was important to Trevor not only to capture the energy of the audience in the recording, but also to avoid straining his voice or doing less than his best - which he acknowledges in the liner notes interview.
There are backing vocal tapes used - which is something YesWest did for every tour as well - which doesn't detract from his own songs in which they're used: "Cover Up," "Sorrow (Your Heart)," "Eyes Of Love," and "Something To Hold On To" but I can't help but wonder if the budget could have allowed for an extra vocalist. According to at least one interview conducted prior to the club tour, originally Trevor planned to include former bandmate Duncan Faure in his band, who would have provided great harmonies for the songs chosen. I also believe that either a backing vocal tape or an augmented mix was used in "Love Will Find A Way." This practice does not strike me as disingenuous so much as emphasizes how committed Trevor was to presenting the particular sound of the songs even given the vagaries of live performance.
I would imagine that compared to every other date - even Los Angeles - the Boston audience was insane, chanting Trevor's name at several points, for example. They also performed every audience participatory thing they could. That is another reason why I would recommend this recording, although it's known that Boston audiences are rowdy in general. Their energy level really bolsters the band's mood in my estimation, resulting in a kick-ass gig overall.
As Trevor notes in the liner notes interview for the reissue of Live In L.A., the version of "Solly's Beard" is not from the performance at The Roxy, and that's a shame because the renditions of his acoustic solo piece were interesting and evolving with each gig. Placed at the mid-point of the setlist, he lengthened it and incorporated various new elements. For example, in San Diego he teased the intro to "Love Will Find A Way." And as I've mentioned previously, his introduction was hilarious.
Which brings me to my next point: by not including a lot of the stage patter, you really miss out on appreciating Trevor's sense of humor. It tends to be evident in most interviews he gives, but he never really had the chance to show it onstage with YesWest, so it's fun to hear him make quips between songs.
Speaking of talking, an interesting thing about audience recordings is you usually get to hear random bits of conversation in the crowd, and on the Toronto recording, one of the attendees correctly identified "You Know Something I Don't Know" as a song which had been considered for 90125 but then dropped from the running order. And this was in 1989, proving that the original demos have been in circulation for a very long time.
I imagine any number of fans have noticed this one...in an interesting act of self-censorship, Trevor altered a line in "Heard You Cry Wolf" (going from "hope to God that no one'll find you" to "hope to goodness") and one wonders if he might have believed invoking the G-word would have been potentially offensive, but given the demographic of attendees I tend to think no one would have minded. The choice of this song - my favorite from Wolf - remains one of the high points of these shows for me, it's so wonderfully performed, illustrating what a great song it is overall in Trevor's solo catalog.
"On the drums - Buddy Love, the Scheiße Haus, Mr. Lou Molino!" Everyone has their favorite track on Live In L.A, and for me it's "Sludge." As I noted in my essay "Fusion Furor" it's an absolutely audacious performance, and from the versions I have in my collection, the boys managed to bring it every single night. But given the format in which the recording was eventually released, I don't get why Lou's epic three minutes-and-change drum solo was edited down to 30 seconds. I don't believe it would have necessarily impacted the flow of the recording overall, and hey - isn't that what live shows are for?!
In keeping with my ongoing argument/advocacy for further curating and preservation of Trevor's legacy overall, I daresay that - even with a warts-and-all release - allowing fans to have a complete record of this tour is important, and would be a gracious gesture to the fanbase who continue to love this era of Trevor's career and provided positive support as it occurred.
A continuing series wherein I indulge my love of yammering on about permutations of Trevor's body of work in performance.
Every so often I encounter opinions regarding Trevor's playing which I find thought-provoking, and having discovered one particular proclamation during all the years of my continuing search for stuff, I've given it Serious Consideration...
Which, in fact, is the best available version of "Solly's Beard?"
This of course raises the consideration of conclusive statements - how can anyone, even an avid fan, be in a position to ponder and therefore assign that particular value judgment? What kind of critical assessment credentials would one need to possess? Granted, I have many live recordings in my collection which allow me to discern degrees of excellence in Trevor's performances during the YesWest era, but I find such a proclamation to be a slippery slope indeed if for no other reason than one's opinion is simply that.
But it's a good excuse to write about this particular composition as it is - in the opinion of many - one of the classics of Trevor's oeuvre. Thus I listened to numerous versions of "Solly's Beard" from every tour in which it was performed (as an example of the depth and breadth of my research, I heard the first time it was played on tour in 1984 and one of the last times it was played in 1992) and I will discuss the manner in which the composition developed over time as well as choose the performance I believe is the best. I will assert, however, that it's difficult to quantify such a judgment because as a performance piece "Solly's Beard" was meant to evolve and progress and was subject to the external influences of live performance: the mood of the performer, the mood of the crowd, considerations of technicality and pacing and equipment functionality, what Trevor had for lunch that day...anything at all which might affect the way he played the piece on any given night. Even as many iterations might sound largely the same, each one was strictly meant to reflect a particularly unique moment in time. And to keep it interesting for Trevor as a performer meant that changes - whether subtle or obvious - were incorporated over time.
"Solly's Beard" was, as long-time fans know, quickly developed as a setpiece by Trevor for the first YesWest tour in 1984, as an interesting acoustic change of pace, whereas all the other solo spots are performed with the musician's primary instrument (and in combinations, thus we have "Si/Solly's Beard" with Tony and Trevor, and what came to be known as "Whitefish" which is Chris and Alan's solo section). The original body of the piece remained mostly unchanged - save for the vagaries of performance - from 1984 through 1988, on two tours (9012Live and The BIG Tour). This was likely a concession to the length and pacing of the show overall. For the club tour of 1989 and the Around the World in Eighty Dates tour of 1991-92, the piece became longer and incorporated a few different genre nods, as by 1991 Trevor was performing it on a different guitar than previous, a white Yairi DY-88.
Trevor performing "Solly's Beard" on the The BIG Tour, 1988.
But that was the last time Trevor was to play the ode to his dog, as during the Talk tour of 1994 he decided on performing a piano piece instead, playing a long solo specifically for keyboards which then segued into "And You and I," transposing the introduction for that song to keys.
In my considered opinion "Solly's Beard" is not merely a solo which could be played on either acoustic or electric - Trevor was very specific in expression and tonality in regards to the instrument he chose. The piece was an exercise in the fusion of classical and jazz styles for acoustic guitar, quoting a number of influences, though at that particular time I maintain his primary influence was that of John McLaughlin. I've heard early renditions of the piece (from the first month of the '84 tour) and it was thoroughly focused on a jazz/classical fusion even when compared to versions later on in the tour. In 2012 I experienced a thrill of warm nostalgia to actually view up close the Martin acoustic guitar he originally used for the piece - as Trevor was departing his appearance at the Guitar Center in Sherman Oaks he kindly took the time to show it to those of us still chatting in the parking lot (he had brought it in for repair at an earlier date). He made special note of its provenance for the fans gathered before him, and we appreciated learning about its' particular role in YesWest history. Trevor also kept the stool he sat on to play "Solly's Beard" - any photo or footage you see of Trevor in The Jacaranda Room likely includes that very piece of furniture, such as this shot of the Maestro and his drumming BFF Lou Molino.
Having listened to a number of live recordings from 1984-85 and 1987-88, it allows me to state that the officially-released versions are sufficient in terms of hearing an example which Trevor would likely consider the "classic" style in which the piece was meant to be heard, with the version on the reissue of Live In L.A. possessing the best sound quality and therefore the best of officially-sourced audio from that period.
During the club tour of '89 Trevor took the piece to a whole other level, becoming a bit more indulgent because - after all - he could, teasing other songs in the midst of it. During the Toronto performance, for example, he included a bit of Cream's "Sunshine Of Your Love." This practice would be the precursor to his inclusion of "Dueling Banjos" during the '91 performances. Reportedly, when Trevor and Shelley became naturalized U.S. citizens in May of 1991, he even incorporated a bit of "The Star-Spangled Banner" into the piece. I believe Trevor also lengthened the piece to include elements which would allow further engagement with the audience, to get them cheering and clapping along, and as you can see with his performance in Denver on the Eighty Dates tour that's exactly how they responded.
There is also now a version on Union Live from 1991 which reflects the changes he incorporated, as the piece is nearly two minutes longer than previous versions; I believe it represents the pinnacle of the evolution of the piece and as such, is to my mind the best. I appreciate the genre-hopping and touches of humor he incorporates into the montage of references - as he moves from classical to jazz to country to funk to shred to classical to bluegrass. There is less of an emphasis on speed and more nuance in Trevor's playing overall, which illustrates the general development of his taste and abilities in constant reassessment and striving for excellence. But by the time the Eighty Dates tour reached Japan, Trevor's performance circled back to its' origins in that those versions represented a more "classic" iteration, longer than previous but with less stylistic variations.
But in the end my opinion is only my opinion, and thus I've included clips of some of those performances so you, dear readers, can judge for yourselves...
