Media Watch: near-miss

In the second installment of Ron Fair's column for American Songwriter magazine, he chronicles his discovery of Trevor's music...it's quite the story!  Long-time fans are aware that Trevor has frequently cited Fair as being the first record company executive to recognize the potential of "Owner" when he was originally attempting to obtain a recording contract after his development deal with Geffen went bust.

https://americansongwriter.com/ron-fair-the-true-crime-story-of-the-classic-hit-owner-of-a-lonely-heart/

The article contains a video of Fair's edit of Trevor's original demo for "Owner," the full version of which was included on the 90124 release in 2003.  Interestingly, the story of how Yes came into the picture - and Fair claims that (presumably) Phil Carson and Chris Squire had heard Trevor's demo of "Owner" at that time - is somewhat different to previous narratives (but let's remember Yes is a band which has numerous versions of their history in general).  I think it certainly makes for a more dramatic story for Trevor Horn to have "discovered" the potential of the song himself, but who knows?

Media Watch: Rock Classics: 90125

(With thanks to highfell on Yesfans.)

A new entry in the Rock Classics book series - examining albums in the Classic Rock canon - is an examination of 90125 by Stephen Lambe, author of Yes: Every Album, Every Song and co-author of Classics: Yes in the 1980s. The book will be published in July of this year.

Against the odds, the astonishing 90125 (1983), became Yes’ best-selling album. Featuring new interviews with several of the main protagonists, including Jon Anderson and Trevor Rabin, this book traces the complicated story of the album from its 1981 demos to the conclusion of Yes’ massive world tour in 1985.

90125 was never intended to be a recording by one of the 1970s leading rock bands, but a combination of commercial expediency and luck saw a release by Cinema - featuring Yes stalwarts Chris Squire, Alan White and Tony Kaye alongside Trevor Rabin - become Yes following the last-minute recruitment of Jon Anderson. A US number one hit single "Owner Of A Lonely Heart" led to a triple platinum record and a massive world tour, giving this band a new lease of life in the 1980s.

90125 is reviewed in full, and the book also includes a detailed look at the somewhat complex and contrived process that created it, followed by an examination of the album’s legacy and remarkable afterlife.

As is noted in his bio: His piece about the album for PROG magazine was the inspiration for this book., then I imagine we can expect that the book will contain interview excerpts not previously published in last year's PROG cover story.

You can preorder it from Burning Shed via this link:

https://burningshed.com/store/sonicbond/stephen-lambe_rock-classics-yes-90125_book

Media Watch: the (storied) history of "Owner"

Published almost on the anniversary of OoaLH charting at number one on the Billboard Hot 100 is this article from Guitar Player regarding the creation of said hit single.  I'm assuming it was originally a part of the main interview published last month.

https://www.guitarplayer.com/players/yes-how-i-wrote-owner-of-a-lonely-heart

And...it's a story long-time fans know very well.  Or at least one of many stories.  Just for perspective's sake I found this article which is from 2021 featuring Jon's point of view.

https://www.rhino.com/article/deep-dive-yes-owner-of-a-lonely-heart

And then another article from 2021 also featuring other perspectives...

https://www.loudersound.com/features/yes-story-behind-owner-of-a-lonely-heat

Given the 40th anniversary of 90125 a few months back there's been a lot of coverage about the album and the song published of late (as example, one posted on the BraveWords website last month).  But one thing which stuck out for me in this latest one was this bit:

He learned it had reached number one while vacationing in Miami. As he celebrated with a glass of champagne by the hotel pool, a woman whisking down a water slide slammed into him and ruptured his spleen. 

Trevor told the story of the accident (and Shelley's heroic effort to pull him out of the pool all on her own) during his Guitar Center in-store appearance in 2012.  He stated it happened on his birthday, January 13th.  The day "Owner" hit number one was January 21st (which is one helluva belated bday present).  But it certainly makes for a dramatic scene, right?  Trevor's greatest career triumph followed by a life-threatening accident, how fortunes can change from one minute to the next.  Heck, even just a freak accident happening on your birthday is enough drama for anyone.

All that to say...I think this is an interesting example of how - when a cultural artifact is so revered, so famous - there are always going to be differing perspectives regarding how and why it is special, how it was created, and the truth likely lies somewhere in between.

Media Watch: recent articles

A review of the 1976 album The Bull and the Lion (which featured instrumentation by Rabbitt):

https://www.ft.com/content/9dc0c20a-0051-4aac-bed0-47621a386eda

Trevor on the creation of "Owner of a Lonely Heart":

https://bravewords.com/news/yes-trevor-rabin-discusses-owner-of-a-lonely-heart-on-its-40th-anniversary-so-i-am-sitting-on-the-toilet-playing-that-riff

A listicle/interview regarding many of Trevor's best-known (and brand-new) songs:

https://www.guitarworld.com/features/trevor-rabin-rio

Media Watch: PROG issue 145

This month's cover story in PROG focuses on the 1983 release 90125, an anniversary-minded look back at the making of the album and its' enduring place in Yesstory, music history, and pop culture.

The band's groundbreaking 1983 album 90125 is 40 years old and Prog celebrates by bringing you the inside story of the album, via brand new interviews with those involved. It's a journey from an attempt to form XYZ with Jimmy Page to finding themselves topping the US singles charts - a first for a prog band!

Media Watch: grand old (album)

Recent media coverage has focused on the 40th Anniversary of the release of 90125, and here are a couple of new articles:

https://www.forbes.com/sites/davidchiu/2023/11/13/trevor-rabin-looks-back-on-yes-classic-90215-album-turning-40

https://somethingelsereviews.com/2023/11/09/yes-90125-new-era/

Media Watch: Hall of Fame visit

With thanks to the R&RHoF, we have video of Trevor's visit to the facility on October 6th, in celebration of the release of Rio and his status as a Hall of Famer (as the Union-era lineup of Yes was inducted in 2017).  And he donated his famous black-and-yellow stage outfit from the 9012Live tour to the museum as well as a chart he had written out of the riff for "Owner of a Lonely Heart."

In this footage of the tour Trevor was given you can also spy Shelley along with Trevor superfans Judy and Melinda, who created and administer the Trevor Rabin Fans page on Facebook.

Real ones know, part four

Journeyman guitarist and legendary sideman Tim Pierce has released a play-along/commentary video regarding Trevor's role in YesWest and appreciation thereof, as well as of The Two Trevors (he previously worked with Trevor Horn on various recordings).  As he is also an instructor with a long-running YouTube channel and Masterclass offering, he offers his analysis on how to approximate Trevor's sound as well.

"strange" AND iconic

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!

Media Watch: how to be a Million-Air

The 2021 BMI London Awards ceremony was held (virtually) yesterday and Trevor was once again among those awarded the Million-Air award, for "Owner of a Lonely Heart" which has now surpassed six million US radio plays.  That particular category within the Million-Air award slate for songs in the BMI repertoire also featured five other songs from Elton John, Seal, Cutting Crew, Roxette, and Ed Sheeran.

https://www.bmi.com/award-shows/london-2021/

Media Watch: Trevor's catalog acquired by Round Hill Music

Spotted on Twitter: announced today, Round Hill Music Royalty Fund Ltd. has acquired what appears to be a half-interest in Trevor's catalog, including much of his film scoring work.  That is an interesting development, as I wasn't aware any of those rights would revert to Trevor at all.

https://independentmusicinsider.com/press-release/round-hill-music-royalty-fund-limited-announces-acquisition-of-trevor-rabin-catalogue/

This is the first major acquisition for Round Hill Music following their IPO offering, the company was founded in 2010.  Trevor is following the recent trend of artists selling their publishing to music investment/song management companies such as Hipgnosis Songs Fund, which recently acquired a number of publishing and administration shares of various high-profile artists.

Collector's Corner: not just your average signed guitar

Spotted on Instagram: a singular collectible is now on the market via memorabilia site Coast To Coast Collectibles - Trevor signed a Fender Squire model Stratocaster and inscribed it with the musical notation of that famous riff and the listing features a photo of Trevor signing the guitar (and the details indicate to me that it was a fairly recent signing).

https://coasttocoastcollectibles.com/collections/hollywood/products/trevor-rabin-yes-autographed-fender-squier-guitar-exact-proof-beckett-coa-star

Media Watch: interview clip

Spotted on Twitter: Trevor has also appeared on tonight's episode of Inside the NBA to discuss his creation of their theme (among other things), interviewed by the show's co-hosts.

A Guide to Field Recordings: 9012Live

A series featuring commentary on live recordings from my collection.

The timing of this entry is primarily prompted by a fandom works crossover so crazy it might actually work!  Recently I joined fellow Yesfan and dear friend Jennifer Albright, co-creator/co-host of the Have You SEEN This? podcast, for a discussion of 9012Live - that cinematic classic and YesWest cultural document of everything which is both glorious and hilarious but also endearingly kitschy about the 1980s.  My eternal love and thanks to Jen for entertaining my idea, being so gracious to allow me to come on her show, and for all the hours we've spent geeking out over prog rock through the years.

Official links for Have You SEEN This?
http://www.haveyouseen.us/
https://soundcloud.com/have-you-seen-this

The full version of the episode is about two-and-a-half hours and was kindly provided to me by Jen as an exclusive to Rabin-esque.  You can listen/download via this link:
https://drive.google.com/file/d/1L3IIXocRSyN6agiSDJfok-67jD9DBPcV

This is a bonus episode of the show, so if you'd rather listen to the edited version you can join their Patreon to access it for a pledge of $2.00/month, which will also grant you access to all the other bonus content available.  I highly recommend it if you'd like to support a really great podcast!

Have You SEEN This? Bonus episode 81: 9012Live

https://patreon.com/posts/41578832

http://www.haveyouseen.us/bonus-episode-081-9012live/

I admit that I might have flubbed on a few things in my comments, so I will fully cop to any mistakes and offer apologies.  I did have notes, but some of the discussion was off-the-cuff.  And that discussion is equal parts serious and humorous and takes aim at some sacred tenets of Yes fandom, so I caution against potential offense to listeners, thus I offer a...
Content warning: contains profanity, snark, general affectionate irreverence and lampoonery courtesy of two fangirls who are also legitimately discerning adults.
Caveat audiens.

But as I already had a write-up of the film and the album in the works, I decided I would combine the two, so here now is my commentary on these releases, provided as an accompaniment to my remarks in the podcast and in observance of 9012Live's (in both forms) 35th anniversary this year.

*~*~*

Beyond fandom circles, Yes' concert film 9012Live is known for being director Steven Soderbergh’s professional debut; the movie is 67 minutes long and concentrates on songs from 90125, with only two songs included from the Classic Yes era. 9012Live received a Grammy nomination for Best Long-Form Music Video in 1987 but lost out to Sting’s documentary Bring On The Night. It was one of the earliest releases from Atlantic Records’ Home Video division, which was launched in mid-1985. In VHS form, 9012Live had an original retail list price of $29.88.

The film was aired on HBO but was also screened in rock clubs as a worldwide promotional “video tour” beginning in February 1986, which was reportedly covered by MTV at the time.

9012Live and 9012Live: The Solos were released simultaneously in November 1985, the album was created as a companion to the film. The DVD release of the film came in 2006, featuring bonus content and a Director’s Cut without the Charlex effects, then an expanded version of the album was released in 2011 featuring two extra songs. But we still don’t have an officially-released pro-shot/recorded version of an entire 9012Live show...and we probably never will.

Although Charlex's involvement in the world of music videos would be relatively short-lived (though the company is still in operation to this day), their participation in the production of 9012Live was considered rather groundbreaking at the time.  In May of 1985, Billboard covered Charlex’s work on the film for the Video Music section of the publication - Charlex was brought on board the project to “modernize” and “enhance” the film, to bring it more in line with the way music videos were being created at the time. This was the first time the special effects production company had been asked to work on a longer-form project, on the heels of their award-winning contributions to The Cars’ video for “You Might Think.” Lookout Management liked what they had done with The Cars' Heartbeat City videos collection from 1984 and asked them to do something similar for 9012Live. But while Charlex created only transitional pieces for The Cars' video album, they did much more for 9012Live, even beyond what was originally negotiated for their contract.  They envisioned each song as a type of music video on its own while also including transitional pieces between songs as well as a framing device to begin and end the film (as long-time fans are aware, the ending is where the title for the next album came from), and used the palette of the album design and stage production as their guide for those elements which appear in color. Since all of the Charlex footage came from the 1950s (educational and industrial training films, for example), I find it amusing that it’s considered a modernization, but I know that’s strictly meant in terms of the use of post-production SFX. There’s all kinds of effects used for the “living electronic collage” they created as the framing device.

The source of the intro/outro:
"Young Man's Fancy" created for the Edison Electric Institute in 1952.

By the time Charlex received the film it had been edited down to nine songs. They were asked to leave “Owner of a Lonely Heart” alone - hence the sort of gimmicky (but not in a bad way, in my estimation) editing you see in that song instead, although I love that “smash cut on speed” utilized at the beginning, sequenced to that one famous sample.  I wonder if maybe they considered releasing another single and video for “Owner” around that time consisting of that part of the film (hence why it has more obvious edits), but their choice was “Hold On.”

While I certainly prefer watching the film without the Charlex effects, I can appreciate the effort which went into them, both thematically and technically.  As a piece of conceptual video I think it works some times ("Changes" and "City of Love") and not others ("Hold On" - which really just needs to be viewed in all its' actual bromantic glory).  Historically I can understand why the braintrust thought it was a good idea to contemporize the band's efforts overall.  Love it or hate it, YesWest has a distinct visual identity in the continuum and that's a big reason why I love it.

Oh, and this.  I love it for this too.

Filmed in Edmonton, Canada in September 1984 near the end of the North American 9012Live tour, the film is a mix of live footage and pick-up shots which were filmed during the day of the second show - it was a two-night stand, and they filmed both nights. I think it’s edited quite well but you can tell the difference, especially when it comes to “Starship Trooper” where everyone looks rather more sweaty in certain shots but not in others.  Apparently the film was also meant to include the encore “Roundabout” but it was cut, perhaps because there’s a continuity error - Trevor isn’t wearing the same pants in all shots. In some it’s the black satin pants with the yellow striping, in others black leather pants. I think the leather pants may have been from when they were filming the pick-up shots.  That portion is included as bonus content on the DVD release.

Watching the Director’s Cut versus the original version gives you an appreciation for the way Soderbergh decided to film the show, there’s an immediacy achieved without having to necessarily resort to the kind of editing and post-production which was typically utilized at the time by directors like Russell Mulcahy, Wayne Isham and Marty Callner. It seems a far more “natural” experience of a concert, if you could see a show up-close in that way. Compared to the way Yessongs was produced in 1972, for example. Yessongs is very dark and it’s primarily close-ups shot from the photographer’s pit mixed with long shots from the balcony and then also shots from the side of the stage.  In 9012Live there are intentional editing cuts to the music at some points, and the use of varying types of composition to emphasize that this is a band onstage.  The staging itself dictates a sort of artificiality of perspective and use of the space.  Originally Yes was going to have Berlin as their opening act for the 9012Live tour but the raked stage set meant there was no room for another band to set up, thus fans got to watch cartoons while waiting for showtime and this set a precedent over the course of their particular career trajectory.  But overall the editing is wholly engaging and dynamic and adds great value in terms of repeat viewing.  Soderbergh stated in an interview from 2012 that at the time he was working on the film he believed he was turning into a formalist - he liked to polish things - but I don't view it as a drawback in this case.

The best thing about 9012Live, in my estimation, is that it is shot on film rather than video. It makes everybody look so gorgeous.  And despite being an artifact of its' time that particular medium provides it with a certain timeless aura when viewed in the present day.  It's amusing to me that many fans deride the '80sness of the film, especially in terms of hair and wardrobe but the truth is Yes has always been a band of its' time in that respect.  They've always worn rather fancy stage outfits and sported haircuts which were trendy (Chris especially).  So it's rather less hypocritical to opine that their '80s look was not to one's taste but the '70s were fine because reasons.  It's certainly laughable now on some level, but really I think it's wonderful to have a document of a time when they were young and popular and excessively glorious.  Because that's never happening again.  I find it's something more than mere nostalgia to experience.  To watch 9012Live provides something beyond memories of my own youth, it's joy in a particular triumph and that translates to their performances.  If I'm depressed, 9012Live never fails to give me happiness.  So in these trying times it's become entirely necessary in maintaining my overall mental health.

That's right: 9012Live is my self-care.  There, I said it.

But it's not as if the performative aspect is underplayed in this film, there's editing choices which emphasize the personalities and staging very distinctly - such as "Leave It" which as we know now was pretty much entirely lip-synched (save for Trevor and Jon's lead verses and end refrains) and set to the single version of the song, augmented with a few instrumental flourishes.  Certain parts of the performance are choreographed, and probably even more so for the sake of the film.  As well, certain aspects of the production had changed by the second North American tour, as the laser effects were omitted but they continued to utilize the fairly large Vari-Lite rig.  But it makes for an entertaining experience, even if it's one which makes you laugh (and possibly even sympathetically cringe).  Again, Chris Squire was known for more than a few things, and his outsize personality and flamboyance onstage were legendary.  The uniqueness of the situation is part and parcel of the film itself, meant to celebrate YesWest as much as market them to any portion of the public not already in their thrall.  The Arena Rock performative aspect is entirely necessary in terms of entertainment value.  It's also interesting to have a document which primarily focuses on their contemporary identity, as when the band performed they had to continue to acknowledge the past, culminating with the Eighty Dates tour in support of the Union release and a setlist which was more Classic Yes in its' makeup than what they were ostensibly supposed to be promoting.  Fans were then somewhat shocked to witness the band playing nearly the entirety of Talk in 1994, as they had grown so used to the preponderance of Classic Yes songs in a typical YesWest setlist.

But this is what touring used to be about in the Long Long Ago - playing the new songs.  And by taking on the mantle of Yes - and thus the collective history of the continuum - even an updated version of the band could never wholly focus on cultivating their own identity.

And so even the live album - if you can call it that - was again focusing on contemporary Yes, with the "solo" setpieces within the '84 setlist as well as two songs from 90125.  It really comes off as more of a novelty than anything, although I think it's enjoyable as a live document even as it also subverts the established expectations of fans.

The additional songs included on the 2011 reissue had both been previously released:
"It Can Happen" - as the b-side of "It Can Happen" (Atlanta 4/16/84)
"City of Love" - as the b-side of "Rhythm of Love" (from 9012Live - Edmonton '84)
...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts."  We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there.  I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo setpiece of sorts and makes for a nice overture (as both YesWest and ARW amply demonstrated in their shows).  But I certainly recommend getting the reissue for anyone who's a completist or perhaps has never owned a copy of this release previously.  It's unfortunate that only the original release has been licensed for streaming.  Of those full songs included, I do think the two which are most indicative of the YesWest live experience are "Hold On" and "City of Love" which sound so amazingly alive and masterful in their renditions.  And I will say as someone who has never been that big of a fan of "It Can Happen" - the Atlanta version, while heavily augmented by sampling and backing tapes, is also really engaging.  Repeated listening has caused me to realize that the figure Trevor plays behind the verses sounds a lot like the riffing in "Run Like Hell."

One consideration is if YesWest had released a traditional live album then the solo spots would have likely been omitted in favor of songs and so I suppose given a choice of one or the other it's understandable that someone (like the band) would have wanted documentation of this aspect of the live experience.  It could even be that because we don't see this aspect in the film it also prompted the decision to make the solos the focus of the album.

Given what has been included overall via officially-released sources, here is how 9012Live: The Solos should be sequenced (in my opinion).
Hold On
Si/Solly's Beard
Changes
Soon
It Can Happen
Amazing Grace/Whitefish
City of Love

More than a few fans have also posited that they believe the version of "Solly's Beard" included on the remastered version of Trevor's Live in L.A. album was sourced from 9012Live: The Solos and I will say I also believe that's likely correct.  I've done some comparative listening and it's definitely from 1984 as well as nearly identical in length.  It certainly would have been the easiest source to obtain.  It makes sense from a logistical standpoint but not a contextual one, which I elaborated upon in my "Trevor vs. Trevor" essay from 2016.  But it is one of the best versions and also best-recorded, so I get it, even as it makes the research geek in me twitch because it's not a historically-accurate inclusion.  Speaking of sources, the solo spots themselves are from their June 24th show in Dortmund (which was also filmed and televised in part) and the full songs from the 9012Live recording.

But also speaking of expansions...let's talk about the DVD extras because 9012Live is an example of a reissue which is entirely desirable with new (to us) and exciting bonus material (unlike pretty much everything else having to do with YesWest archival releases at least in the past decade or so).  This is the visual release (besides YesYears) which is absolutely required for YesWest fans to own.

Access All Areas
This is a behind-the-scenes look at the '84 tour, but it's also almost an inversion of the expected format.  I would call it perhaps an "observational documentary," a short film with a particular editorial perspective, one which is rather more frank about the backstage experience (but not in an overtly salacious kind of way).  It's largely humorous but at times that's because all Steven has to do is point the camera and whomever is in the lens is "on."  But I completely understand why it wasn't released in 1985, it's simply too honest about the business of touring and the business of YesWest - if in fact it was meant to be released at all; it's possible Soderbergh shot it for the organization's amusement, or his own for that matter.  The ridiculous and the cunning are presented with equal focus and directness.  I suppose you could say that it does dilute the glitz of what we imagine rock stars experience in that we witness the job of required social interaction with journalists, contest winners, radio station employees, and Atlantic Records reps in an endless parade of introductions and small talk. I am also amused that in those sequences the two people you don't see are Chris and Trevor.  In fact you don't see a lot of Chris in general, which I assume is purposeful.  Although you do get two distinct examples of his drier than a gin martini humor - Chris Squire was the master of a well-timed quip.

The most obvious example of commentary I can think of is the "Meanwhile..." intercut, illustrating that the performative aspect of rock n'roll touring only works as well as it does because it's actually powered not by its' stars, but by the people who take care of everything else behind it.  The fact that the conversation in question is about a decision which one of those stars made (and it is something The Goon did not agree with) only underscores the distinction in terms of the power dynamics at work in this particular milieu.

And speaking of the little people: as much as the role of Casey Young has been downplayed over the years by various people (and then those claims subsequently debunked by Casey via social media) just think about how many times you see him backstage.  He wasn't just a tech, he traveled with the band.  He is actually identified in the end sequence.  So let that perspective speak for itself, as it were.  Casey had a job to do, but don't believe anyone who tries to convince us he didn't work all that hard.

And that reminds me!  A recent edition of Yes Music Podcast features an interview with Casey - check it out (if you haven't already).
https://yesmusicpodcast.com/whos-that-under-the-stage-its-casey-young-and-hes-happy-to-talk-about-it-444/

Speaking of unsung heroes - the legendary road manager Richard Fernandez (the guy in the white hat) is shown several times along with his assistant Mickey Heyes, and these are the guys who really do all the work, along with the road crew, which Steven doesn't seem to be particularly interested in because we've never treated to a sequence showing load-in or out.  It was kind of a cliche at that point, I suppose.  But this leads me to ask...who is The Goon, exactly?  He's a man who can make things happen, that's for sure.  You always need a good fixer on the road, where anything can happen (and frequently does).

Naturally the greatest virtue of this short film is Trevor Rabin: sometimes bitchy, mostly goofy, wholly adorable.  Who wouldn't want to just follow him around and chronicle his hijinks?

I think perhaps the most compelling aspect of Trevor's appearance is his air of Oh isn't this entirely ridiculous? coupled with the charm and charisma he has obviously possessed since birth, infusing his entire personality.  The camera loves him, and so do we.

The Interviews
This is b-roll footage and it's uncertain what it's meant for but filmed concurrently in Edmonton.  These segments were edited by his long-time collaborator Larry Blake (who was the sound recordist on Access All Areas).  I think the whole is far more interesting for what isn't said as much as what is.  But I also think they all tend to come off equally guarded and unguarded.  There's as much equivocation as candor in their replies.  And hairspray - lots and lots of hairspray.

PS: here's a couple fun facts...Soderbergh was only 21 when he directed 9012Live, and his birthday is the day after Trevor's.  Capricorns: Most Likely to Become a Wunderkind.

PPS: I've brought this up before, but recently I read a retrospective review of 9012Live on a film blog and the person who wrote it joked that Soderbergh gave James Spader in Sex, Lies, and Videotape Jon Anderson's hairstyle and that is not correct.  Don't get distracted by the blond thing.  Soderbergh gave him Trevor's haircut circa the Edmonton shoot.  It's positively uncanny.

Media Watch: owner of an enviable tone

Published today on the Guitar World website is an examination of Trevor's tone for "Owner of a Lonely Heart" which - for better or worse - has come to define his style of playing.  But as it is such a key element of his reputation as a player it does deserve to be acknowledged and studied.

https://www.guitarworld.com/features/the-secrets-behind-trevor-rabins-guitar-tone-on-yess-owner-of-a-lonely-heart?

Of course over the years Trevor has explained the piece his own self, most notably in his instructional video for Star Licks.

This article is rather a more technical examination of his setup and effects, and specifically what was used for all the song's parts (of which there are many).

Changes, disc six: 90124

To order the Changes boxset (currently listed as Sold Out):

https://www.musicglue.com/trevor-rabin/shop

(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media.  And also many thanks to everyone who has helped spread the word about my coverage of Trevor.  I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)


"I think it is important to remember that 'Owner' was Yes' only number one, and that 90125 was their most successful album and was well-received by the most skeptical and cynical of critics.  However, it has always been frustrating to me to be perceived as the guy who just writes the hit songs.  Since the album and the single were so successful they have almost been equated with commercialism, rather than people just liking the album and buying it."
- Trevor Rabin, 1995

I thought the above quote was an interesting way to introduce this essay because it's a somewhat early example of Trevor attempting to contextualize his legacy in the way he believes is credible.  What he desires to be recognized for versus the ongoing perception of fans, journalists/critics and the like.  And the release of 90124 is another expression of that same desire, as he was now separated from that concern for nearly a decade and coming to understand that all involved had different agendas regarding the who, what, where, when and why of it all.  So taking control of one's own narrative is perhaps the only way you might convince the greater number of interested parties of your own truth.  But does this collection meet that objective?  Yes and no, I would say.

* ~ * ~ *

It was the Noughts, and all the Rabid Rabinites were living in a world where they couldn't go out and buy a new Trevor Rabin solo album, or even an album from a band he might be in, but they could go to a movie and see his name up on the screen and listen to the music he created for it and that was a progression, certainly, even if not the one many of his fans desired.  But most were keeping the faith, I would say.  And then...the middle years of the decade provided manna in our desert: multiple archival releases from both Trevor and YesWest giving us further examples of what we love and why we love it.

A few years ago I had the idea of approaching a review of 90124 in the context of my "Trevor vs. Trevor" series, comparing the demos of classic YesWest songs with the fully realized versions but once again now we have this boxset and so here we are.  I still think it's a good idea which hopefully I can expand upon sometime in the future.  As well, earlier this year someone posted a playlist on YouTube which is his version of what the Cinema album would have been, and my opinion of that assemblage will also be the subject of an upcoming entry.  For now I'm going to discuss what 90124 is...and what it should have been to be worthy of its' title.

What is significant about the timing of 90124 is it was released a year prior to the reissue of 90125 as part of Rhino's "Expanded & Remastered" series for the Yes back catalog from 1969-1983.  And in the context of the original idea for the album it would have made for an interesting companion to the other.  Instead what we have is more of a historical compilation of demos, which is not bad but rather more kitchen sink-ish.  Thus I don't think the title fits at all given the actual contents.  However, because 90124 was also supposedly the original title of that album (but had to be changed to the next number in the sequence in order to achieve worldwide uniformity) there is another layer of reference in using it beyond the notion of a historical pun (in addition to the fact that chronologically its' release coincides with 90125's 20th anniversary).

But as I've noted before in terms of how Trevor ultimately viewed the release, it was to prove a point.  To quote the original entry for the album on his official website:

This album is a fascinating insight showing how Trevor developed his songs and demonstrates how much his presence influenced the sound of YES.

Given that various bootlegs of some of those demos were in circulation for likely 20 years at that particular point, it somehow doesn't surprise me that Rob Ayling would come up with such an gambit: entirely derivative, to seemingly trump a source already in existence, but in this particular case I will say that the sound quality is better overall because the provenance is straight from the creator.  Having said that, I don't really discern any particular difference between this new mastering and Paul's mastering for the original release in 2003, which may have something to do with the source material.  Some tracks sound better than others, which in part has to do with how the demos were originally recorded (as is affirmed in the 2003 liner notes).

Plainly-stated, 90124 is only the official version of the idea, and yet because it's historically inclusive it does have an additional value in regard to what was already in rather wide circulation.  So let's talk about what that is.

There are two sources of Cinema-era material which have been traded by fans for many years now in various iterations.  One is a collection of Trevor's demo recordings.  As we know, "Owner of a Lonely Heart," "Hold On," "Changes" and "City of Love" were originally composed by Trevor and underwent various modifications and reimaginings in the process of rehearsal and recording the material.  Additionally, "Our Song" and "Hearts" contain parts which originated from songs also written by Trevor.  So I believe Trevor's assertion - that 90125 is an album which was built on the foundation of his songs - is largely indisputable.  The other source is a recording of a Cinema rehearsal courtesy of the only two fans who were allowed to witness that lineup, which occurred in 1982 at John Henry's Rehearsal Studios in London.  You might have heard their story on a recent episode of Yes Music Podcast.  That recording is of three songs and a couple of instrumental interludes.

DJ/journalist Doug Curran claims that he also has a Cinema-era demo tape in his possession, given to him by the band backstage at a 9012Live show, but it appears none of its' contents has made it into circulation which is unfortunate (for us) because he also claims the tape contains a recording of the mythical (in YesWest lore) composition "Time."

Henry Potts originally composed an entry on the release for the Yescography website back in 2003-2004 and included an original tracklisting for 90124 which is much more in keeping with the concept of "Songs originally written for Trevor's next solo album which were then given to Cinema and worked up/recorded for 90125."  I would say that the majority of these were likely written in 1981-82; but as we know Trevor has stated that "Owner" was originally composed in 1979.

1. One Track Mind
2. Hold On
3. It's Enough
4. Changes
5. Love Ain't Easy
6. Moving In
7. Who Were You With Last Night
8. Baby I'm Easy
9. Would You Feel My Love
10. Tonight's Our Night
11. Owner Of A Lonely Heart
12. I'm With You
13. Must Be Love
14. Don't Give In
That tracklist is the one Voiceprint originally said would be on the album, but it was changed fairly late on to the release we got.

Of everything which has been in circulation I estimate there's about 20-25 songs which Trevor brought into the new relationship, as it were, some of which did not make the cut here for the original concept.

The addition of "Don't Give In" versus "Make It Easy" makes sense because the latter had already been released as part of the YesYears boxset in 1991 and its' inclusion on the expanded version of 90125 meant that it was already in the corporate vault.  But because "It's Over" - a song solely credited to Trevor - was also included on the reissue of 90125, it does make me wonder how many songs total were officially recorded for the album and if there's any chance we could learn of the entire slate, so to speak, even if we might never get further bonus material.

* ~ * ~ *

"Hold On"
Demo: (1981)
Final: 90125 (1983)
In my drafts I have an entire essay devoted to "Hold On" and the pervasiveness of its' concept.  Trevor has written this song at least four different times.  I can certainly understand how Chris and Alan could have listened to the original demo and said, "Yeah, this is a good idea!" but at the same time understand that it needed to be evolved beyond what it was (hence why at least at first they were using the lyrics from "Moving In").  And what it became is a classic in the YesWest oeuvre.

Again dear readers, I unironically love this version of the song.  There, I said it.  It's the cheesiest thing Trevor has ever written (that we know of) but it's also incredibly compelling.  The chord progression just does something to my central nervous system.  And that simile for sex?  Yeah, I don't even know what to tell you there, except maybe he thought it was funny?  Was it just as simple as the fact that kite rhymes with light?  It's hilarious but more in terms of laughing at than with, so to speak.  But the next time someone says "Oh go fly a kite!" you know you will find yourself cracking up.

The "unplugged" intro of the vocal melody was obviously recorded at a different time (same as the one for "Owner") but it's a nice detail in terms of how the songwriting process often does start with something so simple which is then elaborated upon in the process of building the song to actually be performed by others.

"Changes"
Demo: (1981)
Final: 90125 (1983)
Trevor has noted previously that this is "kind of a melancholy song" and that is certainly true in its' original form.  It's entirely moody in keeping with its' subject which belies what the song is actually about.  Even as I appreciate all of the early '80s demos for providing a glimpse into Trevor's creative process and direction at that time, I feel "Changes" really did become the very best version of itself once subjected to the collaborative process.

"Moving In"
Demo: (1981)
Final: Unreleased
The reason why both "Hold On" and "Moving In" were included is best expressed by Trevor's comment in Yesstories: "So we kept the chorus from 'Hold On' and we used the verses from 'Moving In.'"  This does illustrate how many versions a song can go through before it becomes the final product.  I would say that when you compare the two, "Moving In" comes off better as a complete song, but on the other hand it's just not as delicious.  Those of you who love the 90124 version of "Hold On" as much as I do know exactly what I mean.

"Would You Feel My Love"
Demo: (1981)
Final: Unreleased
I get why this song likely does have fans among Rabinites because it's romantic; even after all this time it's really difficult for me to articulate why I'm not that fond of it.  I just don't particularly connect with it overall.  But as Trevor says it was meant to make the cut at some point, here it is.

"Where Will You Be"
Demo: (1991)
Final: Talk (1994)
I can understand why Jon immediately wanted to sing over this track when he heard it, it's beautiful.  And the demo served as the actual basis for the Talk version, as I noted in my essay on the album from 2016.  It certainly makes a case for Trevor's talent for instrumentals and themes which was no doubt useful when attempting to get people in the film industry to take him seriously.

"Owner of a Lonely Heart"
Demo: (1981)
Final: 90125 (1983)
As Trevor noted in his interview for Notes from the Edge, this version is updated from the one he originally recorded.  I consider it as sort of a bridge between the original and the final version in terms of how he envisioned the idea overall.  Unlike many people I don't think it's awful; it has a rather playful quality and the way it shifts between melodic rock in the bridge and chorus and a kind of dance-pop feel in the verses is clever and fun.

"Walls"
Demo: (1990)
Final: Talk (1994)
This is my absolute favorite of the entire release and the only reason why I'm glad it did stray from the original concept.  As I noted in my recent interview with Trevor, I absolutely love the blend which Trevor and Roger Hodgson attain in this song, it's like what they call "blood harmony" which is normally attributed to siblings because they have similar physiological bone structure and thus their voices can resonate at nearly the same frequency.  That kind of close harmony which Trevor and Roger achieve gives me chills every time.  Plus I think it's one of Trevor's best songs (and again it's not one which has a lot of support in the overall fanbase) in terms of the way the desire for emotional connection is expressed: the contrast between the pensive quality of the verses and the optimistic yearning of the chorus.

"Promenade"
Demo: (1987)
Final: Unreleased
I do love this, every time I listen to it I'm reminded of Trevor's promises for a release featuring these kind of "classical for electric guitar" renditions and then I get depressed because it's probably never going to happen.  I think it would have made interesting entrance music for the Talk tour but that idea was scrapped, it seems.  But again, there's also a demo which is older than the one on 90124 and it's essentially the same idea but not as elaborate or well-recorded which makes me think maybe he re-recorded it for this release?

"Love Will Find A Way"
Demo: (1985)
Final: Big Generator (1987)
There's credence to Trevor's story of being asked to compose a song for Stevie Nicks by way of a couple details:
-1- Yes and Stevie shared the same manager at the time (Tony Dimitriades).
-2- Outside songwriters had been commissioned for material during the making of Rock A Little; another example of a song which was not used (though by Stevie's choice) was "These Dreams," written by Martin Page and Bernie Taupin which was then recorded by Heart for their eponymous 1985 album.  Yet another example was Stevie hearing the work tape of "Don't Come Around Here No More" in 1984 and telling Tom Petty and Dave Stewart that she wasn't touching the song because she couldn't do any better than Tom's vocal.

So that's three other hit singles Stevie missed out on, although she had two of her own from that album, so I think it all worked out.  From my perspective, I'm not exactly certain that I'm hearing what Alan White heard in terms of potential for Yes, although I suppose it's possible that what he was hearing was something which could be popular but different as regards what YesWest was doing at the time.  It's definitely a pop song and as with other demos on this release it is enjoyable hearing his (lone) lead vocal.  But honestly, I'm more partial to the working version included in The Alternate Generator compendium, which I suppose indicates that I prefer when the song became Yes-ified.

"Miracle Of Life"
Demo: (1990)
Final: Union (1991)
This is just a great song, and I think most people - be they fans of YesWest or not - will acknowledge that.  As with "Where Will You Be" the demo - a complete song in itself - is primarily the basis for the version included on Union.  For me, it's entirely in the spirit of what many believe Yes should embody in terms of theme, ambition and execution.

"Don't Give In"
Demo: (1981)
Final: Unreleased
I'm not "aka"ing this song because I still stand by my assertion that "Don't Give In" and "Make It Easy" are two different songs no matter how they came to be.  However, I will say that it was nice to see the correction of the title no matter the source, but if it was me?  You're welcome.

I would posit this song has been mislabeled from the time that the demo for "Don't Give In" originally made it into circulation.  Although the version on 90124 is closer to "Make It Easy" whereas in the original demo (which is instrumental) you can hear the connections to "Our Song."  It does make me wonder if Trevor had two different songs as he did with "Hold On" and "Moving In" or if "Don't Give In" was the source and then the band took that and worked it up into "Make It Easy."  The latter seems to make sense especially if you consider the similarities in each chorus, as well as the fact that "Don't Give In" only has one verse.

My main contention with the way Gonzo tried to present this in the context of the boxset is: how can this song be "Make It Easy" when that phrase appears nowhere in the lyrics?!  All told, I think I prefer "Make It Easy" to the original idea, although strictly from an instrumental point of view it's certainly a piece of music which I can see appealing to Chris and Alan.

* ~ * ~ *

So let's return to that original list and consider if it was a good idea...
1. One Track Mind - yes, only because I've yet to encounter it in fandom circulation and I want to hear it, even if it's not as deliciously cheesy as "Slow Dancer."
2. Hold On - DEFINITELY FOREVER
But the original demo is different than the one which made it onto 90124 in that he may have re-recorded it or augmented it at some point.  I think I prefer the 90124 version in that it's just more of everything, gloriously over the top.
3. It's Enough - I like this one, it has an anthemic vibe and it's catchy.  So I'd be happy with it on 90124.
4. Changes - yes, it's an interesting snapshot of Trevor's AOR abilities.
5. Love Ain't Easy - this is probably aka "Girl It Ain't Easy (Living Without You)"
This reminds me so much of Trevor's material circa 1979-80 and as such I hope they would have decided against it.  It's not wholly bad, just totally unsuitable for Cinema.  So I would pass on this one.
6. Moving In - maybe?  Technically it should be included.  I guess I'm just prejudiced in favor of the exquisite cheese of "Hold On."
7. Who Were You With Last Night - as with "Love Ain't Easy" this is another one which just wouldn't have been right for Cinema and so thematically not a choice for inclusion.  However, I have a theory that "You Know Something I Don't Know" is somehow based on this song, but I'm probably the only one who thinks that.
8. Baby I'm Easy - this is another of my guilty pleasures, but I would have been wholly in favor of it being included on 90124.  I have a theory that it was originally written for someone else, based on the lyrics - like I have this feeling it was better-suited for Rene or Stevie (Lange, not Nicks).
9. Would You Feel My Love - that's still a "no" from me, dawg (despite technically adhering to the concept).  "Harmony" would have been a far better choice, in my opinion.
10. Tonight's Our Night - I will assert that this is essentially yet another version of "Hold On" - I actually consider it the bridge between "Stop Turn" and "Hold On."  But it's not quite as good, and he's borrowing from himself again.  So when you've already got the best you don't need the rest.
11. Owner of a Lonely Heart - its' inclusion only settles the argument of whether or not it was born a hit single and not made into one if you're willing to believe the original really does have the requisite DNA, which many fans do not.  But because it's on 90125 it definitely belongs here.
12. I'm With You - even as Trevor noted it was developed by the band but not chosen for 90125 I still quite enjoy this song so I'm disappointed that he decided to leave the demo off 90124.
13. Must Be Love - see "One Track Mind."
14. Don't Give In - I think the original instrumental version would be the best to include in this collection because it does point to elements of 90125 and that era.

What should be on 90124 in terms of early songs already in circulation?  "Fools" definitely.  Not only because it's the basis of "Hearts" but it features a guitar tour de force in the second half of the song.  And it's actually less cheesy than "Hold On" I would say, even if Trevor is borrowing from himself lyrically (there's bits of "I Sleep Alone" and "Everybody's Cheating").  Also "You Know Something I Don't Know" aka "Carry On" since we know Cinema did have that song in their repertoire as well as "I'm With You."  And Trevor says "Would You Feel My Love" was meant for 90125 and Jon wanted to sing it, so I'm going to have to take him at his word.

So in my estimation a true 90124 release would look something more like this:

Owner of a Lonely Heart

Hold On

Changes

You Know Something I Don't Know

I'm With You

Would You Feel My Love 

Don't Give In

Fools

I think this would have appealed to fans at least, though I'm not certain if it would have come off as an even more niche type of release.  Perhaps overall a better concept would have been a two-disc set: one which could be 90124 and the other could be something like "Demos 1985-1992" covering material from the other three albums.  I just think that the way 90124 is presented and the way it actually comes off in the listening leads to a sort of cognitive dissonance.  But it's such a clever title I can understand why they didn't want to let go of it even as they decided not to adhere to the concept.

Granted, I'm not trying to say I don't enjoy 90124, because I do, mostly.  Especially when it comes to the Union and Talk inclusions.  I suppose it would be tantamount to sacrilege to state something like: "You know what these songs could use less of?  Jon Anderson." but do I think that?  Sometimes, yeah I do.

* ~ * ~ *

The exquisite vintage which is Trevor Rabin.

Thankfully, the absolute travesty of the original 90124 booklet has been avoided in this version; it takes its' cue in the composition from the booklet for Trevor Rabin, offering excerpts of the article which journalist/Yes biographer Chris Welch originally composed, as well as "liner notes" created from Trevor's quotes in that article.  However there's still an attribution missing because "Walls" should be credited to Trevor and Roger Hodgson.  And the recording dates listed are also not complete.  Of the images included - and I'm a fan of the one on page 7 especially - I don't understand why they didn't also use the one from 2003 which is included in the Archives booklet.  Or a selection from that particular photo session which as far as I'm aware was to promote the 2003 releases.  Like this one, which I'm also quite fond of.

And it's also nice to see there's a better crop of the J.L. Cooper Electronics ad on page 4 (even if chronologically it doesn't make any sense).  But I think Trevor's comments regarding the songs themselves should have also been included in the text (albeit in a less confusing fashion than originally).

I appreciate how the original sleeve design of 90125 is reprised but I think the background color should have been something other than brown.  Like purple, for example.  But otherwise I don't have any complaints about the packaging concept except, again, none of those photos were used in the original booklet and at least one would have been nice.  But also in terms of this release, as I remarked in a recent conversation on Yesfans (and I've changed my mind as regards my original opinion), the version of "Can't Find My Way Home" which Trevor recorded for The Banger Sisters - and was offered as an exclusive to those who originally purchased this album - should have been included as a bonus track.

So 90124 has been redeemed in its' execution in a few ways, but not in others.  It is something which is wonderful to have even as it's not what it seems to be.  Given the number of Trevor's unreleased songs which are out there to be found (via sources official and unofficial), you could actually create a double or triple album if you include 90124 and more is always a good thing, right?  A theme song for us Rabinites should be a version of another song but this one would be titled "It's (Never) Enough."

#tbt: owner of a hit single

Posted yesterday as part of Tom Breihan's long-running The Number Ones column at Stereogum is his commentary on "Owner of a Lonely Heart" which indeed held that distinction on the Billboard Hot 100 for two glorious weeks in January of 1984 and remains the only Yes single ever to go to number one overall in the US (as both "Love Will Find A Way" and "Lift Me Up" also topped the Mainstream Rock/Album Rock chart in their respective years).

https://www.stereogum.com/2093596/the-number-ones-yes-owner-of-a-lonely-heart/franchises/columns/the-number-ones/

And for historical context, here's what the chart looked like on that momentous occasion:
https://www.billboard.com/charts/hot-100/1984-01-21
(One can spot prog stalwart Genesis in the top twenty as well.)

Changes, discs 4 and 5: Can't Look Away

To order the Changes boxset (restocking in August):

https://www.musicglue.com/trevor-rabin/shop

(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media.  And also many thanks to everyone who has helped spread the word about my coverage of Trevor.  I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)

* ~ * ~ *

One never knows how timing will impact certain events, and in this case I'm referring to the fact that I've already reviewed Can't Look Away.  I meant to do so last year for the album's 30th anniversary but I didn't meet that deadline; consequently only a few weeks before the announcement of Changes I published my view on Trevor's highest-regarded solo release thus far and so I'm including a link for the sake of context (and for anyone who has not read it and might want to).

https://rabinesque.blogspot.com/2020/01/a-portrait-of-artist-fully-realized.html

There's nothing about this reissue which would make me reconsider my opinion of the album, but I do have an opinion regarding how there should have been a 30th Anniversary Edition of this landmark of Trevor's solo career and for something which purports to be a Deluxe set...well, what is your definition of deluxe?  Because I don't think what this is fits mine.  But I will concede there probably isn't much that can be done, knowing what I do now regarding the state of Trevor's archives.

Fans will buy the boxset, but there may be fans simply interested in obtaining a new copy of this album, or wondering if the Deluxe set is worth it.  And I will answer that with a definite yes, unless you're not interested in bonus content.  If you're not, then whatever copy you have is fine.  But there is one thing in this version which is worth it to me, is absolutely crucial and the fact that it has actually been included is nothing short of a goddamn miracle.  For a boxset which overall has more than a few things wrong with it, there is one thing very much right with this part of it.

What's interesting about this situation is Can't Look Away is an album which has not gone out of print, or not for very long, at least.  Even as the licensing might now have reverted to Trevor, 30 years on, even before it was reissued by Voiceprint in 2002 it was still being repressed and sold by WEA over the intervening years and is also the only one of Trevor's solo albums prior to Jacaranda to be continually licensed for streaming.  So it's out there, you can buy it from various outlets and/or listen to it online, and if you're a fan you likely already have a copy, perhaps more than one.  It's a landmark, and so now the consideration is: how is this album being honored as an actual landmark?

Not very well, I would say.  But on the other hand, it's not like Can't Look Away really needs remastering, or even a remix, and beyond Trevor's general inclination not to want to involve himself in archival activities I can understand why he would wish to allow this album to stand as is.  It actually sounds wonderful, entirely in keeping with his standards of the time.  Of its era, certainly, but it holds up overall.  I have no real complaints about any version of the recording which I have listened to over the years.  Can't Look Away is engaging and dynamic, with so many layers and details, Trevor's skill in all areas is amply illustrated but particularly in the mix - I have said it before and I'll say it again: Trevor is an amazing mixing engineer.  Until he decided to add too many crowd swells to a certain live album, that is...but that's not germane to this essay.

Apropos to this observation, Trevor noted in a 1989 interview for Kerrang!

Well I like going in all different directions and I like to play around with sound, because I love engineering.

He also commented to Chris Welch:

I tried to move ahead a bit and make an album you can sit down to listen all the way through on headphones.  I wanted the songs to flow although it wasn't put together as a concept album.

When I interviewed Trevor recently I told him his mixes work on two levels: the surface, when you might hear one of his songs on the radio or playing somewhere, and you enjoy it for what it is.  But also below the surface, when you put on headphones and enter the landscape of the song to experience everything which is going on inside of it.  Can't Look Away deserves to be listened to closely for all the loving care brought to the whole of its' creation.  One thing I will say about this new remaster is the bottom end is a bit more punchy.  But otherwise I honestly can't discern any other particular difference with other versions of the album I have.  The sound of Can't Look Away is already uniformly excellent and that is one reason it's a landmark.  In the year or so I spent listening to it repeatedly in order to write my review, I fell in love with it all over again, and I think that's another reason why it endures both as an album and as an achievement for Trevor - one's opinion of what he can accomplish when perfectly focused and capable is renewed with each playback.

* ~ * ~ *

It's an intriguing consideration to me that Trevor has always expressed the idea of this album as a personal imperative.  As I noted in my review, the narrative has always been that Trevor put his solo career on hold to work with Chris and Alan (and later Tony), although in at least one version, the duo were pitched as a rhythm section which Trevor might be interested in utilizing for his solo work, and since the pair were at loose ends, relatively-speaking, it's not wholly unlikely though it's difficult to imagine one of the best rhythm sections in progressive rock being utilized strictly as sidemen.  I've just always wondered when the shift occurred: Trevor Rabin, determined and convinced that his destiny lay as a solo artist, who had ducked and declined any number of offers to join up with a supergroup, then decides to start a band with two guys he doesn't know and whose musical history he's only vaguely familiar with.  Now that I think about it...it rather stretches credulity a bit, doesn't it?  "The worst jam ever," as Chris Squire once characterized their first musical meeting, must have possessed some all-powerful potential nonetheless.  But I think that perhaps it was simply a case of Trevor meeting two talented chaps whom he liked very much from the start, and chemistry really is everything.

Even so, as he gave his time, effort, and material (in the form of songs) to this endeavor, the other identity and agenda continued to live on, and was mentioned every so often, such as his interview for the 9012Live footage in 1984.  Suitably armed with the proof of his new(est) success, it seemed only a logical supposition that Trevor could now channel this new(er) star power (with a worldwide audience) into another solo effort.  But as the years went on it became more of an actual articulated need.  For example, interviews for the promotion of Big Generator featured several mentions of his plans to record a solo album when the tour was completed (and given, as Trevor noted to me in our most recent exchange, how badly interpersonal relations in the band had deteriorated during that period it was no wonder touring was rather more limited), such declarations could be said to mark a definite break in the continuum.  Interestingly he asserts in one of those interviews that he doesn't see such activity as apart from his identity, but as a return to it.  To who he really is one might wonder?  As I noted in my review, there was commentary for Can't Look Away which seemed to characterize Trevor's involvement in Yes as a detour rather than a ongoing journey.  And perhaps that "endless highway" of his artistic desire and ambition was actually meant to lead away from those previous wanderings of the past six years.

This comment, from his interview with Dan Neer, seems the most passionate declaration:

"Eventually, we were still touring and I said: 'We gotta stop, we gotta just hang on for a while, I have to do this album.  I really want to, it's in my blood, it's in my bones, I've gotta do this album.'"

And yet, there was no real way of escaping the circumstances which made Trevor famous from a worldwide perspective, with even the press release for Can't Look Away referencing plans to record a new Yes album later that same year (which didn't appear to come to pass in terms of actual labor).

In examining the promotional cycle for the album there are some interesting details to learn, but Trevor is having to continually contextualize himself as a member of Yes, given the events which resulted in the release of Anderson Bruford Wakeman Howe a few weeks prior to Can't Look Away.  When interviewed once more by Sylvie Simmons (this time for RAW magazine), the majority of the article featured commentary on what Trevor referred to as "The Yes Mess."  You can also view an example of this in an interview for Canadian music channel Much Music a couple weeks after the album's American release.  Most intriguing is the mention of a Union-like scheme rather early in the game, so to speak, which Trevor shows no interest in entertaining.  The following year he would tell a journalist that he wasn't ready to go back to Yes until they were prepared to continue on with what he perceived as a more genuine motivation.  And then...politics would have their way, as seems to be the case in any version of the band.  Also interestingly enough Trevor noted in one interview of the period that he was tired of having to acknowledge the back catalog in a live setting - "We certainly won't do any older stuff.  I never wanted to play that stuff in the first place." - but as Fate would have it, the Eighty Dates tour saw the band delving even deeper into that legacy which perhaps was beginning to feel like a stone around his neck.

There's actually a (somewhat) better-quality version of the STHOT video included in this footage.

For additional context, the "liner notes" included this time are not written by Trevor but cobbled together from Wikipedia and some other source.  I don't believe he actually contributed liner notes for the 2002 reissue.  But let's do a little comparison...

From the description on the Music Glue storefront:

Following the release of another Yes album Big Generator in 1987, Trevor wrote and recorded this album Can't Look Away. Many of the tracks would have been unsuitable for Yes although were certainly in the AOR mold that Yes had been aiming for during the previous five years. Can't Look Away contains a number of hugely catchy and commercial rock tunes including the title track. It is a great AOR album.

From the "liner notes" of the Deluxe set:

In addition to Rabin himself on guitars and lead vocals (and a host of other instruments), Can't... also features fellow Yes member Alan White drumming on some numbers.  Stylistically it sits next to that band's 90125 and Big Generator releases.

Wait a minute...which is it?!  Is Can't Look Away a YesWest-less YesWest album or not?  Well, of course it isn't.  I can understand a marketing braintrust expressing something like: if you like that Trevor then you'll like this Trevor too but I think it actually does the music of both concerns a disservice to equate them in such a way.  Trevor possesses instincts and preferences for his own music which would be fulfilled by a solo project.  If this music is supposed to sound just like all the other music he's recorded then why do a solo album at all?  But because this is an album distinctly personal to him, it was both necessary and desirable to create it.  However, you could say that in terms of production style and choices Can't Look Away is definitely a member of the same family as 90125 and Big Generator and I find myself thankful that Trevor decided to continue on in the artistic milieu which suited all his abilities rather than some kind of reactionary stripped-down aesthetic.

One of the aspects I find most interesting is the characterization of Trevor's working relationship with producer Bob Ezrin as portrayed in the press of the time.  Erzin has lead credit as producer on the album but I find it difficult to believe that he actually guided the sessions as they are so indicative of Trevor's production methodology, both from a historic and stylistic perspective.  I feel whatever sounds too indicative of the era is probably down to his suggestion, but that may be unfair.  It's obvious Ezrin did contribute a fair amount to the process simply from an examination of the original credits.  Returning to my point, it's the way the attendant tension is stated which I find rather telling.

From the press release:
"Because I do a lot of engineering and producing myself, it's tough sometimes for a producer to know where he sits with me," Rabin admits.  "But Bob Ezrin quickly became a very astute and aware coach for me.  His input was very important, and he managed to find a place for himself amidst the coffee cups and tape reels."

From the Dan Neer interview:
"[...]But there was a period after we'd started where there was not friction, but it was no real understanding of what our roles were to be when it came to the production because he knew I wanted to be involved and I've always been involved in that aspect, that I get involved very much in the engineering side of things, and he wasn't quite used to that.  You know, he'd always, or, not always, Dave Gilmour's obviously very involved, but with a lot of artists they like to get involved purely on the creative side musically and leave the knobs to the producer.  Well I like to get involved in all areas, so it was a bit difficult initially to find out where we're gonna sit in the studio.  But once that had been established it was a great relationship.  And it's unusual to say this but I'd work with him again.  I didn't think I'd say that. (laughs)"

I find this amusing because for Ezrin it was a reenactment of sorts regarding his participation in the production of the 1979 Pink Floyd album The Wall, as he was hired for the project by its' conceptual mastermind Roger Waters.  Infamously by his own admission, he then threw a tantrum when Waters informed him that their lead engineer, James Guthrie, was also going to serve as a producer on the project.  Ezrin did not believe that engineers were qualified to produce, apparently not realizing that Guthrie had already been working as a producer for three years prior to being hired by Pink Floyd.  But Ezrin's fit of pique was to no avail, proving if nothing else who was truly in charge of the proceedings.  So of course I wonder how close he came to throwing another tantrum in the case of Can't Look Away given his inherent prejudice towards engineers who possess what he believes are ideas above their station.  Then again, Trevor was also The Talent, and recorded music production is essentially a service industry.

When I first interviewed Trevor in 2012, one of the more random sort of questions I asked him involved the "howling" vocalization in the rideout of STHOT.  I thought maybe it was Solly because it does sound like an actual dog, but Trevor said it was his voice, a suggestion from Ezrin, and referred to his co-producer as "crazy."  Now whether this was in general or just specific to that particular suggestion I don't know...make of it what you will.

* ~ * ~ *

You're the jacaranda in my morning, you're my laser in the night.

Love is something that you shouldn't do, when the spoils of life aren't meant for you.

Radio industry magazine ads for the singles from Can't Look Away

As I've previously opined upon the album I can move right along to the extras.  The bonus content is assigned its own disc, and nothing is missing!  That is amazing.  So now to examine each piece...

Single/promo edits
There is an edit of STHOT, labeled with a running time of 4:22, which is used in the video.  Sure, its inclusion is not necessarily necessary but let's talk about being completist (supposedly the philosophy of this boxset) versus being lazy (a quality which has been demonstrated in its actual execution many times over).  So yes, I think it should have been included as well.  Because I was curious, I viewed my copy of the video - which is complete because it's from a pre-broadcast source - and the total running time is 4:31.  The music begins seven seconds in, and there is two seconds of silence at the end (as we freeze on that final shot of Trevor's arms).  So I believe my assertion is correct in this case.  You can consider it redundant for me to provide another source of the video in this entry, but it's solely to prove my point.

This is not quite 4:22, but close enough.

"Sorrow (Your Heart)" and "I Can't Look Away" are both needledrops (i.e. I can detect vinyl noise) sourced from the 12" releases.  I don't understand why they couldn't have been sourced from the CD versions, as both are available on the collectors' market (as example, I have CD copies myself).  I will say this about the latter song  - I tend to believe its mix has been "goosed" a bit because it really roars out of the speakers.

STHOT demo
This is the very best thing about this edition of Can't Look Away, in my opinion as a fan and a collector.  Previously available solely on a couple of overseas 12" releases (and fairly rare to encounter in the marketplace), the original demo is pretty revelatory.  That beat, for example, WOW it's funky.  In my album review I stated the structure of this song echoes "Owner" to a degree, but it is really obvious on the demo.  I can picture someone - maybe Trevor, maybe Ezrin - deciding it needed to be fundamentally altered.  As long-time fans are aware, Trevor's demos are pretty complete unto themselves, so to hear such a difference between the versions is really interesting to me.  I'm ready to make a new version of 90124 with this demo replacing "Would You Feel My Love" (because yes, I still need two versions of "Hold On").

I don't really detect any vinyl noise on this, so it could be sourced from the actual recording?  That would be great if true.  It's interesting that the demo was only available on certain versions of the single and not in the territories you'd expect.

Up Close with Dan Neer interview
This interview from 1989 has been in circulation for a while now, and it is certainly one of the best of the album's promotional cycle.  The source is the actual vinyl broadcast promo sent to radio stations.  The answers-only section is standard practice even now for press calls, as some stations like to edit their own playbacks.  Neer has been well-known for decades as a New York area DJ/interviewer and is thoroughly professional, although it's all too tempting merely to listen to Trevor's dulcet mannered diction - it's always interesting to compare his accent now to the way it was 20-30 years ago.

The track-by-track breakdown is enlightening, and the discussion of Trevor's career and methodology is the kind of in-depth content Rabinites are always longing to discover and absorb.  The audio quality is excellent, and frankly I'm surprised but also pleased.

One really fascinating part of their exchange to me is this:
You began studying classical music.  What instrument did you play?
I played piano, I started when I was about six years old - and contrary to popular belief, I was never a great student, I was an awful student and played most of the things by ear.  And it took me a long time to become a good reader, and I became a good reader only because I started doing session work at about fifteen years old, and I started getting booked a lot doing sessions and realized, you know, the more difficult sessions that happened, that my reading had to be good so I was forced to become a good reader.

Contrast that with what Trevor notes in this 2016 interview with Record Collector:
I listen to classical composers, and I have a lot of vinyl and still buy it when we’re on tour, though it’s stuck in boxes somewhere – The Beatles, Haydn, Stevie Wonder, jazz-fusion, a lot of metal. I learned piano from five, as did all the siblings, as my parents were musicians. So I could read music before I could read English. I practiced every day for an hour, when all I wanted to do was go out to play football.

I suspect the truth lies somewhere between, as they say.

Songs from 12/5/89
I don't want to discuss this out of context (meaning: I want to save it for my review of the Boston show) but I will opine that while I understand why the tracklist had to be split due to space, I don't think this was the best choice to make.  But I also understand the logic in including two consecutive tracks.  Ultimately it just doesn't feel thematically cohesive and the first thing I want to do is either listen to my original copy of this recording or make a playlist where it's reunited once again.  I don't want to listen to a random chunk of this show outside of the whole.  If it had been up to me I think - well, first of all if it had been up to me we wouldn't be in this conundrum to begin with - I would have gone with Solly and STHOT instead.  But time-wise that probably wouldn't have sufficed.

It's just messy, that's my opinion.  But I imagine not everyone shares that viewpoint and that's fine.

Now let's talk about what is right and wrong with the CD booklet.

Wrong
Again, there are TWO errors in the song titles in the booklet and on the disc.  The 2002 reissue didn't have any errors in the track listing.  So how it can be wrong now?  In fact none of the original reissues contained errors of this nature.  It just boggles my mind that the same company can be involved in two different archival projects and make so many mistakes on one of them.

(But that reminds me of a point I meant to raise in my review originally - "Etoile Noir" should actually be "étoile noire" because it's a feminine noun and thus its postnominal adjective should be feminine as well.  I imagine Trevor might have consulted with his sister regarding this usage of French but maybe not.)

"Liner notes" - which I mentioned above, but if Trevor didn't desire to contribute something new then the album deserved better than cut-and-pasting from Wikipedia, for f#%k's sake.

The year of release is also incorrect, which I assume is a typo, but still.

The credits are missing numerous attributions.  Duncan sang on six songs, not one.  The Passion Brokers, who sang on four songs, aren't even mentioned.  Neither is Denny Fongheiser, who played drums on "Eyes Of Love."  Bob Ezrin is not credited with backing vocals on two songs nor for co-writing on "I Can't Look Away" and there's no co-writing credits for lyricist Anthony Moore or Trevor's father Godfrey.  If all of the information was not going to be reprised from the original release then at least that which was included should have been correct and complete.  This is simply shoddy work.  Again, absolutely no excuse for allowing it to be incorrect.

Right
There's only ONE thing...more photos from Lisa Powers' shoot and that was a good decision.  A very good decision.  My only quibble is that there's no selection from the "desert" setup, which is represented on the original cover (stormy skies, desert, hanger/train station).

The auteur of Can't Look Away, or, as I like to call him: Peak Trevor.

Although I also don't understand why the original back cover grouping (featuring the three backdrops) couldn't have been used on page two rather than just the middle photo.

Remember, this is the benchmark - the name graphic for the entire boxset is taken from this album.  It's important.  But apparently not important enough to get some basic and crucial details correct.

Can't Look Away deserves far better than this, but I'm also aware that it wasn't likely to be reissued at all had this project not been formulated and championed by Rob Ayling.  But he failed in some aspects nonetheless, whatever intentions he possessed notwithstanding, and that's just...too depressing to consider for any length of time.   Thankfully, the album itself cannot be diminished by this lazy attempt towards contextualization for future relevance and discovery.  Whoever does subsequently find and develop an attachment to it (and to Trevor's music as a whole, one would hope) will do so simply because it is a landmark for all time.