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Introduction:


A series of essays wherein I explore the numerous musical identities of my favorite musician: from child prodigy to teen idol to guitar hero to singer/songwriter to award-winning in-demand film composer.
Featuring news/updates and commentary/analysis of Trevor's career and associated projects.
Comments are disabled but please feel free to contact me at rabinesque.blog@gmail.com.



Monday, December 14, 2015

Happy (to be a Rabinite)

As your humble narrator I readily (and without shame or pretense) identify myself as a Rabinite and so I always enjoy learning when other musicians are fans of Trevor's...though I'm not sure whose good taste is being validated: mine or theirs.  One extremely talented person whom I believe I can make a conclusive case for is indie singer/songwriter Happy Rhodes; two of her 90s-era albums feature elements which point to specific citations of Trevor's work, the kind which only a fan would make.

As an artist Happy was truly one-of-a-kind: with an extraordinary range, an adept sense of musicianship, and a timeless sense of presentation, very much in the mode of the ageless troubadour.  Her style brings to mind other originators such as Joni Mitchell and Kate Bush.  I use the past tense because it appears Happy has retired from recording and performance, her last album was released in 2007.

On her 1995 album The Keep - a compendium of acoustic and rare tracks - Happy included something she called "The Yes Medley" and yet with the exception of one of the songs they all have one thing in common: they were written/co-written by Trevor.  The inclusion of Rabbitt's "I Sleep Alone" tells me this is really a Trevor Medley, and that gets a big seal of approval from me.  For South Africans, fans of Rabbitt may remain fans of Trevor, but as far as the rest of the world, it normally works in reverse; and not all Trevor fans are Rabbitt fans (I consider this a terrible tragedy).  Of the YesWest songs Happy chose, those lyrics she includes are the ones Trevor sings on the original recordings.  There's a madrigal feel to her versions which I believe fit in nicely with the Maestro's tradition of classical instincts.


"The Yes Medley"


On the 1998 release Many Worlds Are Born Tonight, there's a great trip-hop flavored track called "Proof" which features a sample of Trevor's voice - specifically the comically-panicked "Aaah!" from the second verse of "Something To Hold On To."  Who else but a fan would desire to include something so obscure and yet so recognizable to other Rabinites (so much so, during live performances of the song Trevor allowed the audience to provide the sound, and they never missed their cue)?  It's fan service, a literal shoutout, which equates to an aural wink and upon finding it I was wholly squeeful (in the lingua franca of the Internet).

"Proof"

As a relentless and obsessed researcher into the greater realm of Trevor's cultural relevance I'm always on the lookout for moments like these...in the overall scheme of things it may only be important to me, but I believe Trevor wholly deserves numerous citations and acknowledgement from any and all manner of sources.