- Trevor Rabin, 2004
I was waiting
for the moment...
I was hoping
for the moment...
Last year marked the 30th anniversary of Trevor's fourth solo album, 1989's Can't Look Away; and it is, by far, the one most beloved, remembered, discussed and longed-for (in terms of a return to form in the present day) among the fandom. I had meant to post this essay last year in observance of that anniversary but the best-laid plans of mice and men and bloggers, as they say...
So upon the occasion of The Maestro's 66th trip around the Sun, here is my examination of this high-water mark of Trevor's discography.
for the moment...
I was hoping
for the moment...
Last year marked the 30th anniversary of Trevor's fourth solo album, 1989's Can't Look Away; and it is, by far, the one most beloved, remembered, discussed and longed-for (in terms of a return to form in the present day) among the fandom. I had meant to post this essay last year in observance of that anniversary but the best-laid plans of mice and men and bloggers, as they say...
So upon the occasion of The Maestro's 66th trip around the Sun, here is my examination of this high-water mark of Trevor's discography.
****
In considering the road which led to this album, from the outside for most fans Trevor possessed a distinct band-related personality, first for those who had idolized him in South Africa as the leader of Rabbitt, and then for the rest of the world as the wunderkind of the revamped Yes. But as we know Trevor had been a solo artist for a number of years and furthermore from an artistic standpoint operated much as a solo artist even as regards songwriting, arrangements and production for those groups he did take part in. But maintaining his solo artist identity was something uppermost in his thoughts, even as far back as 1984 when, during interviews for the 9012Live film, he discussed his London-era solo career and stated: "I want to do a solo album" as well as "I'd like to look at it more as a Phil Collins syndrome," meaning: balancing an ongoing solo career with his work in the band. That particular identity would never be his, unfortunately, but what Trevor did end up with was an album which would come to define his solo oeuvre more than any other.
Trevor certainly prepared himself for the task of this album, taking a four-track recording setup on the road during The BIG Tour to record his songwriting demos. And by the time the deal was cut with Elektra he was ready with a new batch of songs which spanned nearly the whole of his conceptual acumen. Something important to consider about Can't Look Away is how many genres it references in its' overall tapestry and in that way it is akin to Trevor's first solo release Beginnings. It is reflective of his personal beliefs, his musical tastes and abilities, and also his ambition - unfettered by considerations of diplomacy and democracy as are experienced within most bands; especially a band like Yes which at that time contained its' two original songwriters. In it he offers songs of longing and of passion, social commentary and popular sentiment.
As Elektra was seeking a return on their investment, perhaps to ensure a certain level of success producer Bob Ezrin was brought onto the project and received lead production credit (which I'm assuming was in his contract), a man with a proven track record, having worked with some of the biggest rock acts of the 1970s-80s and his contributions can be heard throughout, perhaps most significantly in recruiting musician Anthony Moore (who had also made contributions to the Pink Floyd releases A Momentary Lapse of Reason and The Division Bell) to collaborate on two tracks - Trevor's anthem of hope for South Africa, "I Can't Look Away" and another song which in part addresses the inhumanity of apartheid, "Cover Up." Ezrin himself also contributed to the writing on three tracks.
Some of the typical excesses of the '80s had touched this project in its' production (i.e. the sorts of things which derailed the recording of Big Generator at several points) but given the preparation and determination of the man behind it all, it certainly took less time than any Yes-related project to complete. Released about a month after the Anderson Bruford Wakeman Howe album in the summer of 1989, Can't Look Away initially benefited from the AOR-friendly lead single "Something To Hold On To" and its' colorfully kinetic music video by award-winning director Jeff Stein. The video garnered a Grammy nomination for Best Video, Short-Form at the 1990 awards but lost to Michael Jackson's "Leave Me Alone" (which won a lot of awards that year). The song reached number three on the Billboard Mainstream Rock chart, but the album fared poorly overall, cracking the Top 200 during a ten-week span and - for an album which is as revered as it is among fans - not even selling enough to be certified Gold, which Big Generator managed to do within three months of its' release.
Given sales of the ABWH album and the way the ensemble was marketed as a sort of return to traditional Yes values and even a reaction to the YesWest aesthetic, I would posit that one reason Can't Look Away tanked had to do with the timing of its' release as regards ABWH, even as Trevor's fanbase largely intersected with the overall Yes fanbase, but perhaps not enough of those Yes fans who were also fans of YesWest found their way to Can't Look Away. And that may be in part because Trevor created an album which reflected his identity as opposed to whatever identity he did possess within the continuum of Yes. But I would also state he was incapable of doing anything else.
Providing context: the various hype stickers used to promote Can't Look Away.
Even the press release for the album places it in a particular context, noting that Trevor's decision to join what was to be called Cinema was a detour from his ongoing solo career; however we also now know that because Trevor had been dropped by Geffen he was casting about for other opportunities and had even auditioned for the touring keyboard player slot in Foreigner (his trip to New York City the experience which inspired "City of Love") and was also being considered for any number of other bands and projects. The press release refers to Can't Look Away as "that long-delayed solo album" and that is true in a sense, but it's also true that Trevor couldn't get arrested in 1982 much less sign a new solo deal with any label. He has famously referred to his rejection letter from Clive Davis (president of Arista Records at the time) who seemingly had no faith whatsoever in the potential of "Owner of a Lonely Heart." It strikes me as unusual for a label head to personally reject someone at Trevor's level of fame (at the time) rather than, say, the head of A&R, but we'll set that apocryphal story aside for another time.
It's also been stated that Trevor was on the brink of finalizing a solo deal with RCA when he received a call from Chris Squire, asking Trevor if he'd be interested in coming to London to meet with himself and Alan White regarding starting a new band, and Trevor's agreement in this regard is puzzling if one is to believe that he was entirely committed to being a solo artist. I find it very interesting that the context of Trevor's next solo work was envisioned as a liminal space between what he had accomplished in YesWest as well as the continuum of his solo career as if Yes was nothing but a happy accident. But with those several notations in the press release regarding Trevor's overall contributions in shaping the YesWest sound, I can't help but wonder how disappointed some might have been to discover that no matter the claim, Can't Look Away isn't particularly stylistically adjacent to either of the YesWest albums despite Trevor's many contributions to their architecture.
What Can't Look Away actually can be identified as, on the other hand, is a solid effort of 1980s AOR as well as a number of other stylistic concerns, creating what is overall a sonically interesting and thoughtful record, and it's also the album which any number of people (myself included) would hand to someone if they were to ask, "So who is this Trevor Rabin dude?" The passage of time has bestowed a far greater and long-lasting reputation to the release than its' initial performance would have demonstrated. And good thing too, honestly, because it would be a shame if Can't Look Away had become somewhat of a "lost album" as evidenced by his other solo releases, especially Beginnings (as opposed to the worldwide version of that album, Trevor Rabin).
But the album is also a sophisticated construction of layers and textures and more than proof enough of its' creator's talent and acumen, given that Trevor played all the instruments with the exception of the drums (but one could surmise he did program the drum machine dubbed Basil, which was used on a few tracks) as well as all lead vocals. As we know this was standard practice on all of Trevor's solo albums with the exception of Wolf, and therefore not surprising to fans, but really something to consider when one listens carefully to all those elements and how they are blended.
In recent years Trevor has made some comments in interviews and on social media regarding recording another solo work in this vein, which I'm assuming means a rock vocal album. That project was, as he stated on his Facebook page, set aside so that he could fully commit to what eventually became referred to as Yes featuring ARW. And while it is something fans truly desire and have been supportive of when this claim has been proffered, I would hope that whatever he finally accomplishes might reside outside of time, as do certain moments of his genius, such as "Owner of a Lonely Heart." And that is also one of the wonderful aspects of Jacaranda, it is part of a timeless tradition and artform and it sounds just as vital and masterful today in 2020 as it did when it was released eight years ago. Can't Look Away, even for the quality of its' songs and production and the talents of its' creator, is a definite artifact of the 1980s and that's not bad per se, and if anything we have to acknowledge that its' status now as Trevor's best solo work (from a popular perspective) is perhaps despite that pedigree. It is, in fact, a collective longing for that Trevor, who I have previously declared no longer exists. So it would be interesting to discover who Trevor Rabin, guitar hero and rock n'roll singer/songwriter of renown, is today were he to present us with a new rock vocal album.
But we are here to commemorate Can't Look Away...so let's do that.
I won't lie, dear readers, when Trevor interpolated a bit of this song into the Würm section of "Starship Trooper" during its' one-and-only performance on ARW's tour in 2016, I kind of lost my shit there for a minute. To actually witness him playing something from the glory days...it was exciting. This song is a mission statement of anthemic bombast but also meant to be specifically meaningful to the themes and emotional heft of the album. I would posit Trevor considers it one of his most important songs, and it was interesting to see the lyrics reprised for the liner notes of the reissue of Live In L.A., the live document of the club tour to promote the album. It certainly experienced its' fullest potential when performed live, particularly the thundering drums of Lou Molino. Trevor found his drumming soulmate as well as a life-long friend in Lou and he is the true secret weapon of this album.
Trevor noted in the press release that this song can be apprehended on a universal level:
"Something To Hold On To"
I would surmise that one reason it is still so much fun to watch the video for this song thirty years later - beyond a certain nostalgia value (and Peak Trevor hair) - is that this is a damn catchy song, the way it shifts between the bombast of the chorus motif and the slinky funk feel of the verses. In that fashion it recalls the structure of "Owner" without seeming to quote it specifically. The single was promoted as well as expected but I like to think it would have succeeded primarily because it is the kind of song which makes you reach for the volume knob when you hear it. It's got more than a few sort of Easter Eggs on it as well - like the horn samples used in the chorus, which I didn't discover for quite a few years. And as with all the songs he guests on, Duncan Faure provides a great harmony vocal on this one.
"Sorrow (Your Heart)"
By 1989 we had already experienced the burgeoning popularity of World music in Western popular culture, courtesy of such artists as Paul Simon and Peter Gabriel. But Trevor's use of Township Jive on this particular track is in one respect simply a reference to Home, even if it was a home he had left behind a decade prior. He used to introduce the song as being about someone he knew, the ordinary daily struggles of a black man in Apartheid society - and the inherent sadness portrayed is ironically juxtaposed against a joyful tune. However, I believe the music is also meant to symbolize the strength of that oppressed society to endure the everyday tyranny. As a single this song didn't chart and although I can understand why Trevor would have wanted it to be released, both for the medium and the message, it seems to me that if they were looking for success on the pop charts then "I Didn't Think It Would Last" might have been a better choice (even as he considered that song frivolous).
"Cover Up"
A song about the progression of societal conditioning, as well as some references to the situation in South Africa, I really appreciate how the texturing complements the lyrics and the vocals, it's a very dynamic kind of song and made for a great opener on the club tour. Although the contributions of the South African-based female choir The Passion Brokers are wonderful overall, I particularly like what they're doing in this song. Trevor's father Godfrey is also credited with writing and I don't believe I've ever come across a reference to what he provided specifically.
"Promises"
This track is Ryan's public debut, as it is his voice we hear in the introduction, and it's fitting given the song's subject. Trevor had stated in interviews of the time that it was inspired by his viewing of the Iran-Contra congressional hearings, which took place in mid-1989, and expressing frustration regarding the acknowledged perjury taking place; considering how the world does not reflect those values he wanted to instill in his son. How can I teach my kid to trust people when I can't even trust you? is the essential message of this song, although the lyrics are vague enough to refer to any number of situations. Musically I feel this song is the most egregiously '80s of the bunch with that gated reverb throughout.
Side Two
"Etoile Noir/Eyes of Love"
Although these tracks are separately credited I always think of them as linked given that the transition between the two is instantaneous and one is a reprisal of the other just in a different chromatic rendering. The choice of the name which means Dark Star (technically it's black star) is, according to Trevor, reflective of the theme of the latter song. "Eyes of Love" is easily the most dynamic song on the album in terms of the moods of the verses versus the chorus and then the rideout, which sounds like some kind of electric guitar armageddon - it might be said it's rather indulgent, but at that point in his career I would say Trevor had earned the right to be indulgent. But also I think it's thematically underscored by how the lyrics shift from reflective to a pre-chorus which strikes one as rather Big Brother-ish in its' message which is then answered by a choir of Hope, so to speak, in the chorus. There's a lot of tension in the song overall.
"I Didn't Think It Would Last"
Much like with "She's Easy" from Wolf, Trevor meant for this song to be a rather wry look at a relationship, but this time the female is a prostitute rather than a succubus. But I find there is a sort of underlying melancholy to it, a deliberate echo in the duo of refrains, as "Juliet" says she needs a place where I can stay forever, I can play forever, whereas "Romeo" tells her in turn I can't stay forever, I can't play forever. The second refrain is omitted from the printed lyrics, but I honestly believe it is different. Musically I think this is the most interesting song in that it melds a sort of rock sensibility to a more groove-oriented structure and in that way it reminds me of the Purple Mafia/Jam-Lewis kind of sound which was dominant at the time in R&B; I get "The Pleasure Principle" vibes from it specifically but Trevor certainly had enough experience with that type of music not to have to deliberately borrow from anyone.
"Hold On To Me"
Another consideration of Home - this time a revisiting of his past with this revamp of the song "Hold On To Love" from Rabbitt's A Croak and A Grunt in the Night. In interviews Trevor took credit for the lyrics, and although he did change some lines, originally the lyrics were written by their producer Patric van Blerk. I've done some comparison listening and I believe that there are elements of the original recording used, primarily the chorus. But on the other hand the new solo in the song is really beautiful, a nice use of Trevor's Yairi DY-88.
"Sludge"
I had long-wondered why Trevor originally wanted to name this one "Villains from the Swamp Beyond" and the press release provides the answer.
"I Miss You Now"
Speaking of the Yairi, it is heavily-featured on this track as well. I think this song contains some beautiful layering of instrumentation and ambiance and Alan White's drum fills are excellent. It has a really heartfelt lyric examining the notions of homesickness and nostalgia, but in truth it's only half a song. And perhaps that was purposeful but I feel the lack of a second verse sort of sabotages the overall impact of the song even as I get that the change in dynamic from the first half to the second is really the important part of the song.
"The Cape"
This instrumental was originally titled "Cape of Good Hope" and many have seen it as perhaps one of Trevor's first attempts at writing a film score type of piece (not realizing he had actually performed scoring work years before) but I see it as something more akin to New Age or his own take on the kind of World music which was becoming popular. I firmly believe that if this track had been sent to some of the stations which programmed that type of music at the time it would have become a hit. This song does have a timeless feel to it in that it's not immediately apparent when it was recorded. It's a nice closer as it does have a sort of "end credits" vibe to it.
What Can't Look Away actually can be identified as, on the other hand, is a solid effort of 1980s AOR as well as a number of other stylistic concerns, creating what is overall a sonically interesting and thoughtful record, and it's also the album which any number of people (myself included) would hand to someone if they were to ask, "So who is this Trevor Rabin dude?" The passage of time has bestowed a far greater and long-lasting reputation to the release than its' initial performance would have demonstrated. And good thing too, honestly, because it would be a shame if Can't Look Away had become somewhat of a "lost album" as evidenced by his other solo releases, especially Beginnings (as opposed to the worldwide version of that album, Trevor Rabin).
But the album is also a sophisticated construction of layers and textures and more than proof enough of its' creator's talent and acumen, given that Trevor played all the instruments with the exception of the drums (but one could surmise he did program the drum machine dubbed Basil, which was used on a few tracks) as well as all lead vocals. As we know this was standard practice on all of Trevor's solo albums with the exception of Wolf, and therefore not surprising to fans, but really something to consider when one listens carefully to all those elements and how they are blended.
In recent years Trevor has made some comments in interviews and on social media regarding recording another solo work in this vein, which I'm assuming means a rock vocal album. That project was, as he stated on his Facebook page, set aside so that he could fully commit to what eventually became referred to as Yes featuring ARW. And while it is something fans truly desire and have been supportive of when this claim has been proffered, I would hope that whatever he finally accomplishes might reside outside of time, as do certain moments of his genius, such as "Owner of a Lonely Heart." And that is also one of the wonderful aspects of Jacaranda, it is part of a timeless tradition and artform and it sounds just as vital and masterful today in 2020 as it did when it was released eight years ago. Can't Look Away, even for the quality of its' songs and production and the talents of its' creator, is a definite artifact of the 1980s and that's not bad per se, and if anything we have to acknowledge that its' status now as Trevor's best solo work (from a popular perspective) is perhaps despite that pedigree. It is, in fact, a collective longing for that Trevor, who I have previously declared no longer exists. So it would be interesting to discover who Trevor Rabin, guitar hero and rock n'roll singer/songwriter of renown, is today were he to present us with a new rock vocal album.
But we are here to commemorate Can't Look Away...so let's do that.
****
As with all his solo albums, Trevor's "brand," so to speak, is his face and he's squarely on the front cover as usual. The photographs by Lisa Powers used for the album packaging and promotion are wholly representative, I would say, in terms of how we perceived Trevor's visual identity in that era: attractive, intense and charismatic. I'm not entirely certain what the shattered glass is meant to signify from a symbolic perspective, perhaps that no matter the risk, Trevor won't turn a blind eye to strife and corruption...? I mean, it's certainly a noble sentiment to assume. The inner sleeve of the LP has what I consider a bad choice in terms of the lyrics reprinted on a red background, thankfully the CD booklet doesn't suffer the same chromatic decision.
The back cover features some different moods, the center photograph was chosen to adorn the cover of the 45 release of "Something To Hold On To" as well as the accompanying advertising and even used for the t-shirts which were sold on the club tour.
Side One
"I Can't Look Away"
Trevor noted in the press release that this song can be apprehended on a universal level:
"This song expresses my feelings about the struggle in South Africa, but it could also be about events in any country gripped by violence and oppression - the ongoing war in the Third World, really. While my lyrics have specific meaning to me, I like that they're open to the listener's subjective interpretation."
"Something To Hold On To"
I would surmise that one reason it is still so much fun to watch the video for this song thirty years later - beyond a certain nostalgia value (and Peak Trevor hair) - is that this is a damn catchy song, the way it shifts between the bombast of the chorus motif and the slinky funk feel of the verses. In that fashion it recalls the structure of "Owner" without seeming to quote it specifically. The single was promoted as well as expected but I like to think it would have succeeded primarily because it is the kind of song which makes you reach for the volume knob when you hear it. It's got more than a few sort of Easter Eggs on it as well - like the horn samples used in the chorus, which I didn't discover for quite a few years. And as with all the songs he guests on, Duncan Faure provides a great harmony vocal on this one.
"Sorrow (Your Heart)"
By 1989 we had already experienced the burgeoning popularity of World music in Western popular culture, courtesy of such artists as Paul Simon and Peter Gabriel. But Trevor's use of Township Jive on this particular track is in one respect simply a reference to Home, even if it was a home he had left behind a decade prior. He used to introduce the song as being about someone he knew, the ordinary daily struggles of a black man in Apartheid society - and the inherent sadness portrayed is ironically juxtaposed against a joyful tune. However, I believe the music is also meant to symbolize the strength of that oppressed society to endure the everyday tyranny. As a single this song didn't chart and although I can understand why Trevor would have wanted it to be released, both for the medium and the message, it seems to me that if they were looking for success on the pop charts then "I Didn't Think It Would Last" might have been a better choice (even as he considered that song frivolous).
"Cover Up"
A song about the progression of societal conditioning, as well as some references to the situation in South Africa, I really appreciate how the texturing complements the lyrics and the vocals, it's a very dynamic kind of song and made for a great opener on the club tour. Although the contributions of the South African-based female choir The Passion Brokers are wonderful overall, I particularly like what they're doing in this song. Trevor's father Godfrey is also credited with writing and I don't believe I've ever come across a reference to what he provided specifically.
"Promises"
This track is Ryan's public debut, as it is his voice we hear in the introduction, and it's fitting given the song's subject. Trevor had stated in interviews of the time that it was inspired by his viewing of the Iran-Contra congressional hearings, which took place in mid-1989, and expressing frustration regarding the acknowledged perjury taking place; considering how the world does not reflect those values he wanted to instill in his son. How can I teach my kid to trust people when I can't even trust you? is the essential message of this song, although the lyrics are vague enough to refer to any number of situations. Musically I feel this song is the most egregiously '80s of the bunch with that gated reverb throughout.
Side Two
"Etoile Noir/Eyes of Love"
Although these tracks are separately credited I always think of them as linked given that the transition between the two is instantaneous and one is a reprisal of the other just in a different chromatic rendering. The choice of the name which means Dark Star (technically it's black star) is, according to Trevor, reflective of the theme of the latter song. "Eyes of Love" is easily the most dynamic song on the album in terms of the moods of the verses versus the chorus and then the rideout, which sounds like some kind of electric guitar armageddon - it might be said it's rather indulgent, but at that point in his career I would say Trevor had earned the right to be indulgent. But also I think it's thematically underscored by how the lyrics shift from reflective to a pre-chorus which strikes one as rather Big Brother-ish in its' message which is then answered by a choir of Hope, so to speak, in the chorus. There's a lot of tension in the song overall.
"I Didn't Think It Would Last"
Much like with "She's Easy" from Wolf, Trevor meant for this song to be a rather wry look at a relationship, but this time the female is a prostitute rather than a succubus. But I find there is a sort of underlying melancholy to it, a deliberate echo in the duo of refrains, as "Juliet" says she needs a place where I can stay forever, I can play forever, whereas "Romeo" tells her in turn I can't stay forever, I can't play forever. The second refrain is omitted from the printed lyrics, but I honestly believe it is different. Musically I think this is the most interesting song in that it melds a sort of rock sensibility to a more groove-oriented structure and in that way it reminds me of the Purple Mafia/Jam-Lewis kind of sound which was dominant at the time in R&B; I get "The Pleasure Principle" vibes from it specifically but Trevor certainly had enough experience with that type of music not to have to deliberately borrow from anyone.
"Hold On To Me"
Another consideration of Home - this time a revisiting of his past with this revamp of the song "Hold On To Love" from Rabbitt's A Croak and A Grunt in the Night. In interviews Trevor took credit for the lyrics, and although he did change some lines, originally the lyrics were written by their producer Patric van Blerk. I've done some comparison listening and I believe that there are elements of the original recording used, primarily the chorus. But on the other hand the new solo in the song is really beautiful, a nice use of Trevor's Yairi DY-88.
"Sludge"
I had long-wondered why Trevor originally wanted to name this one "Villains from the Swamp Beyond" and the press release provides the answer.
"(It) came out of an impromptu jam I had with Lou Molino. I was trying for a sort of modern-day version of Edgar Winter's 'Frankenstein' with a bit of the fusion music I used to play thrown in."(Interestingly enough, there's another fusion song which had been cited by its' creators as attempting the same thing, and that is "Drumbeaux" by VOLTO! from their album Incitare.) I am on record as preferring the live version of this track, but the studio version is an enlivening moment for certain, the same shifting time signatures (going from 4/4 to 17/8, for example), really playful and adroit and it makes for a nice change of pace. That drink Trevor takes at the beginning is meant to transform him into a beast, I suppose, and then there's a water droplet sound at the end, so I would assume they are related.
"I Miss You Now"
Speaking of the Yairi, it is heavily-featured on this track as well. I think this song contains some beautiful layering of instrumentation and ambiance and Alan White's drum fills are excellent. It has a really heartfelt lyric examining the notions of homesickness and nostalgia, but in truth it's only half a song. And perhaps that was purposeful but I feel the lack of a second verse sort of sabotages the overall impact of the song even as I get that the change in dynamic from the first half to the second is really the important part of the song.
"The Cape"
This instrumental was originally titled "Cape of Good Hope" and many have seen it as perhaps one of Trevor's first attempts at writing a film score type of piece (not realizing he had actually performed scoring work years before) but I see it as something more akin to New Age or his own take on the kind of World music which was becoming popular. I firmly believe that if this track had been sent to some of the stations which programmed that type of music at the time it would have become a hit. This song does have a timeless feel to it in that it's not immediately apparent when it was recorded. It's a nice closer as it does have a sort of "end credits" vibe to it.
****
Can't Look Away is an album I listen to on a regular basis and I find that it has aged well in the sense that it remains pleasurable to experience. I believe that is down to the sophistication inherent in its' construction and so therefore it remains somewhat mystifying and also sad that it didn't perform better in its' era, but we are at a point in fandom where we have to take what we can get, and I'll take listening to this album (as well as its' performance iterations on Live In L.A.) over not having it at all. To hear Trevor at the top of his game remains fascinating and enjoyable and I am grateful we have the evidence.
And I believe the majority of fans would most emphatically agree, which is why it really was magical for those 30 seconds or so back in 2016 to hear Trevor reach for those heights once more...as they are now behind us, receded into the mists of Time, accessible only by way of recorded memory.
