Shiny Objects and other gifts

Tonight The Grammy Nominations Live! concert was held in Nashville and televised on CBS.  I have been looking forward to this event for a number of reasons but pertinent to this blog was the consideration of nominations for Jacaranda, my favorite album (and I hope one of yours) of 2012.  It is a landmark work fully deserving of all the accolades and trophies it can possibly receive.  And one of the most important is the Grammy, still considered prestigious among many.

Trevor is, of course, no stranger to awards in general and has earned the right to use "Grammy award-winning artist" before his name.  As we can see in this shot from the video for "Anerley Road" he has a number of what I call "doorstoppers" in his collection:

I tried to count all the awards but I was too distracted by Trevor's pants.

I had the opportunity to hold an actual Grammy once, and it's an interesting combination of impressions: solid enduring marble base and shiny almost gaudy plastic decoration on top.  I rather wonder if they switched to plastic at some point because the gramophone had a tendency to crack or break when dropped.  Otherwise the marble base would definitely crack or break whatever it happened to hit (as it is very heavy, you could hurt someone with one of those).

I had made a series of predictions two weeks ago on the Yesfans discussion forum but unfortunately none of it panned out, as there were no nominations for Jacaranda nor for Grouplove.  Some of the band's peers were nominated, such as Florence & the Machine, LMFAO, Gotye, Foster the People, Fun., and Mumford & Sons, so I believe it's only a matter of time before NARAS feels the love too. :)

I had wondered if a father-and-son were ever concurrently nominated across the field but this year a father-and-daughter are nominated in the same category: Ravi Shankar and his daughter Anoushka are both nominated for Best World Music Album, which will make for a good trivia question years from now, especially if one of them wins.

~*~*~*~

In the new year I am planning an entry with a roundup of the best interviews Trevor has given in this promotional cycle (and with over two dozen to choose from it's an embarrassment of riches...sort of) but unless some other is to come along between now and the dawn of 2013 I'd say the best was definitely saved for last:
Trevor Rabin: All Colors Considered
Interestingly the website All About Jazz featured two different interviews: one a short Q&A and the one I noted above, an in-depth narrative-style article covering the album as well as biographical material (which treads familiar ground as these things tend to do, but I've come to accept that many writers feel they have to utilize that same form no matter how many times it's already been done).  I would be shocked - shocked I tell you - if an interviewer actually acknowledged the existence of the Internet in regards to what readers already know or can use to find out about a subject.

However, I do have one major disagreement with Ian Patterson:

Fans of Rabin the guitarist will be thrilled to hear his playing on Jacaranda, as he's simply never sounded this good.

I take issue with this statement because although we are treated to amazing bravura moments on Jacaranda by Trevor on a variety of instruments - stringed and otherwise - his playing has always displayed a level of excellence which established him as one of the very best melodic guitarists (and as some are quick to proclaim, a Rock God) of this or any other era.   However, I know Trevor might not see it that way, as he commented to me - and likely others - that he believes he continues to evolve in regards to his own abilities.  My version of this value judgment, as I commented to a friend a few months back, was: "Trevor plays as wonderfully as he ever has."

But if I were to make a quick recommendation of any interview to read other than my own it would be this one, so if you haven't already...happy reading once more.

Speaking of my interview, it is now available on the blog under the "Rabin-esque links of interest" section on the left side of the page.  My version utilizes the layout I would have preferred (as well as the use of italics) but of course one doesn't always have the luxury of editorial decisions when dealing with an external publication.

Finally I'd like to extend my fondest wishes for a Happy Holidays to all my readers around the globe, whatever tradition you observe. Thank you so much for your interest in my blog and I will continue to entertain and elucidate in 2013...and let's all hope the Maestro keeps the momentum going and brings us lots of wonderful music...because we always want more!

To celebrate some festive inclusiveness let's listen to a Jewish guitar player offer his electric interpretation of a Christian hymn, "Adeste Fideles."  This will put the jingle in your bells, Rabinites!

Collector's Corner: Cover Boy

A continuing series wherein I share my obsession with and collection of Trevor memorabilia.

In support of his burgeoning solo career, Trevor did a fair amount of press during his London years (including his first appearance in a guitar magazine, the May 1980 issue of Guitar Player), and his first international cover was for the UK publication Sounds, a weekly tabloid music paper, which is referred to on Wikipedia as one of the "trinity" of British music publications, along with New Musical Express and Melody Maker.  Conveniently this happy event occurred on his birthday in 1979, as the release of Trevor Rabin was a few months earlier (I believe in the September-October 1978 timeframe).

I'd like to note that the image in the top left hand corner of the contact sheet was made into a poster for the Japanese release of Trevor Rabin, which I also own:

Trevor and his shadow.

This is of course the session for the album photographs and some of the other publicity photos.  My complaint is that none of these sessions ever featured Trevor with his Strat.  In these he's posing with a Telecaster and on the back cover of the UK version of Face To Face he's wielding a Les Paul Goldtop.  I have nothing against these guitars, of course, but it's just bizarre.

This acquisition was especially meaningful to me for one particular reason...during our conversation in July, Trevor related the following anecdote when I commented to him that Chrysalis A&R was attempting to saddle him with an image I felt was restrictive and inappropriate to his talents:

I was on the cover of Sounds, posing with my arms spread out, and the headline read: Trevor Rabin: the Godfather of Heavy Metal, and I thought, "Uh...really?  Okay, I guess."

 Now here is the actual page (which is not the cover but the front page of the article):

I will forgive the Maestro his Senior Moment because let's face it: his version is much funnier.

The article contains plenty of the snide snark which was a hallmark of music journalism in that era, and not only in the UK but especially in the UK.  Staff writer Geoff Barton says he's a fan but he still manages to damn with faint praise, which is to be expected, especially when the editor manages a quip in the title of the article!  But I will give him props for his assessment of the record, which as I've stated previously is actually my favorite of the vocal solo work (though my preference is for the ZA version):

That aforementioned debut album really is as titanic a premier disc as I've ever heard and even though it appears to have done zilch since I reviewed it (though just before Christmas it did turn up in the lower reaches of the Billboard Top 200 US albums chart) my faith in its qualities has not diminished one iota.  

A few chunks of the article were later used in Trevor's 1979 Chrysalis press bio, which was fairly standard practice in that era.  In a future Collector's Corner I will regale readers with some of the more interesting/hilarious/revisionist portions of Trevor's press bios, as I have a near-complete collection.  But there are some interesting tidbits to be enjoyed despite the facts not quite lining up with the benefit of hindsight.  Barton describes Trevor as "rather intense and a trifle naive."  And the story of recording the debut once he had arrived in London is purposely misleading, given that we now know it was actually recorded in South Africa, although it's possible that the song which was added to the international version, "All I Want Is Your Love," was tracked in London.  Trevor talks of "lush sentimental ballads" with elaborate string arrangements which didn't make the cut, which can be construed as references to "Love Alone" and "Could There Be" but I'd like to point out that there are strings on the album, most notably on the lush sentimental ballad "Stay With Me"...just sayin.'

One criticism noted - which has seemed to follow Trevor around for the entirety of his musical endeavors - is that he is far too clever for his own good.  According to Trevor even Chris Squire told him this and I find it interesting that it was considered a liability but now, as he's entering the fourth decade of his career, people seem to finally understand that it's okay to do a lot of different things very well.  Personally, I think it's the consideration of doing so many things so well and being incredibly good-looking at the same time, it appears to create an overwhelming envy in some people.

This is my favorite quote of the article because it's so hilariously true although it's difficult to know if Trevor actually said it (journos could be slippery in those days):

"The only problem is that when I'm in the studio I become a bit of a lunatic.  I blow my head all the time.  If, say, the bass player wants to play such-and-such a thing, I can find myself shouting , 'No!  No way!  That's impossible!'  It's ridiculous, you know."

Barton cites Trevor as a perfectionist, which is true enough, and it's interesting to me that he states the same goal as he did in 1981 when he was interviewed by Sylvie Simmons (if my memory is correct) after having relocated to Los Angeles at David Geffen's behest: to form a band and go on the road.  Which did happen but it would take the better part of a year to accomplish.  It never did happen in LA, but that's - as we know - a whole other story.

reporting from the front lines of the Media Blitz

It is my personal mandate to provide readers with quality professional-calibre content, and to that end I am very proud to announce my own contribution to the promotional cycle for the new album.  Some months prior I was requested by Trevor’s organization to submit questions for an interview, the result of which has now been posted on the Rocktopia website (and features a previously unpublished photo), available at this link:
Trevor Rabin: the cultivation of Jacaranda

I was gratified to know Trevor considered my questions well-informed and interesting (and I appreciate his generosity in giving me so much of his time) and I hope long-time fans and neophytes alike will enjoy this article, composed from our series of exchanges via email and phone, which focuses on the creation of Jacaranda as well as other topics in regards to Trevor’s career.  It was certainly my pleasure (and a dream come true) to participate and I am gratified by the recognition of the organization entire.

Happy reading...and spread the word, if you're so inclined. :)

Halloween special: (slightly) scary subjects

 "English history has always fascinated me: Robin Hood, Cromwell...Jack the Ripper."

-Katherine Hepburn as Tracy Lord, The Philadelphia Story (1940)

The unofficial video for "She's Easy" produced by the BBC's The Old Grey Whistle Test, aired 2/14/81.

It's an interesting consideration that when newlyweds Trevor and Shelley moved to London in 1979, the milieu seemed to almost immediately influence Trevor's songwriting.  When I interviewed Trevor via phone in July, he related to me how the city produced the greatest cultural shock he'd ever experienced - coming from the oft-horrific cloistered social experiment which was South Africa - and although he was pressured to write songs which were au courant in regards to his new residence, as he was not a son of Albion he felt he couldn't relate to what was going on in the country at the time; from a political standpoint at the very least.  But both Face To Face and Wolf came to be peppered with British references which reflected the ways in which he was trying to fit into his adopted home.

But my true focus in this essay is a tip of the (witches) hat to the moments in which Trevor took a walk on the spooky side back in the London era.  The first is the song "The Ripper" on Face To Face, the lyrics of which appear to combine references of two true crime figures: Jack the Ripper and Peter Sutcliffe, who became known as the Yorkshire Ripper, in the final throes of his serial killer career around the time the song was composed and recorded (Sutcliffe would be finally apprehended in 1981).  The lyrics were composed by Trevor's then-manager Pete Smith (who also wrote the lyrics for "The Wanderer"), and the music is rather a sprightly tune with a memorable piano motif which does not really invoke a sense of dread in the evocation of the story, but rather focuses on how such a figure can remain a mystery even after attaining infamy.  But to my reckoning it - much like the reference to Yorkshire in "Candy's Bar" and the portrayal of London (though not specifically named) in "Now" - was a way of acknowledging Trevor was now planted in British soil, hoping to take root on his own terms.

But a more academic interpretation is offered in Chapter Two of Jane Caputi's feminist academic study The Age of Sex Crime (University of Wisconsin Press, 1987).  In "The Ripper Repetitions," she notes the song as part of a tradition (even in rock n'roll) which recounts and mythologizes the acts of a now notorious murderer; and its chilling quality comes from the first-person narrative of the lyrics themselves:

Rats, they'll call me just The Ripper

and George would love to know my name.

Fast, but man you know I'm quicker

I'll rid the world of all that shame.

The "George" which the song refers to is West Yorkshire Police Assistant Chief Constable George Oldfield, nominally in charge of the Yorkshire Ripper investigation.

The second track which I will next expound upon is rather more dread-full, though according to Trevor it was actually written as a joke of sorts.  And it appears on an album which does have a rather frightening cover by early-1980s standards:

Wolf, Chrysalis Records 1981

Taking the piss or no, the lyrics of "She's Easy" do reference a frightening figure of lore: that of the succubus. Because I believe this is not merely the tale of an nymphomaniac...but one who displays seemingly supernatural abilities.
Oooh yeah she goes down on you and she don't come up for air.
Oooh yeah she takes pride in love, it's a little much to bear.

In my estimation, this is a particularly telling couplet:
More than a woman, born out of a dream.
She takes you further than you've ever seen.
...because in various mythologies and literature the succubus is a malevolent force which may appear to men in their dreams for the purposes of sexual congress...which then leads to the male becoming sick or dying.
No resistance, you can do what you like
but you feel like a man, feels more like you died.
Think it's over, settle the score
then you turn your back, but she still wants some more.

Despite what can be construed as the cheesiness of the lyrics, the music is one of Trevor's strongest rock tracks: a great hook and chorus and a masterful long instrumental section, one of the standout guitar solos (along with "Heard You Cry Wolf" and "Looking For A Lady (Wolfman)") on the album.  The riff itself is a bit dark, which in turn fits the somewhat menacing tone of the lyrics, although I believe they are purposely ambiguous in regards to the portrayal of the female in question.  As the character who relates the allure of the subject, the emotional impact of Trevor's vocal comes across as more fearful than aroused.

The BBC2 musical variety television program The Old Grey Whistle Test chose "She's Easy" as a song to set to vintage film stock (as was their tradition with various new discoveries since the show's inception) and they used a short featuring puppets engaging in a romantic assignation (which turns into a comedy of errors when another man intrudes upon their interlude).  I have wondered for many years if perhaps the use of a Hammer Horror like The Vampire Lovers wouldn't have been more appropriate, but probably difficult in regards to obtaining clearance.  It was aired on their Valentine's Day broadcast in 1981, and is a rather twisted valentine at that when you consider what the song may truly be portraying.

Trevor would go on to score the horror film Exorcist: The Beginning (taking over for Christopher Young, who was the composer on the film when it was helmed by Paul Schrader) as well as various action thrillers like Deep Blue Sea and Snakes On A Plane, so Trevor's capacity for entertaining the eldritch continues to haunt him!

(This is where I would insert a creepy evil laugh, so let's just imagine I did.  And now I bid you loyal readers adieu...be safe, sane and spooky, mwahahaha!)

Rumor Control (and the lack thereof)

My readership has likely been tsk-tsk'ing me for not realizing that Trevor had originally revealed his tuba-playing aspirations via Facebook a couple months before I attended his recent public appearance and I fully admit I totally missed that part of his post (wherein he shared a couple of his favorite YouTube videos) from June 20th.  And so now we have to hold him to his promise of heavy metal on the next album. :op

(To sum up: me = fallible.  I'm so glad we sorted that out.)

A better example of being entirely fallible comes courtesy of two articles which I was rather irked by this month.  The articles are what I refer to as "secondary-sourced" in that they are merely restatings of other articles, both of which are interviews: one with Trevor and one with Jon Anderson.

Both take statements completely out of context resulting in misreporting (and as this is the Internet, that kind of thing can go viral in a matter of hours or days).  And these items are what I consider to be "political" concerns because they invoke the spectre of Yes, an endeavor which in the past has been challenging, one might say, in regards to its collective operation.

An ongoing debate in fandom has been the continuation of the band despite the absence of Anderson, one of its founding members.  It's happened before but now there seems to be rather a finality to its occurrence.  It's not my aim to debate the issue, however one of the writers at PROG took it upon himself to use Trevor to advance the "No Jon, No Yes" viewpoint in this recap of an interview on Blogdegezou:
http://www.progrockmag.com/news/trevor-rabin-you-cant-have-yes-without-jon-anderson/
What you may notice, however, is nowhere does Trevor actually state any of what the writer would have you believe in regards to the current status of Yes or the legitimacy thereof.  Ever the diplomat, Trevor did not take one side or the other in regards to the question posed to him by Henry Potts.  And so I wonder why Martin Kielty sees fit to drag Trevor into the middle of the ongoing argument when it's blatant misrepresentation and therefore bad journalism.

As for the other item, I have my opinion concerning the collective which - despite never having actually collaborated as of yet - is known as AWR - and I'll refrain from stating it save that I believe the hype and expectations which have been piled onto this idea since it was first brought up by Rick Wakeman in 2010 are altogether ridiculous.

The article which does something equally as bad is courtesy of Something Else!, a website which featured an interview with Trevor a couple months back.  Last week Jon Anderson gave an interview to CBS affiliate WZLK and the website posted a recap which also took his comments about the status of AWR entirely out of context, causing fans to believe the project is in the works now, and that is simply not true.
http://somethingelsereviews.com/2012/09/08/recording-as-we-speak-new-album-in-works-from-yes-alums-jon-anderson-rick-wakeman-and-trevor-rabin/
I believe interviewers should cease inquiring as to the status of the project because how many times can one hear the same answer?  Or answers which are speculative and not actual.  What is the use of that?  Granted, a collaboration between Trevor, Rick and Jon would be wonderful, and something I would love to hear.  But it until it actually happens I don't plan to waste any time pining for it, nor would I (or did I) ask about it.

Instead, I'll be enjoying the music Trevor is making now, and in the (definitely foreseeable) future...especially if it involves the tuba.

The legend of TrevRa and other anecdotes

Sometimes familiarity can make it difficult to know when to take someone seriously.

Trevor is known for his mischievous sense of humor, which manifests itself in many things - from songs to comments to pranks - and so when he stated during his August 17th Q&A at the Guitar Center in Sherman Oaks that he was learning to play the tuba, well...truly, my first thought was Pull the other one, Trev!  After all, this is the man who allowed people to believe he possessed multiple spleens for decades, chuckling all the while, I'm sure.  But you read it here first (unless, of course, you were at the event): we might be treated to a thundering tuba interlude on Trevor's next solo record.  Unless he lets us in on the joke years from now and then I can declare Ah I knew he was just messing with us!  But to watch him explain (and make appropriately comical grimaces) how awkward it is to hold a tuba  - how heavy and how cramped one feels with it on the torso - was totally hilarious, as were his impressions regarding the different positions one can utilize in order to play a guitar.

Trevor also revealed during the course of discussion that he will be scoring the entire first season of the upcoming ABC series Zero Hour, which marks a new chapter in his scoring career and yet another reason for Rabinites to stay glued to their televisions (although I'm still confused as to whether the show is on the Fall schedule or is a midseason replacement, as there are conflicting sources of information).

A nice surprise for me was to hear Trevor recite some of the lyrics from "(Wake Up!) State Of Fear," a song which has taken on the feel of a folk tale because the version he recorded with Freedom's Children was never released and thus has never been heard save by those who had seen that particular lineup perform it.  But it was a great example of how much he desired to address the problems facing South Africa at that time, when protest against Apartheid was usually squelched quickly and violently, and the song ended up becoming a casualty of the government's draconian censorship policies.

The audience was allowed to ask questions at the end of the session and I was the last of those participants.  I came up to where Trevor was sitting because in order to ask my question - about his famous Strat - I needed to reference his new portrait shot, which was displayed in the promotional poster for the event on the table next to him.  I recently obtained a hi-res copy of that photograph which allowed me to closely examine the Strat and I noticed something I'd never seen before in any of the photographs and screencaps I have of the guitar, and I was curious about what it was.

I started out by teasing him: "You know, it's not as if we don't know whose guitar this is, because your initials are all over it!"  And he said, "Yeah I hate that," which surprised me, given that he's done the same to his favorite Alvarez, which was his main axe for many years.  But also because he carved his initials into the body at the lower end many years ago.

Much love to Larry Mah for this wonderful photo.

Trevor noted that his son Ryan's name is on the guitar as well (there is a Ryan sticker on the scratch plate, which was added circa 1988, I like how he placed it so he could read it whenever he played the guitar):

The Ryan sticker when it was (relatively) new, from 1992.

...which is known to fans, of course, and so I asked for the story behind it and he replied, "I found this dynamite sticker and he's my dynamite boy!"

(Best.  Dad.  EVER!)

The Ryan sticker is a bit faded by time now but still legible:

But what I wanted to ask about was this, on the upper part of the body:

I stated that I had just noticed it thanks to being able to examine a hi-res version of the photo and asked what it was.  Trevor explained it was a pin - a lapel pin, I'm assuming - from Chrysalis used to promote Trevor Rabin (the 1979 international release of his first solo album).  I also asked and he noted it was broken because not all of his name is there now.  It does feature the same typography as on the album cover itself:

Trevor and I agree this is his worst album cover ever.

As I returned to my seat Trevor declared, "Great question!" which was very kind of him.  Driven by a need to know things...that's me!  And it's finding things out which is the greater reward.

Meeting the Maestro

I've met some tall musicians in my time...the late Peter Steele of Type O Negative (6'7) and Danny Carey of Tool (6'5) just to name two.  And my favorite musician resides in that rarefied air as well (6'3) but even knowing someone is tall, it's still a surprise when you actually see them in person.  Or at least it is for me.

The promotional juggernaut for Jacaranda has offered fans a nearly unprecedented amount of media coverage - Trevor hasn't done this much press since his days in Yes - and it's been wonderful, but his personal appearance at the Guitar Center location in Sherman Oaks on August 17th (as part of Trevor's promotional partnership with the musical instrument retail chain enacted this year) was certainly a boon for SoCal fans (like myself).  Other than movie premieres, Trevor has not made a public appearance of this type since the Varese Sarabande signing at Dark Delicacies back in 2003.

And so in true fangirl fashion I braved the heat (we've been having high temps and high humidity here in Southern California this week as it's monsoon season) and traveled far north (for me) to the Valley to attend this event.  And when I say "high" I mean it: it was 104 in the afternoon when I first arrived!  It turned out to be a rather intimate event in that there were only about 15-20 people all told.  Others I was very happy to meet included Trevor's wife Shelley (who was kind enough to lend us Trevor on the night of their 33rd wedding anniversary), Alex May (who works for Trevor's publicist firm Costa Communications), Elyse Glickman (a journalist and fan who credits her 1989 interview with Trevor in launching a writing career that now spans 20+ years and many subject areas), and Lee Gately, the founder of the YesMuseum website, as well as various members of the Yesfans discussion forum of which I am also a member.

This was my third time chatting with Trevor, the first being back in 2009 (and out of that experience this blog was born, but that's another story) and the second time was just three weeks ago, we had an hour-long phone conversation which was a lot of fun for me and he graciously agreed with that assessment.  I believe this event was an even better in-store experience than just a CD signing because the attendees had the chance to listen to Trevor expound on various topics, as the employee who acted as host led the audience through Trevor's musical history with questions and comments.  Trevor's Q&A (which lasted about 60-90 minutes) was then followed by a period of time wherein he graciously signed items (one guy brought two beautiful guitars - a Strat and a Les Paul - for Trevor to sign) and posed for photos.  Before the event I had a chance to introduce myself and he fondly recalled our interview but interestingly he immediately noticed that I was wearing a replica of the necklace he used to wear in the early 90s, with a Sharkfin plectrum charm and a number 13 charm.  I also have a small garnet heart charm on mine which I told him represents the heart tattoo he has on his left breastbone.  After he posed for a photo with me Trevor joked, "I should have worn mine and we could have matched!"

Trevor was also kind enough to allow the audience to preview his new video for "Rescue" and so as not to spoil it too much I'll just note that it features the lovely and talented Liz Constantine, whom of course reprises her original vocal from "Rescuing Fischer" on the track.

Mr. Rabin submits to our inquisition.

Fashion Watch (oh, and The Video!)

Those readers familiar with my fandom discussions know of my running joke regarding The Maestro's wardrobe...long-time fans can spot familiar items of clothing in almost any photo existent (sometimes even Ryan has worn Trevor's clothes) and a brand-new opportunity for further Trevspotting presents itself in the long-awaited appearance of Trevor's directorial debut, the music video for "Anerley Road."

Eh voila!

It certainly felt like a long time coming...fans were given a glimpse during Trevor's appearance on The Weekly Comet online talk show and the lucky attendees of Trevor's release party for Jacaranda at the Gibson Museum on June sixth were treated to a full preview.

And so I must exclaim with unbridled glee over the kickin' plaid pants and the shorts (!) as well as those items from Trevor's closet we've seen before.  Although I have to admit it sort of reminded me of that one commercial for luncheon meat in which a harried wife is dealing with her husband's midlife crisis and his yearning to wear skinny jeans.

The video also features stills of the lovely and talented Tal Wilkenfeld, Lou Molino looking like a classic jazzbo in a natty buttondown-and-tie ensemble, all nine guitars (and dobro) used in the song, and a cast of whimsical statuary from the expensively eclectic Regalo boutique featured in the studio decor.  My rhetorical question to the auteur (but more Robert Rodriguez than Alfred Hitchcock): What, was it not Casual Friday at The Jacaranda Room?  There's quite a wealth of detail to be found for the observant viewer; with many shots showing more of Trevor's studio than we've seen previous; like the huge collection of awards next to the piano (too many to fit on top now, the weight will make it go out of tune!).

Trevor's sense of humor is wholly evident in this effort, and it's the little things: like the blink-and-you'll-miss-them jump cuts during Lou's shots (which feature an image of Trevor in a totally cheesy Hollywood pose).  There are other jump cuts included, although not quite as humorous.

Although it was likely unintentional, there's a little homage to Trevor's previous video for "Something To Hold On To" (a wacky collision of director Jeff Stein's 80s-era eye-popping aesthetic and Trevor's sense of humor): a shot in which Trevor is seen in real time playing in the foreground, while in the background the projected image of himself on the studio's widescreen monitor provides accompaniment - recalling shots in the former video where Trevor plays along with himself as seen on a bigscreen TV in his house of guitars (reportedly the home of actress Shelley Duvall, who also appears in the video...well, her eyes do, that is).

I like the closing shots the best: a couple stills of the street Trevor grew up on in Parktown, I appreciate the little glimpse into the past he has given us.

Now that The Maestro has stated he wants to shoot a video for every song on the album, we can all have fun speculating on which song will be next.  My vote goes to "Me and My Boy," which would be fabulous cutting back-and-forth from a photo montage of Rabin & Rabin through the years with sequences of the two of them tearing it up in the studio...especially with one particular photo I know of which shows the proud papa giving his infant son his first lesson in engineering at the console in The Jacaranda Room (on a decidedly casual day, given Dad's attire!).  But a true auteur has to find his own path to fulfillment...which is why we're so lucky to have Jacaranda as part of the soundtrack to our lives.

Five from five

As this year marks the release of Trevor's fifth solo album (I find it interesting that he and Peter Gabriel have solo careers of similar length and gaps between latter-day releases and yet Trevor still beats The Gabe in regards to fewer solo albums in the same timeframe, but more film scores), I thought I'd offer up a list of what I consider to be the best track from each record, hence the title of this entry.

And no, I don't count Beginnings and Trevor Rabin as two separate releases despite the fact that they are, physically, two different albums.  I consider the latter as the former's calculating doppelganger, unfortunately even those efforts to make it internationally palatable did not succeed in the way in which the album deserved to.

"Live A Bit"
Beginnings (1978)
Beginnings (and its eponymous doppelganger) is my favorite of the vocal solo albums because I believe - for all its naivete - nothing comes closer to the true expression of Trevor's range and ambition and emotion in regards to his own music.  In this I am likely alone amongst Rabinites but I say to them: you're missing out by ignoring this record.  For one thing, it's romantic in ways in which his later material would not be, and one of those ways is illustrated in this song...there's a dreamy, brooding, almost hallucinogenic quality about both the lyrics and the music which is singularly beautiful and compelling.  Trevor's Strat wails and moans and swoops across an almost menacing shuffle of bass and drums, with the tension of orchestral strings hovering above it all.  Lyrically, in a metaphorically oblique fashion, I believe it addresses the strange quality of freedom he was experiencing in going it alone, creatively, and this is supported by his observation that the only thing that's permanent is change.  But the repeated refrain is a joyful cry of relief, to emerge from the other side of sudden fame and the enormous weight of adulation and scrutiny and find himself to be still whole and (mostly) sane; as is the end solo, reminding one and all - though he's no longer a Rabbitt - Trevor is still a musical force to be reckoned with.

"Now"
Face To Face (1979)
Trevor's earlier records tend to be given short shrift by fans and I do confess to a certain disappointment in regards to Face To Face, my least favorite, in which I believe Trevor is trying too hard to fit into the box desired by Chrysalis A&R in regards to his musical identity.  The album has a decidedly UK focus in regards to the subjects and references in the songs and that is evident on my choice for strongest track which opens Side Two; it is ambitious, dramatic and inventive in regards to its rendering of a stranger trying to survive in the cold cruel city.  It also contains a rhyme which never fails to make me smile at its cleverness:
I see Mad Jack still sleeps in the foyer
he's gotta get out, being sued by a lawyer
and it's backed throughout by percussive vocalizations (courtesy of Trevor and Rene Arnell) which are a direct precursor to the "acapella Disneyland" of "Leave It" as well as an interesting use of a Strat he borrowed from David Gilmour with hex-type pickups, resulting in a (in Trevor's words) "high shimmering effect that's really beautiful."

"Heard You Cry Wolf"
Wolf (1981)
I think of Wolf as an "imperfectly perfect" album, for reasons I won't expound on here, but I believe even Trevor considers this the best song of the pack, as it's the only one from the former years of his solo career which he included in the setlist when touring in 1989.  On an album containing delicious cheese ("She's Easy," "Long Island"), bluesy struts and shuffles ("Stop Turn," "Take Me To A Party") and rock-solid guitar heroics throughout, this is the song which best displays a number of Trevor's overall strengths: a strong hook, catchy chorus, dramatic arrangement, good lyrics which don't strain the metaphor overly much, and a long soaring solo in the rideout which is truly swoon-worthy (and gorgeously rendered live courtesy of a few bootleg recordings and the 2003 release Live In LA).

"I Can't Look Away"
Can't Look Away (1989)
The title track of sorts, this is the album's mission statement in that the emotion and ambition of this song colors the rest of the album entire, even those songs which stray from its aura of gravitas.  Addressing a subject near to his heart and mind as a son of Msanzi, the lyrics are poetically evocative and the arrangement shifts from quiet to loud, a textbook example of the Rabinesque sense of grandeur, to emphasize the nature of strife and the yearning for peace.  This is another song which is all the more passionate and powerful when performed live, and the showcase for some of Trevor's best guitar playing in his overall history as a performer.

"Anerley Road"
Jacaranda (2012)
On an album which is perfect it's tough to choose one piece of perfection over another.  This is likely a contentious choice for those readers who have been spinning/streaming the album and probably prefer "Through The Tunnel" which audaciously careens between peaceful passages and all-out sonic warfare, or "Me and My Boy," the metallic hoedown as delivered by Tremander.  However, for me nothing is as indicative of Trevor's mindset, memory and creative acumen as this wholly fusionesque offering named for the Parktown, Johannesburg street which contained his childhood home.  This strikes me as the lynchpin of the record in regards to its presentation of existing fusion tropes and how they can be manipulated, melded, and even inverted while still retaining the sonic definition thereof.  Bracketed on either end by a Barney Kessel-style coda, the multitude of textures (courtesy of nine different guitars plus dobro) create a fascinating wall of sound which is punctuated by the tasteful drumming of Lou Molino and a lengthy dialogue between Trevor and bass wunderkind Tal Wilkenfeld, whose solo midway through the song (during an interlude in which the mix lays back to let her shine) is a thing of evocative beauty.  The way the two voices (guitar and bass) entwine towards the end (featuring a part by Trevor on his custom Tobias which sounds a bit like an angry bumblebee) is playful and confident.  By the end of the track all previous stereotypes and preconceived notions regarding Trevor's abilities have been summarily ripped to shreds.  Class dismissed!

The Man of a Thousand Credits: dipping a toe in the Ocean(a)

One of a continuing series in regards to the myriad variety of Trevor’s discography.


Back in 2006 Trevor lent his talents to a project helmed by Don Harper, who has been a longtime colleague of Trevor's as a member of his scoring production team, and I consider the track he played on to be one of the great unsung classics of Trevor's career, a link between past and present, the way in which his film scoring sensibilities began influencing his writing overall, and the true breadth and depth of his playing.

It is one of those moments which again proves Trevor possesses the finest of jazz sensibilities in an era when many considered him merely the purveyor of pop hooks, guitar cliches and Music To Watch Explosions By.

But as usual, all those people are dead wrong.

Don't take my word for it, though...here are Don Harper's impressions:
"I came up with the idea to do an Americana piece that allowed him to interact with the orchestra and yet allow him the space to do his "Trevor" thing, really not knowing what I might expect. I sent him the orchestral tracks and let him go. When I listened to the tracks (and peeled myself off the back wall of my studio) I was actually shocked at the energy in the first movement and the sensitivity in the second. Understand, the project is not particularly commercial and eclectic to say the least, but the emotion of what Trevor played shocked and surprised me. Surprised because, I knew from working with him, what his rock and classical abilities were but I had no idea of the Jazz sensibilities he would bring to the composition. The back half starts off in a Kenny Burrell vibe and goes from there to...I have no idea. Who knew? I know I'm preaching to the choir, but I think he's just getting warmed up!" 
Warmed-up indeed...when we consider what was yet to come.

There are not enough adjectives to describe the absolute beauty of Trevor's playing on this piece, and as I am not one for piling them on just because, I'll leave you with this: those unfamiliar with this piece can now experience a bit of Trevor's creative mindset as he created Jacaranda, but in a somewhat different milieu in regards to the orchestral arrangement.  However, the combination is indeed inspired and something Trevor is not only well-versed in, but entirely sympathetic to.  He shows that he is capable of a variety of emotions: subtlety and restraint, passion and power, serene melodicism and fiery fretwork.

(Okay that was perhaps a bit much...but it's worth it to praise this piece of genius.)

I have many desires in regards to Trevor's instrumental output, and one of them is to hear an entire album of this kind of music, but even one track like it in future would be a beautiful thing.

from Don Harper's Oceana Orchestra's 2007 release Dream & Variations
"Where Do We Go From Here?" featuring Trevor Rabin

The Secret Discography : what’s in a name, jy weet?

One of a series which examines Trevor’s musical career in South Africa.

It’s been known for over a decade now that Trevor’s “secret discography” (as I refer to it) contains a series of primarily instrumental Easy Listening records which were released under the name Trevor Terblanche. The first to officially cite one of the albums in a discography was T.H. Cutler on her Rabbitt fansite, which contains a wealth of information and research regarding the band and its’ members. I highly recommend it to all Rabinites (and have provided a link on the blog); but also as a reminder that research into Trevor’s career has been ongoing for a very long time and yet there’s always more to learn.  But the information regarding the type and style of material recorded in this instance has been long-existant already and therefore is no big mystery.

To finally place this in its proper historical context (beyond the mention I give on the biography page); in regards to the (not so) burning question of the name utilized (actually an entire studio ensemble of which Trevor was only the guitar player): the series is called Lekker Kitaar and that - along with the use of the name Terblanche - identifies it as aimed at the Afrikaans market (beyond the detail of the album covers displaying English text on one side and Afrikaans on the other). Terblanche is a very prevalent surname among those South Africans who are considered a part of that demographic (and there are more than a few Terblanches of renown, such as Pierre Terblanche, designer of the Ducati Multistrada and other superbikes). As Trevor recently related when asked, the series was created to be sold in supermarkets. The DJ Records label appears to have been the South African equivalent of K-Tel (for those of you who remember the vinyl era).

Trevor worked hundreds of sessions between 1971-1977, his primary vocation was as a session musician/arranger, even as Rabbitt became a (hormonally-charged) household name in the country. He played probably every genre of music which was being created and covered in South Africa (historically, songs and albums often had to be recreated by local musicians because the censures did not allow for importation into the country or the SA government might have banned the original recording). There are at least three Lekker Kitaar albums (I state this based on my personal collection: I own numbers one through three), perhaps more than that. On them Trevor covered the popular songs of the day as well as local favorites, translated to a thoroughly populist palatable pop style. But it was never meant to be any kind of actual musical identifier for him, merely a marketing tool, and even before his statement this fact was wholly obvious based on the packaging and content of the albums.

This is NOT Trevor on the cover:

So this particular conceit – when examined against the whole of Trevor’s SA career – is just not that special. Interesting to rabid Rabinites, but not important; especially when one considers he went on to come up with other studio projects with similar aims. For example, The Tee Cee’s was a studio project created to cash in on the demand for disco records, and more than any other recording he appeared on in that vein, the album Disco Love Bite is wholly his: full of his particular methodology and style in every aspect. And it was cunningly named after him (T.C. being his initials) which likely made it that much more attractive to fans without having to actually fully claim it as his own (though his name is all over the credits). As with a lot of things the status of Trevor Terblanche is just a potential trivia question, one of the dozens of permutations of the Maestro’s burgeoning true identity both as a professional and a master of his chosen instrument.

The Man of a Thousand Credits: Trev & Zimmy

One of a continuing series in regards to the myriad variety of Trevor’s discography.


Driven by a need to know things…I can understand the impetus of this obsession all too well. And one would assume the simplest avenue to actual answers is to seek the source, right? The answer is: not always; which is why attention to detail and the examination of various accounts and sources is just as – if not more – valuable every time in the pursuit of research.

Back in 2008, Trevor’s official bio was updated and made mention of him as a sideman/collaborator with Bob Dylan, and such a legendary namecheck is a notable inclusion for certain. My reaction was thus: “Dylan, huh? Wow, really?!” Because having been a Rabinite for nearly three decades now means I’ve uncovered all sorts of surprising credits and you’d think such a one would have been in the forefront of fandom knowledge. As it did not appear to be cited elsewhere I began a search years ago, but the actual evidence eluded the net of my research and thus I turned to other tangents.

And then a direct attempt to elicit further information proved to be rather anticlimactic…recently Trevor stated when questioned in an interview that he couldn’t recall the actual project or the circumstances which led to him being asked to participate. As there appears to be no actual credit in the whole of Dylan’s discography it is now a matter of conjecture beyond the confines of Trevor’s (extremely limited) memory of events.

However, in regards to the timeframe stated by Trevor in his response, the answer is likely the following based on the research I’ve conducted thus far:

In the first half of 1987 Dylan was in Los Angeles working – among other things - on the album Down In The Groove. As with its predecessor, Dylan collaborated with producer Beau Hill (whom at the time was working with bands like Ratt, Winger and Warrant) on this effort, and thanks to the exhaustive efforts of various Dylanologists, the studios involved are documented and one of them was Sunset Sound, where the members of Yes were also working on Big Generator.

Down In the Groove features a veritable laundry list of collaborators – and so it’s not a stretch to imagine a summons based on the aims of the recording, which seemed to employ a modus operandi of employing various and sundry for a day or two. A scenario involving Beau Hill suggesting bringing Trevor in for a session upon learning he was in the building is not out of the realm of possibility. But again, this is only speculation (albeit of the informed kind). It does make for an interesting consideration, to realize that Trevor was apt to be called upon by anyone, and often was; hence my ongoing series regarding an examination of his recording credits. Over a decade of session work by that point made Trevor the facile choice to step into any situation and perform to expectation.

However this release was nearly universally panned by critics upon release and this methodology of Too Many Cooks might have very well contributed to the consensus. The release of the album was delayed and at least three different running orders considered, with about thirty songs recorded, only ten of which made the final cut.

But this is where detail and recollection part ways, in that Trevor claims the two tracks he played on actually made the running order of an album (if not Down In The Groove then some other, one presumes). This is not the first time such a statement has been made (in future I’ll discuss his contribution to the Best Classical Guitar Album Which Never Happened, which Trevor seems to think was actually released). It is possible that his performance is uncredited on the aforementioned and thus we may never know. It seems more likely that he played on two of the songs which were not actually used. At this time, there’s no direct substantiation of his contributions. So anyone who thinks they’re going to conclusively find those tracks, well…good luck with that. No, seriously…because I’d certainly like to know what they are, I have a collection to maintain!

On the other hand, such a quest is the kind of thing which fans live for: the constant search for new (to them) and interesting information to learn about the admired personage…in Trevor’s case there is always something new to learn, some aural discovery to happen upon, and that – yet again – is why I’m a fan.

Jacaranda review

As of March 18th I was given the privilege of previewing Jacaranda, Trevor's first new solo album in 23 years (in point of fact my review was written before any other reviews had appeared online).  To say I was thrilled beyond measure would be a severe understandment.  To say that this album is what I've been waiting for nearly all my life is yet another exercise in the obvious.  This is an instant fusion classic: right up there with my other favorites in the genre and that's not just my relative bias talking.

Now I have been cleared to share my review with the public and I hope it does, in some part, convince listeners to give it a chance.  It's that good, trust me.

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Jacaranda - Trevor Rabin
(Varese Vintage Records)

For loyal Trevor Rabin fans, the title of his new solo album is the perfect identifier for this much-awaited release as the word is something which has long existed in his vernacular – from the name of his studio to references in his own lyrics - and perhaps an apt simile would be that a lengthy gestation of musical consideration and creation has finally reached full flower. Because we’ve had to wait a very long time indeed and our patience is now amply rewarded.  It's been noted in one of the press releases that the jacaranda tree is found in many parts of the world, and just as it has flourished in varying climates, so has Trevor succeeded in a number of musical genres, returning to roost in one not unfamiliar in his history as a working musician.

Jacaranda – as the name also depicts – is steeped in references to Trevor’s homeland. Johannesburg place names, as well as references to native flora, make up a good portion of the track names. These twelve compositions travel – sometimes within the same song – throughout a number of moods and styles, but are all imbued with the voice of a man with a gift for melody and a mastery of the guitar, even as he also shines as always on bass and keyboards. But make no mistake: this IS a jazz record, even as some of the tracks reference other styles and forms. Both trad jazz and fusion are genres which have informed Trevor’s development as a musician and his taste as a listener so it’s a natural progression (albeit one which has taken him over 30 years to fully get around to) in regards to his artistic agenda.

But it strikes me that the primary point of this work – in regards to how it is to be apprehended by listeners – is to remind us what a lyrical and melodic guitar player Trevor is – how it is as equal an expressive voice for him as his singing - and his career has been long defined by his guitar playing as much as any other aspect. Jazz recordings, even as the goal is the presentation of the synergy of the participants, usually place their focus on the featured instrument of the band leader. And given that Trevor is a Band of One (with rhythm section assistance on this recording) the focus is squarely upon guitar: acoustic, electric and dobro. For those who have been missing their Guitar Hero in the course of his sixteen years as an award-winning in-demand film scorer, here is a virtual banquet of guitar to enjoy. But there is also pleasure to hear Trevor rendering his own version of a fusion combo with great layers of bass (both electric and acoustic) as well as piano, organ and synthesizer.

This album also illustrates Trevor’s strengths as a producer and mixer – yet another facet which has been evident throughout his career – but given this effort is all his in regards to those elements, the technical acumen is just as present as the love and care rendered within.  The balance and dynamic of textures presented in each track provides a benchmark for his skills and sonic instincts.

This is a work which rewards the casual and the close listener alike: compelling and complex and from the heart. And I do believe you can actually hear him having fun playing this music as a whole, which is the best part of all. This is the sound of a man who can play whatever he likes, whenever he likes, and the record’s inherent honesty is a testament to both his desire and his direction.

“Spider Boogie”
Fleet-fingered fun with dobro and electric guitar. This track was the last recorded - in one take - so what you hear was all in real time (including audience reaction).

“Market Street”
Shifts between progressive-style ornate filigree and jazz fusion voicings; a portion of this may go all the way back to 1992 and an idea Trevor shared on his Master Sessions instructional video.

“Anerley Road”
This begins and ends with a sequence which is long-familiar to loyal fans and visitors to Trevor’s website (as it is the music you hear when you access the front page of the site). This track features a great interplay between Trevor and bass wunderkind Tal Wilkenfeld (her tone is instantly recognizable), anchored by Lou Molino’s tasteful fills.

“Through The Tunnel”
I was played an isolated guitar part from the multitracks in April of 2011 and having listened to the album I believe what I heard a year prior was one of Trevor’s leads from this song. I was blown away by the sheer audacity of it, to hear him just go for it; the analogy which came to mind was “jazz fusion on steroids.”

This is a track sure to satisfy those longing for some wailing from the guitar slinger. Reminiscent in mood of the instrumental “Sludge” (the version which appears on 2003’s Live In LA) it travels continuously between moments of gentle melodicism with layers of piano and guitar, and raucous shredding. The last part through to fade-out is an especially all-out heavy-riffing tour de force, made all the more powerful by the drumming of Vinnie Colaiuta.

“The Branch Office”
Intricate tuneful melding of guitar textures and keyboard counterpoint, with an almost madrigal feel to it which then comes to include a bit of bluegrass and progressive-style interweaving.

“Rescue”
Built on the foundation of the vocal melody from the theme “Rescuing Fischer” in The Guardian (the 2006 film which Trevor scored and a portion of that track was used as the “Main Theme” on the soundtrack album) – featuring the performance of vocalist Liz Constantine - this version takes an almost minimalist approach in regards to the instrumentation, featuring a wash of synthesizer with orchestral accents, bracketed by guitar at either end. The vocal is much more prominent in this version, serving as the centerpiece, and has seemingly less texturing incorporated in the mix. Coming as this does midway in the album, it strikes me as a moment of Trevor centering upon his current chosen identity before going off once more to different destinations.

“Killarney 1 & 2”
A piano-driven change of pace, part one of this track is a rare treat for those fans who’ve always longed to hear Trevor play an entire piece on keyboards. One can hear the young contest-winning prodigy in his playing even now, and as the title is a reference to the neighborhood where Trevor grew up in Parktown (a suburb of Johannesburg), as well as the suburb in Cape Town where Trevor and his wife Shelley were married, it’s a fitting tribute. The second part is a double-time reprise with classical guitar accompaniment; it could be theorized that it's a snapshot of Trevor's musical development, progressing from piano to guitar.

“Storks Bill Geranium Waltz”
A classic jazz mood, quoting such influences as Wes Montgomery and Barney Kessel in tone and texture but the piano adds a bit of chamber music atmosphere.

“Me and My Boy”
The big rock moment (but rendered in fusionesque fashion) many have been wishing to hear (as well as my personally longed-for sophomore effort by Tremander); playfully slinky and muscular, and the inherent spirit of Trevor and Ryan’s interplay reminds me of the guitar and violin duets Trevor played with his father on his SA-era recordings.

“Freethought”
The way this track swings, one might imagine it’s an archival recording of Trevor accidentally wandering into a Dave Brubeck Quartet session from years ago and having a go with the band. But it’s all him (with accompaniment by Lou Molino). The midsection features a whimsical tapestry of acoustic and electric guitar and keyboard textures.

“Zoo Lake”
Gorgeous intro dobro textures on this one, again capturing a trad jazz vibe even as the melody is voiced several different ways, including a rather crunchy electric section. Great stand-up bass tone as well, and a lovely piano coda. Makes me picture Trevor at 19 in the SADF Entertainment Division playing this sort of music in the Officers’ Club on a Saturday night.

“Ganazia”
This strikes me as Trevor’s love letter to his hero John McLaughlin, beautifully and passionately performed. If Trevor had joined The Guitar Trio in 1981, this is the kind of music he would have been playing. This is also the only track which features Trevor singing: just a tiny bit of vocalizing in the bridge.

My favorites: “Anerley Road,” “Killarney 1 & 2,” “Zoo Lake.”