A look into the musical world of Trevor Rabin: composer, performer, and a man of many careers.
Introduction:
A series of essays wherein I explore the numerous musical identities of my favorite musician: from child prodigy to teen idol to guitar hero to singer/songwriter to award-winning in-demand film composer.
Featuring news/updates and commentary/analysis of Trevor's career and associated projects. Comments are disabled but please feel free to contact me at rabinesque.blog@gmail.com.
Author's note: This was originally going to be the last entry in the series, but I've got so much to express regarding this subject that I don't really want to wait however long it's going to take me to get through the boxset as a whole. In the interests of full disclosure, I was not given nor have I purchased a physical copy of the boxset. I was provided a digital copy for review purposes. But having viewed the physical contents via several sources, I do have opinions and as a collector/die-hard fan I desire to state them herein. So this can be considered more op-ed than review in that respect. Caveat lector. (Photos/images in this entry courtesy of Cee unless otherwise indicated.)
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I almost wanted to title this entry "Concept versus Reality" because what buyers/fans received is not quite what was originally advertised. I feel as though perhaps the press release shouldn't have been composed and distributed until the actual contents were locked-down and verified, so to speak. But it adds an interesting dimension to this essay, I suppose.
I appreciate that there is bonus content included, but of course that's rather de rigueur for boxsets these days - you want to buy the deluxe thingie because you get cool stuff! And there is one very cool and rare thing included in Changes. Is it worth the entire price of the boxset to obtain it? For collectors, I believe it would be - and that is perhaps the saving grace of this whole thing.
I am a person who desires these types of things, and I will elaborate further on that point as we go along. So I am opining from the perspective of a collector who has lots of Trevor-related stuff already and wants more of it. Someone who is the exact demographic for this boxset. But I do want what's actually in it is the question. Maybe I already have some of it, or even more interesting things. And I would like to note that it's not generally the quality of the items I'm calling into question, but rather their desirability as collectibles.
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The booklets
I'm sorry, but these are not books as described in the storefront listing and press release. They're not actually bound with a hard cover. They're nice for what they are but they're each 16 pages (including front and back), so definitely not as stated in the original advertising. They're really more along the lines of a tourbook.
Images from the Trevor Rabin Archives
On the one hand, I am always in favor of photo book(let)s and I can appreciate having a historically-oriented type of photo collection, a sort of "Trevor through the years" thing. But I feel like if you're taking that route, then let's go all the way there - from childhood to now. Since there's even an ARW performance shot included I believe that's a fair request. Otherwise it would have been a better idea to strictly adhere to the years represented within the boxset itself. From a visual perspective, that quasi-collage layout is a bit too haphazard for my tastes. I appreciate the clippings being included but given their vintage scrapbook appearance they should have been placed together in a gatefold spread.
But those images and outtakes from Lisa Powers' photo sessions? Magnificent.
10/10 - would stare at these for hours again and again.
Here's a bonus from me to you...so about that J.L. Cooper Electronics endorsement ad on page 14 - it's a rare item for sure (because unless you read industry trade magazines back in the '80s you'd have no idea of its existence) and a great photo. The company is listed in the Thanks section of the original liner notes for Can't Look Away. I love endorsement ads, it's one of the things I collect and I have an entire "endorsements/promotional" wall in my Trevor room. But the way the ad is positioned and cropped in the booklet sort of ruins the effect of what a nice photo it is, so here's the whole enchilada, so to speak. You're welcome (unless you already actually have it, that is).
The making of Wolf
This is the true prize of the box, and I think everyone realizes this. So well-done to Trevor and to Rob Ayling for making this happen. Especially thanks to Trevor for still having these photos in his possession, especially after all this time. Because this is amazing, a window into a world I thought we might never see, as there is so little visual documentation extant of Trevor's years in London. This is the sort of thing I live for, especially as I particularly enjoy "making of" documentaries and the like. If you are a long-time die-hard fan who is still pondering whether or not you should buy the boxset, to have this is definitely worth it, in my opinion.
The poster
As Jon Kirkman noted in his unboxing video, this may have been a fan collectible item from the London era - it is a reproduction of the back cover of Trevor Rabin along with the album logo. However, I will assert that it is actually a reworking of the original promotional poster for the album (which was likely displayed in record stores) featuring my favorite promotional motto (which I use in my signature on the Yesfans forum). And the original is better, although it's possible it doesn't look as good when it's reduced in size.
This may strike some people as barmy but there were lapel pins with that logo, I'm assuming they came with the original press kit, along with a notepad (all packaged in a nice glossy full-color folder). Reproducing a lapel pin would have cost more, perhaps, but that is a cool thing. This poster? Not so much. A better choice would have been a reproduction of the poster which was included in the Japanese release of Trevor Rabin and - hand on my heart - I swear to you that it is incredibly easy to find even now (so therefore one could have been obtained to scan and reproduce). I love posters, I have several of Trevor which I happily display in my home, but that one would not be leaving the box because Trevor Rabin has the worst artwork of all the solo albums.
The promotional photos
I commented on this in a previous entry, but now that we know the contents I'm going to elaborate in full. The advance photo of the box's contents displayed their original proof-of-concept: they wanted to include a reproduced promo photo for every solo album release, and to that end they created a mock-up of the photo on the back cover of Wolf, because (presumably) they couldn't locate the actual photo which was included in the Wolf press kit. And I came to this conclusion because I do own a copy of it, but because I've never seen it online, nor does it resemble a typical promo photo, I have to assume it's very rare indeed. So that's a nice verification of sorts (and perhaps a Weird flex, but okay? situation), but my larger issue has to do with concept versus reality.
The concept of including a photo from each solo album promotion is a great idea. But the way it should have been made reality was to attempt something which collectors would find interesting. Collectors are the target audience for boxsets. And these photos aren't particularly special, speaking as a collector and also someone who has collected all the press kits for the solo albums.
Which one of these is not like the others?
(my press kit collection minus a couple photos)
(courtesy of The Groovy Archives)
To break it down...
Trevor Rabin: there were at least two promo photos used for the press kits, and the one from the outdoor photo session (which made him look like a tourist, standing by some railway tracks and also a lake) is not as flattering as the one from the photo session for the album cover. But that one is a bit more rare, I believe, as I haven't seen it offered for sale too often. You'd have to make an effort to track it down, but it is a better choice. I'm including an example of the image here for comparison's sake.
Face To Face: the promo image is from the photo session for the US album cover and to my knowledge it was the only one included in the press kit. It is harder to find these days so that gets a hat tip from me as far as both locating and including it.
Wolf: I'm speaking from a place of inherent bias here, but I would have been willing to provide a scan of the actual photo from the press kit to be reproduced for this box if only someone would have thought to contact me regarding collectibles. Which is not to imply I should have been in on the process from the outset but I will say that in the case of most retrospective projects which include collectibles and/or rare items, generally those involved will seek out known collectors to inquire after potential items for inclusion. I personally know several people who have participated in that very process for various publications and releases. I regret this didn't happen, for everyone's sake. I am sharing it now (after a fashion, see above) just so you all know I'm sincere.
So what is included instead is a reproduction of the most common promo photo of all - from the press kit for Big Generator. This derails the idea altogether, of course, and it's not special. It's a great photo, sure, but it's everywhere.
Can't Look Away: again, there were at least two promo photos available, one serious (the one included in this set) and one smiling. The latter is the rarer of the two, and again, the better choice in terms of its desirability as a collectible.
I say that simply because the other one is everywhere. I have multiple copies of it myself (I even had Trevor sign one of them in 2012 and sent it to a friend of mine). So when I say it's not special enough for a boxset, I believe I know whereof I speak.
The signature card
I understand the inclusion of this, similar to a signature sheet in a limited edition printing of a book. You could frame it potentially, but since it includes the numbering for the set it's really meant to be kept inside the box. Honestly, my idea would have been to put a separate card on the inside of the lid with the number and make the signature card something which could be presented as its own collectible, with a photo of Trevor printed on it instead of the logo.
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Nobody asked me, but I'll tell you anyway...why? Because I can!
So what do I think should have been included in this?
Again, I'm speaking as a collector. Collectors collect things and sometimes they collect everything, or perhaps only things from a particular era, or a certain type of thing which appeals to them. Generally you might buy up all you can find easily and then you spend years hunting for a certain special thing or waiting for a rare item to appear. I've discussed a few of the things which are my prized collectibles here on the blog and in fandom realms: a copy of the ZA release of A Croak and A Grunt in the Night signed (period-authentic in ballpoint pen) by all the members of Rabbitt, a signed and personally-inscribed by Trevor collage I created using shots from the photo session for Jacaranda, a pre-broadcast first generation copy of the STHOT video...I am committed to this endeavor, even as finances prevent me from being as avid as I once was. A long-time collector has a better idea of what would be an interesting and rare piece of memorabilia because they already know what is out there (and likely own at least some of it).
My first idea probably would have been too costly to consider: a reproduction of Trevor's favorite Sharkfin plectrum (the soft red Goldprint) printed with his signature on one side.
Guitarists could have used it, collectors could have displayed it. Some might just leave it in the box, as often happens with bonus content. But it's a true one-of-a-kind type of item. Trevor loves them so much he even has a necklace with a silver-minted Sharkfin pendant (which you can see him wearing in the Star Licks video). And I'm the kind of fan who would (and did) reproduce that very necklace as best I could. But this is what I mean regarding rare interesting Trevor-related items.
My second thought is that they should have stuck with the original concept to print a booklet with only the images and outtakes from Lisa Powers' photo sessions for Can't Look Away. Full-page, full-color reproductions in all their glossy Peak Trevor hair glory. Nothing cluttering up the margins or anything like that - just allow us to enjoy the sight of the man at his very best in those iconic photographs. Or, if that's not quite enough content...we do know there are behind-the-scenes photos from the making of the video for "Something To Hold On To," so how about a section with all of those which can be tracked down?
And finally - instead of offering merchandise with that logo which isn't particularly exciting and frankly I don't want any of it - why not come up with a vintage type of design instead? Like reproducing one of the two known solo tour shirts, or a shirt with one of those great Lisa Powers photos on the front and then have the boxset logo on the back (if you absolutely must). Now that I would want to buy! Trevor's image - from a historical perspective - is very visually-oriented. He has appeared on every cover of his solo albums (with the exception of Wolf where he's on the back cover and then 90124 which is a visual pun). So it's just not enough to have something with his name on it. His face is a very beloved face and one we'd be happy to display.
This entry wouldn't have been possible without the invaluable assistance of Cee...so with all my gratitude and fangirl love, thank you!
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
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One never knows how timing will impact certain events, and in this case I'm referring to the fact that I've already reviewed Can't Look Away. I meant to do so last year for the album's 30th anniversary but I didn't meet that deadline; consequently only a few weeks before the announcement of Changes I published my view on Trevor's highest-regarded solo release thus far and so I'm including a link for the sake of context (and for anyone who has not read it and might want to).
There's nothing about this reissue which would make me reconsider my opinion of the album, but I do have an opinion regarding how there should have been a 30th Anniversary Edition of this landmark of Trevor's solo career and for something which purports to be a Deluxe set...well, what is your definition of deluxe? Because I don't think what this is fits mine. But I will concede there probably isn't much that can be done, knowing what I do now regarding the state of Trevor's archives.
Fans will buy the boxset, but there may be fans simply interested in obtaining a new copy of this album, or wondering if the Deluxe set is worth it. And I will answer that with a definite yes, unless you're not interested in bonus content. If you're not, then whatever copy you have is fine. But there is one thing in this version which is worth it to me, is absolutely crucial and the fact that it has actually been included is nothing short of a goddamn miracle. For a boxset which overall has more than a few things wrong with it, there is one thing very much right with this part of it.
What's interesting about this situation is Can't Look Away is an album which has not gone out of print, or not for very long, at least. Even as the licensing might now have reverted to Trevor, 30 years on, even before it was reissued by Voiceprint in 2002 it was still being repressed and sold by WEA over the intervening years and is also the only one of Trevor's solo albums prior to Jacaranda to be continually licensed for streaming. So it's out there, you can buy it from various outlets and/or listen to it online, and if you're a fan you likely already have a copy, perhaps more than one. It's a landmark, and so now the consideration is: how is this album being honored as an actual landmark?
Not very well, I would say. But on the other hand, it's not like Can't Look Away really needs remastering, or even a remix, and beyond Trevor's general inclination not to want to involve himself in archival activities I can understand why he would wish to allow this album to stand as is. It actually sounds wonderful, entirely in keeping with his standards of the time. Of its era, certainly, but it holds up overall. I have no real complaints about any version of the recording which I have listened to over the years. Can't Look Away is engaging and dynamic, with so many layers and details, Trevor's skill in all areas is amply illustrated but particularly in the mix - I have said it before and I'll say it again: Trevor is an amazing mixing engineer. Until he decided to add too many crowd swells to a certain live album, that is...but that's not germane to this essay.
Apropos to this observation, Trevor noted in a 1989 interview for Kerrang!
Well I like going in all different directions and I like to play around with sound, because I love engineering.
He also commented to Chris Welch:
I tried to move ahead a bit and make an album you can sit down to listen all the way through on headphones. I wanted the songs to flow although it wasn't put together as a concept album.
When I interviewed Trevor recently I told him his mixes work on two levels: the surface, when you might hear one of his songs on the radio or playing somewhere, and you enjoy it for what it is. But also below the surface, when you put on headphones and enter the landscape of the song to experience everything which is going on inside of it. Can't Look Away deserves to be listened to closely for all the loving care brought to the whole of its' creation. One thing I will say about this new remaster is the bottom end is a bit more punchy. But otherwise I honestly can't discern any other particular difference with other versions of the album I have. The sound of Can't Look Away is already uniformly excellent and that is one reason it's a landmark. In the year or so I spent listening to it repeatedly in order to write my review, I fell in love with it all over again, and I think that's another reason why it endures both as an album and as an achievement for Trevor - one's opinion of what he can accomplish when perfectly focused and capable is renewed with each playback.
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It's an intriguing consideration to me that Trevor has always expressed the idea of this album as a personal imperative. As I noted in my review, the narrative has always been that Trevor put his solo career on hold to work with Chris and Alan (and later Tony), although in at least one version, the duo were pitched as a rhythm section which Trevor might be interested in utilizing for his solo work, and since the pair were at loose ends, relatively-speaking, it's not wholly unlikely though it's difficult to imagine one of the best rhythm sections in progressive rock being utilized strictly as sidemen. I've just always wondered when the shift occurred: Trevor Rabin, determined and convinced that his destiny lay as a solo artist, who had ducked and declined any number of offers to join up with a supergroup, then decides to start a band with two guys he doesn't know and whose musical history he's only vaguely familiar with. Now that I think about it...it rather stretches credulity a bit, doesn't it? "The worst jam ever," as Chris Squire once characterized their first musical meeting, must have possessed some all-powerful potential nonetheless. But I think that perhaps it was simply a case of Trevor meeting two talented chaps whom he liked very much from the start, and chemistry really iseverything.
Even so, as he gave his time, effort, and material (in the form of songs) to this endeavor, the other identity and agenda continued to live on, and was mentioned every so often, such as his interview for the 9012Live footage in 1984. Suitably armed with the proof of his new(est) success, it seemed only a logical supposition that Trevor could now channel this new(er) star power (with a worldwide audience) into another solo effort. But as the years went on it became more of an actual articulated need. For example, interviews for the promotion of Big Generator featured several mentions of his plans to record a solo album when the tour was completed (and given, as Trevor noted to me in our most recent exchange, how badly interpersonal relations in the band had deteriorated during that period it was no wonder touring was rather more limited), such declarations could be said to mark a definite break in the continuum. Interestingly he asserts in one of those interviews that he doesn't see such activity as apart from his identity, but as a return to it. To who he really is one might wonder? As I noted in my review, there was commentary for Can't Look Away which seemed to characterize Trevor's involvement in Yes as a detour rather than a ongoing journey. And perhaps that "endless highway" of his artistic desire and ambition was actually meant to lead away from those previous wanderings of the past six years.
This comment, from his interview with Dan Neer, seems the most passionate declaration:
"Eventually, we were still touring and I said: 'We gotta stop, we gotta just hang on for a while, I have to do this album. I really want to, it's in my blood, it's in my bones, I've gotta do this album.'"
And yet, there was no real way of escaping the circumstances which made Trevor famous from a worldwide perspective, with even the press release for Can't Look Away referencing plans to record a new Yes album later that same year (which didn't appear to come to pass in terms of actual labor).
In examining the promotional cycle for the album there are some interesting details to learn, but Trevor is having to continually contextualize himself as a member of Yes, given the events which resulted in the release of Anderson Bruford Wakeman Howe a few weeks prior to Can't Look Away. When interviewed once more by Sylvie Simmons (this time for RAW magazine), the majority of the article featured commentary on what Trevor referred to as "The Yes Mess." You can also view an example of this in an interview for Canadian music channel Much Music a couple weeks after the album's American release. Most intriguing is the mention of a Union-like scheme rather early in the game, so to speak, which Trevor shows no interest in entertaining. The following year he would tell a journalist that he wasn't ready to go back to Yes until they were prepared to continue on with what he perceived as a more genuine motivation. And then...politics would have their way, as seems to be the case in any version of the band. Also interestingly enough Trevor noted in one interview of the period that he was tired of having to acknowledge the back catalog in a live setting - "We certainly won't do any older stuff. I never wanted to play that stuff in the first place." - but as Fate would have it, the Eighty Dates tour saw the band delving even deeper into that legacy which perhaps was beginning to feel like a stone around his neck.
There's actually a (somewhat) better-quality version of the STHOT video included in this footage.
For additional context, the "liner notes" included this time are not written by Trevor but cobbled together from Wikipedia and some other source. I don't believe he actually contributed liner notes for the 2002 reissue. But let's do a little comparison...
From the description on the Music Glue storefront:
Following the release of another Yes album Big Generator in 1987, Trevor wrote and recorded this album Can't Look Away. Many of the tracks would have been unsuitable for Yes although were certainly in the AOR mold that Yes had been aiming for during the previous five years. Can't Look Away contains a number of hugely catchy and commercial rock tunes including the title track. It is a great AOR album.
From the "liner notes" of the Deluxe set:
In addition to Rabin himself on guitars and lead vocals (and a host of other instruments), Can't... also features fellow Yes member Alan White drumming on some numbers. Stylistically it sits next to that band's 90125 and Big Generator releases.
Wait a minute...which is it?! Is Can't Look Away a YesWest-less YesWest album or not? Well, of course it isn't. I can understand a marketing braintrust expressing something like: if you like that Trevor then you'll like this Trevor too but I think it actually does the music of both concerns a disservice to equate them in such a way. Trevor possesses instincts and preferences for his own music which would be fulfilled by a solo project. If this music is supposed to sound just like all the other music he's recorded then why do a solo album at all? But because this is an album distinctly personal to him, it was both necessary and desirable to create it. However, you could say that in terms of production style and choices Can't Look Away is definitely a member of the same family as 90125 and Big Generator and I find myself thankful that Trevor decided to continue on in the artistic milieu which suited all his abilities rather than some kind of reactionary stripped-down aesthetic.
One of the aspects I find most interesting is the characterization of Trevor's working relationship with producer Bob Ezrin as portrayed in the press of the time. Erzin has lead credit as producer on the album but I find it difficult to believe that he actually guided the sessions as they are so indicative of Trevor's production methodology, both from a historic and stylistic perspective. I feel whatever sounds too indicative of the era is probably down to his suggestion, but that may be unfair. It's obvious Ezrin did contribute a fair amount to the process simply from an examination of the original credits. Returning to my point, it's the way the attendant tension is stated which I find rather telling.
From the press release:
"Because I do a lot of engineering and producing myself, it's tough sometimes for a producer to know where he sits with me," Rabin admits. "But Bob Ezrin quickly became a very astute and aware coach for me. His input was very important, and he managed to find a place for himself amidst the coffee cups and tape reels."
From the Dan Neer interview:
"[...]But there was a period after we'd started where there was not friction, but it was no real understanding of what our roles were to be when it came to the production because he knew I wanted to be involved and I've always been involved in that aspect, that I get involved very much in the engineering side of things, and he wasn't quite used to that. You know, he'd always, or, not always, Dave Gilmour's obviously very involved, but with a lot of artists they like to get involved purely on the creative side musically and leave the knobs to the producer. Well I like to get involved in all areas, so it was a bit difficult initially to find out where we're gonna sit in the studio. But once that had been established it was a great relationship. And it's unusual to say this but I'd work with him again. I didn't think I'd say that. (laughs)"
I find this amusing because for Ezrin it was a reenactment of sorts regarding his participation in the production of the 1979 Pink Floyd album The Wall, as he was hired for the project by its' conceptual mastermind Roger Waters. Infamously by his own admission, he then threw a tantrum when Waters informed him that their lead engineer, James Guthrie, was also going to serve as a producer on the project. Ezrin did not believe that engineers were qualified to produce, apparently not realizing that Guthrie had already been working as a producer for three years prior to being hired by Pink Floyd. But Ezrin's fit of pique was to no avail, proving if nothing else who was truly in charge of the proceedings. So of course I wonder how close he came to throwing another tantrum in the case of Can't Look Away given his inherent prejudice towards engineers who possess what he believes are ideas above their station. Then again, Trevor was also The Talent, and recorded music production is essentially a service industry.
When I first interviewed Trevor in 2012, one of the more random sort of questions I asked him involved the "howling" vocalization in the rideout of STHOT. I thought maybe it was Solly because it does sound like an actual dog, but Trevor said it was his voice, a suggestion from Ezrin, and referred to his co-producer as "crazy." Now whether this was in general or just specific to that particular suggestion I don't know...make of it what you will.
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You're the jacaranda in my morning, you're my laser in the night.
Love is something that you shouldn't do, when the spoils of life aren't meant for you.
Radio industry magazine ads for the singles from Can't Look Away
As I've previously opined upon the album I can move right along to the extras. The bonus content is assigned its own disc, and nothing is missing! That is amazing. So now to examine each piece...
Single/promo edits
There is an edit of STHOT, labeled with a running time of 4:22, which is used in the video. Sure, its inclusion is not necessarily necessary but let's talk about being completist (supposedly the philosophy of this boxset) versus being lazy (a quality which has been demonstrated in its actual execution many times over). So yes, I think it should have been included as well. Because I was curious, I viewed my copy of the video - which is complete because it's from a pre-broadcast source - and the total running time is 4:31. The music begins seven seconds in, and there is two seconds of silence at the end (as we freeze on that final shot of Trevor's arms). So I believe my assertion is correct in this case. You can consider it redundant for me to provide another source of the video in this entry, but it's solely to prove my point.
This is not quite 4:22, but close enough.
"Sorrow (Your Heart)" and "I Can't Look Away" are both needledrops (i.e. I can detect vinyl noise) sourced from the 12" releases. I don't understand why they couldn't have been sourced from the CD versions, as both are available on the collectors' market (as example, I have CD copies myself). I will say this about the latter song - I tend to believe its mix has been "goosed" a bit because it really roars out of the speakers.
STHOT demo This is the very best thing about this edition of Can't Look Away, in my opinion as a fan and a collector. Previously available solely on a couple of overseas 12" releases (and fairly rare to encounter in the marketplace), the original demo is pretty revelatory. That beat, for example, WOW it's funky. In my album review I stated the structure of this song echoes "Owner" to a degree, but it is really obvious on the demo. I can picture someone - maybe Trevor, maybe Ezrin - deciding it needed to be fundamentally altered. As long-time fans are aware, Trevor's demos are pretty complete unto themselves, so to hear such a difference between the versions is really interesting to me. I'm ready to make a new version of 90124 with this demo replacing "Would You Feel My Love" (because yes, I still need two versions of "Hold On").
I don't really detect any vinyl noise on this, so it could be sourced from the actual recording? That would be great if true. It's interesting that the demo was only available on certain versions of the single and not in the territories you'd expect.
Up Close with Dan Neer interview
This interview from 1989 has been in circulation for a while now, and it is certainly one of the best of the album's promotional cycle. The source is the actual vinyl broadcast promo sent to radio stations. The answers-only section is standard practice even now for press calls, as some stations like to edit their own playbacks. Neer has been well-known for decades as a New York area DJ/interviewer and is thoroughly professional, although it's all too tempting merely to listen to Trevor's dulcet mannered diction - it's always interesting to compare his accent now to the way it was 20-30 years ago.
The track-by-track breakdown is enlightening, and the discussion of Trevor's career and methodology is the kind of in-depth content Rabinites are always longing to discover and absorb. The audio quality is excellent, and frankly I'm surprised but also pleased.
One really fascinating part of their exchange to me is this: You began studying classical music. What instrument did you play? I played piano, I started when I was about six years old - and contrary to popular belief, I was never a great student, I was an awful student and played most of the things by ear. And it took me a long time to become a good reader, and I became a good reader only because I started doing session work at about fifteen years old, and I started getting booked a lot doing sessions and realized, you know, the more difficult sessions that happened, that my reading had to be good so I was forced to become a good reader.
Contrast that with what Trevor notes in this 2016 interview with Record Collector: I listen to classical composers, and I have a lot of vinyl and still buy it when we’re on tour, though it’s stuck in boxes somewhere – The Beatles, Haydn, Stevie Wonder, jazz-fusion, a lot of metal. I learned piano from five, as did all the siblings, as my parents were musicians. So I could read music before I could read English. I practiced every day for an hour, when all I wanted to do was go out to play football.
I suspect the truth lies somewhere between, as they say.
Songs from 12/5/89
I don't want to discuss this out of context (meaning: I want to save it for my review of the Boston show) but I will opine that while I understand why the tracklist had to be split due to space, I don't think this was the best choice to make. But I also understand the logic in including two consecutive tracks. Ultimately it just doesn't feel thematically cohesive and the first thing I want to do is either listen to my original copy of this recording or make a playlist where it's reunited once again. I don't want to listen to a random chunk of this show outside of the whole. If it had been up to me I think - well, first of all if it had been up to me we wouldn't be in this conundrum to begin with - I would have gone with Solly and STHOT instead. But time-wise that probably wouldn't have sufficed.
It's just messy, that's my opinion. But I imagine not everyone shares that viewpoint and that's fine.
Now let's talk about what is right and wrong with the CD booklet.
Wrong
Again, there are TWO errors in the song titles in the booklet and on the disc. The 2002 reissue didn't have any errors in the track listing. So how it can be wrong now? In fact none of the original reissues contained errors of this nature. It just boggles my mind that the same company can be involved in two different archival projects and make so many mistakes on one of them.
"Liner notes" - which I mentioned above, but if Trevor didn't desire to contribute something new then the album deserved better than cut-and-pasting from Wikipedia, for f#%k's sake.
The year of release is also incorrect, which I assume is a typo, but still.
The credits are missing numerous attributions. Duncan sang on six songs, not one. The Passion Brokers, who sang on four songs, aren't even mentioned. Neither is Denny Fongheiser, who played drums on "Eyes Of Love." Bob Ezrin is not credited with backing vocals on two songs nor for co-writing on "I Can't Look Away" and there's no co-writing credits for lyricist Anthony Moore or Trevor's father Godfrey. If all of the information was not going to be reprised from the original release then at least that which was included should have been correct and complete. This is simply shoddy work. Again, absolutely no excuse for allowing it to be incorrect.
Right
There's only ONE thing...more photos from Lisa Powers' shoot and that was a good decision. A very good decision. My only quibble is that there's no selection from the "desert" setup, which is represented on the original cover (stormy skies, desert, hanger/train station).
The auteur of Can't Look Away, or, as I like to call him: Peak Trevor.
Although I also don't understand why the original back cover grouping (featuring the three backdrops) couldn't have been used on page two rather than just the middle photo.
Remember, this is the benchmark - the name graphic for the entire boxset is taken from this album. It's important. But apparently not important enough to get some basic and crucial details correct.
Can't Look Away deserves far better than this, but I'm also aware that it wasn't likely to be reissued at all had this project not been formulated and championed by Rob Ayling. But he failed in some aspects nonetheless, whatever intentions he possessed notwithstanding, and that's just...too depressing to consider for any length of time. Thankfully, the album itself cannot be diminished by this lazy attempt towards contextualization for future relevance and discovery. Whoever does subsequently find and develop an attachment to it (and to Trevor's music as a whole, one would hope) will do so simply because it is a landmark for all time.
On the Classic Rock website: an archive interview from 1984 on the occasion of Deep Purple's (first) comeback, partially inspired by what some might consider an unlikely source...an album and a song which tapped into the cultural zeitgeist then and now.
Wherein Trevor gets the nod from another bona fide guitar hero - could he have imagined as he played "Highway Star" to the punters back in Jozi that one day he'd have The Man himself praise his own fiery fretwork?
You [Ritchie Blackmore] reportedly wanted Purple’s Perfect Strangers to be as good a comeback album as Yes’ 90125. Is there any truth in this? Ritchie Blackmore: Well, who wouldn’t want to return with as strong an album as 90125? It’s a great record, it’s got a superb sound and I like Trevor Rabin; one of the best guitar solos I’ve heard in a long time is on "Owner of a Lonely Heart."
That actually moved me, it made a real change to hear someone actually doing something adventurous with a guitar instead of just running up and down the fingerboard and saying: ‘Wow, impressive, huh?’ The sound of that guitar synthesiser is also very exciting, so much so that I actually went out and bought one.
~~~~
And then rather serendipitously to both my recent interview with Trevor and this particular entry, a couple days ago on the Yesfans discussion board, forum member downbyariver posted a thread commenting that the John Parr song "Treat Me Like An Animal" - from his 1984 eponymous debut - possesses a rather strong resemblance to the aforementioned smash hit single. One wonders if the appropriation of "Owner" was embedded within the song itself, or as a result of its' arrangement once in the recording process. This song was also the b-side on a few single releases: "Magical" and "Love Grammar" in 1984 and "St. Elmo's Fire (Man In Motion)" in 1985.
(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor, such as Yes historian/critic Simon Barrow and Kevin Mulryne of Yes Music Podcast. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media. And also many many thanks to The Man himself for conversing with me about this album and its' associated era.)
* ~ * ~ *
Way back in 2016 when I first began working on an essay regarding Trevor's third solo album Wolf, my working title was "Perfectly Imperfect" and I find I still feel that way about this album. It's really good in some aspects, but in others the problems/weaknesses which Trevor had experienced during the making of Face To Face were still lurking in the background. But I can understand why Trevor considers it the best of his Chrysalis releases. It has a unique sound to it in some ways, which I would attribute to the different methodology he utilized. Playing and singing with other people in real time lends a particular immediacy to the end result. In other words: he recorded an album just like most everyone else recorded an album at that time. Put the talent in the studio and surround him/her with a strong supporting cast, pick the best songs, roll tape and go for broke, then polish and refine as needed.
My opinion has evolved even from that previous point, I would say, as this is how I originally opined:
Of the three albums which Trevor released in his post-Rabbitt and London-era career, Wolf (1981) is generally considered the best of the lot. It's not an opinion I completely agree with, but I would say I agree with Trevor that it was a better representation of the techniques he was using in that era. Even so I would say, again, it errs on the side of merely presenting him as a guitar hero/pub rocker kind of musician when we all know he's so much more, and it seems to have hindered him in terms of breaking through to a larger audience.
But there is one thing which makes Wolf a stronger album and his name is Simon Phillips. You never realize how important the drummer is until you've got a drummer who can kick your ass six ways from Sunday, as they say.
* ~ * ~ *
In his native (at the time) habitat: Trevor at Konk Studios.
In considering the overall narrative of this period of Trevor's career, if Face To Face was the sound of Trevor not knowing who he should be, then Wolf is the sound of him finding his footing again, moving forward in a more determined direction. For the span of an album, a very brief moment, and then it was over. And one could find that ironic, occurring just as he had accomplished something which might have garnered actual commercial success had there been more time and effort to propagate it to the public. I told Trevor in our most recent exchange that I firmly believe Wolfcould have succeeded in America with more promotion because it was exactly the sound beginning to take hold in terms of AOR rock radio. He thought I was probably right about that.
Wolf appeared to have two releases: sometime in the second half of 1980 in the UK and Europe (and also Japan) though 1981 is the correct year of release for the US (which is also supported by an article I'll mention later); although of the multiple copies I own, one of them is a UK pressing with a 1981 copyright, so it's a bit confusing. The album was recorded in 1980 at a facility Trevor was already familiar with: Konk Studios in London's Crouch End.
As he's stated in various interviews, the 1979 tour of the UK Trevor undertook as a special guest of fellow guitarist Steve Hillage was a transformative experience for him, the return to live performance providing a reminder of more immediate rewards gained outside of the hermetic studio environment. Trevor described it thus in a 2004 interview:
I think I found myself again. I toured Face to Face and opened for Steve Hillage who was the nicest guy in the world. It was great to be on the road with him. It was all about the music and we got on very well. At the time, the punk explosion in England was massive and appeared to be obliterating everything in its path with regards to people having ears at radio stations. I think after that tour, I realized there’s still room. It’s not like people are going to stop doing what they’re doing unless they have a large bolt through their nose. So, I really started to work with a lot of passion when writing Wolf. It was really enjoyable and I got some fantastic musicians to play on it.
Even interviews of the time were referencing Trevor's new direction, such as his profile in the May 1980 issue of Guitar World.
He's currently at work on a third solo LP and plans a US tour this summer. Trevor continues to experiment with production techniques and playing styles, believing that they go hand-in-hand. "A concept I'm particularly fond of now is trying to capture a strong, live feel in the studio. I've tried it with Wild Horses and myself to varying degrees. I find playing and producing evolve on parallel tracks - a process I plan to continue because one seems to help the other so much."
In an interview he gave to Sylvie Simmons (writing for Kerrang!) in early 1981, Trevor reiterated his goals for the recording: "I went into Wolf deciding to make an album that was more passionate, more alive, more down to earth."
* ~ * ~ *
Either Trevor made a few edits to his original liner notes for Wolf from the 2002 reissue or they were included in their original unedited form for this release - the additions are in bold. It does have one part I am confused about.
I'm kind of sorry that they never benefited from later record sales that would occur with my releases for the Geffen record label.
Uh...the ones that didn't actually happen because you were dropped from the label? I'm assuming what he really means is either the YesWest records (on ATCO) or Can't Look Away, which was released on Elektra. Unless he was speaking of albums which he was expecting to record, even as it never came to pass.
Another change is that he lists most of the musicians who took part in the recording, which I do think is a nice acknowledgment of the session power he had surrounding him.
The other observation I find interesting is this:
My 1979 release Face To Face had not reached expectations for Chrysalis. In spite of this they wanted another album, which showed a lot of belief on their part.
That could well be true, but it could also be true that Trevor had a three-album deal with Chrysalis and so why wouldn't he deliver the last record? If he were to be dropped, it would have likely occurred after the release of his first album. And it's not like either of the prior releases performed well overall. But he was earning them money as a producer as well, so I find it unlikely that they considered Trevor an abject failure in any way. And there's also the consideration of Trevor likely spending more money to make Wolf than the previous album, given the number of people involved with the project and the fact that it was recorded at a studio not affiliated with either Chrysalis or Blue Chip Music. It would appear that they were behind this project and Trevor's determination to create something new and exciting. Or, they were simply letting contractual obligations run their course.
The new CD booklet also features photos from The Making of Wolf which means it's the nicest of all those from a aesthetic perspective, but several shots (including the back cover photo) are printed with that annoying red filter. How is that even a good idea?! But there are no credits included, presumably because all the credits are listed in the bonus Making of booklet instead. And sure, that's fine for someone who buys the boxset, but what about someone who just wants a copy of that album?
So now let's turn to the original press release...which was the actual source of that moniker Trevor has often cited: the godfather of Heavy Metal. It is pretty hilarious when you think about it. But Wolf is a hard rock album for the most part, so this positioning into a new identity makes sense even if it's not entirely fitting in terms of Trevor's instincts and abilities. It does, as did the previous press release for Face To Face, own up to Trevor's past in South Africa (although of course the context is not apologetic but rather expository). There's still a bit of sticking to the established narrative concerning his arrival in London, but overall it's far more factual than previous documents.
Here's an interesting detail concerning Trevor's public performances of the previous year:
The second album, Face To Face, consolidated Trevor's reputation and a spell on the road, culminating in a headline appearance at The Venue, won some enthusiastic support as well as rave reviews.
The Venue, a nightclub in Central London, had been in operation for about a year prior to Trevor's showcase date, which took place on November 29th, 1979 (a Thursday, which is one of the prime spots on a club's schedule).
On the other hand, years ago I found this scan which appears to provide evidence of Trevor being considered for other tours - and apparently this show in Brussels did go off, but with Trevor as the opener? Well no, because on that night Trevor was playing with Steve at the Manchester Free Trade Hall. I asked Trevor about additional gigging when I interviewed him recently and he said no, he didn't do any other touring in the London years. Long-time fans are also aware of Trevor taking the stage with Wild Horses just a couple days after his showcase gig. But it is interesting to consider how and why Trevor ended up on this advertisement nonetheless.
The press release goes on to quote Trevor regarding how his one-man band attitude evolved into considerations of utilizing an ensemble:
Working on the road with a band and then in the studio with Wild Horses made me feel that I wanted to work with other musicians myself. The first two albums were recorded with me playing everything except drums - maybe they missed that spark that comes with working with and bouncing ideas off other musicians. Being in the studio with people like Jack Bruce, Manfred Mann and Simon Phillips really made a difference to my playing as well. It might sound corny to say that they inspired me but it's true.
It's entirely obvious to state that the people involved in the recording of Wolf are what sets the album apart in Trevor's discography, but I think it's important to consider the participants in terms of their connections to Trevor as well as the industry at large. And so now let us view the... Musicae Personae
Trevor Rabin: guitars, bass, keyboards, lead and backing vocals (the Alpha Wolf) Simon Phillips: drums (well-known session player and touring drummer) Jack Bruce: bass (one-third of Cream, solo artist, and one of the most esteemed bassists/singers in rock n'roll history) Mo Foster: fretless bass on "Heard You Cry Wolf" (well-known session player) Manfred Mann: keyboards (one of the most well-known musicians to come out of South Africa, leader of the Earth Band; Trevor produced their 1980 album Chance) John "Rabbit" Bundrick: keyboards (well-known session/touring musician and long-running sideman with The Who) Chris Thompson: backing vocals (lead vocalist for Manfred Mann's Earth Band) Stevie Lange: backing vocals (then-wife of producer Robert John "Mutt" Lange and session singer/solo artist; Trevor worked with her numerous times in the South Africa and London years) Noel McCalla: backing vocals (former lead singer of UK-based band Moon and vocalist with Sniff 'n' The Tears; Trevor produced his 1979 solo album Night Time Emotion) Ray Davies: Associate Producer (co-owner of Konk Studios, songwriting/vocalist mastermind of The Kinks and lyricist for "Long Island").
Of this last participant it is noted: Wolf was co-produced by chief Kink Ray Davies, who also seems to have rung some changes albeit fairly subtle ones: "He was a great influence, helping me to take a more detached view of my own work. The album is rawer and less orchestrated - simpler, but I think more effective."
I would opine that perhaps strangely enough, this cast of characters actually had the effect of making the album sound far more unified than any of his others, which may have been a determined and premeditated choice, or perhaps an expression of the atmosphere created by the sessions themselves. But it's a wonderful thing to now have a view into their labors courtesy of The Making of Wolf booklet in the boxset. It provides evidence of general bonhomie, hard work, near exhaustion, and Trevor at the center of it all as he always ensures he is, the auteur of his creative destiny.
* ~ * ~ *
As I noted, the year of Wolf changed everything which had been previously established in terms of Trevor's career. But there were some pieces of the past remaining which were causing a sort of cognitive dissonance in terms of how he was attempting to present himself to the listening/record-buying public. Here's a guy who plays a mean guitar and writes and sings a catchy tune, but is also a multi-faceted self-sustaining industry with seeming ambitions beyond being simply a solo act and yet desperately wants to orient himself squarely in the rock n'roll game. Write, record, rehearse, tour...and maybe when all that's done then play and produce some sessions too.
But then there's things like this...and remember, it's not 1977 anymore. On the other hand, that jacket? Amazing.
Appearing in UK teen magazine Oh Boy!, June 1980.
(courtesy of The Groovy Archives)
I'm thinking of that axiom any publicity is good publicity, and Trevor was certainly still in demand as That (Slightly) Obscure Object of Desire; long-time fans are aware this would never really change for the next twenty years or so. It appears Trevor did not object to such things quite so much as he might have us believe. And I think it's perfectly okay for Trevor to play to all his strengths (as an attractive person who is also an amazing musician). But there's no apparent consensus in the collective zeitgeist...yet. I find it interesting that Trevor achieves more of a cohesion of image in a band setting rather than as a solo artist.
In the aforementioned Kerrang! interview, the end of the era seemed to have occurred rather suddenly, with Trevor stating that he was dropped by both Chrysalis and Blue Chip Music just as the album was due to be released. And according to this same article, Wolf was not initially released in the US, but that would occur later in 1981. And thus the window of opportunity he might have used to break through in that market - possibly aided by an opening slot on Van Halen's touring schedule - was lost.
Trevor's parting of the ways with Blue Chip is something I find very surprising because it always seemed to me that Matt Mann formed the company for the purpose of showcasing Trevor and advancing his career overseas. Mann possessed the utmost respect for Trevor's talent (just a year prior Mann referred to Trevor as "the best producer") and after all, Trevor had been incredibly successful in South Africa as the head of a musical powerhouse of various projects, and RPM reaped the associated rewards. Trevor characterized the change of heart as "(they) seemed not exactly to get on with me" and I can't help but wonder if it had more to do with Trevor meeting David Geffen (their introduction was brokered by Manfred Mann). When I attended Trevor's in-store appearance in 2012 he related the story of having dinner with Geffen in London and being amazed by his first encounter with a true industry mogul. It must have seemed such an incredibly exciting opportunity...despite Geffen (both the company and its' titular executive) desiring a situation for Trevor he was ultimately unable to accept.
* ~ * ~ *
Before I begin my track-by-track commentary, I would like to state I think it's rather shameful that the packaging and the disc itself contain two errors in the song titles, especially when you examine the metadata for the disc - the information is correct. There's really no excuse for this, in my opinion.
Side One
"Open Ended"
I'm not sure if this is the best opener for the album, although I understand why Trevor decided to put it up top. The title is kind of a pun for the listening experience, if you think about it. The intro is rather dramatic, but I don't know if the rest of the song quite lives up to that. However, given the extended metaphor of a guitar serving as the primary obsession of a musician's life, I'm really proud of Trevor for taking his own shot at the theme. And that bridge coming out of the chorus is everything good for sure.
"Heard You Cry Wolf"
This song is my favorite of the album and I've previously discussed why in my "Five from five" essay, but it continues to come down to: strong lyrics + great riff and melody + great arrangement and performances (especially that ride-out solo) + just the right amount of production = a truly great track and Trevor knew it too (as I assume that's why he chose to perform it on the '89 club tour). In terms of singing, especially, Trevor is at his most nuanced and melodic here. And Mo Foster is superb on the fretless bass.
In a retrospective review of the album published in 2000, Malcolm Dome (who recently interviewed Trevor for PROG) equally waxed rhapsodic on this one, calling it "breathtaking" and "an epic sweep of AOR heaven, there have been few better tracks of this type ever written or recorded."
"Do Ya Do Ya Want Me"
Fun fact: if you look up "filler" in some edition of the dictionary you will encounter this song used as example. Okay, not really but honestly that's exactly what it is. I find that the music is rather paint-by-numbers as well. Before embarking upon numerous listening sessions for these reviews I will admit I haven't willingly listened to this track in years.
"Stop Turn"
I consider this song a precursor of sorts to "Hold On" except that it's a mid-tempo bluesy kind of thing, but it has that same "stroll" in the chorus, like there's a similar chord progression and arrangement. I don't expect most to agree, but once you hear it, you can't unhear it. I like this song even as I find Trevor's vocal to be a little strident in spots, like he's singing over the chorus rather than with it. I think this works better as a lover's lament than "Pain" does.
"Lost In Love"
This track is rockin' for sure but those lyrics...I just...oh, Trevor. I tend to skip this one as well. I love to write reviews but I'm not having a good time right now. Side One could have been so much better if not for the filler. That synth freak-out at the end is a bit much, though. I know Trevor didn't discover synthesizers in 1980, but he sure acts like he did.
Side Two
"Looking For A Lady - (Wolfman)"
There's been discussion and debate over the years regarding: "Did Van Halen steal the intro to 'Hot For Teacher' from this song?!" and I asked Trevor about it in my recent interview with him and the answer is, apparently: "Yes they did." All these years later it amounts to trivia of a kind because one of those songs is a Classic Rock chestnut and the other...well, it's rather obscure, except to us die-hards, that is. But I like it - it's well-crafted and the lyrics are humorously saucy, and Trevor's singing really fits the mood and the key this time (finally). On an album which rocks pretty darn hard, this track has great swagger and energy, proving an excellent use of his power trio. And I believe that's Manfred Mann on keys, punctuating it all quite nicely.
"Pain"
I know fellow Rabinites will understand exactly what I'm referring to when I say that one of the most unintentionally hilarious interview segments with Trevor is the 1988 Japanese interview where he's backstage at the Pacific Ampitheatre, looking somewhat dead-eyed and dead-tired as he responds to questions, and in the background for some reason they're playing..."Pain."
I always laugh at that, I can't help it.
This is a better ballad than "You" but it's in more of a rock vein. The lyrics are still...struggling...but everything else saves it from being wholly terrible. Stevie Lange is the MVP here, I would say.
"Take Me To A Party "
I previously stated that "Candy's Bar" is the most English song Trevor wrote, but this would also qualify except that it's a bluesy rollicking slab of Good Times. It fits the mood of its subject perfectly and that's primarily why it's so good. It already sounds like a party, never mind being a demand to actually locate a knees-up to crash. These are some of the best lyrics Trevor has ever come up with, just in terms of a rock song which is about wanting to do anything but deal with mundane everyday bullshit. My favorite lines are: I pour down the Lucozade and I clean up my face, roll into the bedroom, get ready for the alien race. It's a perfect summation of recovering from the post-bacchanal blues, as it were. This is a song where the backing vocals are an especially important element and they all sound wonderful.
"She's Easy"
I have previously written about this song in my Halloween Special entry, but Dear Reader I am proclaiming to you now that I unironically love this song. There, I said it. Because it friggin' rocks, y'all. I don't care that it's about a succubus wanting to do all the things that succubi do and this guy, whoever he is, feels compelled to perform a public service by warning everybody about her. Said strange and amusing lyrics (well, if you consider Trevor is essentially kink-shaming a demon of all things) are set to an absolute burner of a track in every way. It's like the music is a bewitching hellion of sorts as well, having its way with your ears and your immortal soul. Am I seduced? You betcha!
"Long Island"
Ray Davies' lyrics are very much in keeping with his usual wry observations and overall acumen as one of the songwriting voices of his generation. It's a droll and yet also charming portrait of longing to return to a summer romance. The music is catchy in its' way but not necessarily the most artful of Trevor's offerings even within the context of the album itself. It's rather a happenstance pairing, I would say, but I enjoy this song except that I feel Trevor is straining against his new(er) range again. Though I really love Noel McCalla's backing vocals on the chorus.
* ~ * ~ *
There's no bonus material included on this disc, and as usual I take issue with that as well. At the very least, since needledrops and bootlegs form a portion of this boxset's contents, then we also could have had the original album mix of "Take Me To A Party" - good-quality vinyl copies of Wolf are very easily obtainable on the secondary market. So I consider that omission a definite failure. The differences are rather obvious between the two versions - there are more guitar overdubs and a thicker, more gritty kind of mix, compared with the clarity you get on the vocals in the verses on the original.
But also, since Live in Boston had to be split up due to length, with two tracks ending up as bonus content on Can't Look Away, why not put "Heard You Cry Wolf" on this disc as an extra? Doesn't that make sense? Every other studio album has bonus content (even if, in the case of Face To Face,it's not actually there) so this comes off to me as laziness or a lack of vision.
I've compared the available audio (meaning: whatever flat-transfer source has been used for the CD releases over the years) with the original album pressing and also the 2002 remaster and the 2020 remaster, and I will say that the new remastering sounds somewhat better, but the true issue lies with the source itself. In an interview from 2011, Trevor revealed that the original multitracks for Wolf had later been recorded over, so they no longer exist. Sadly that means we can't have a remixed/remastered edition of this album like we might for other albums (not that I expect it to happen, but it appears Trevor did have the idea to do this for Wolf at some point). But since the flat-transfer source being used for any reissue is at least a generation removed from the multitracks, there's only so good it can sound overall. And that's a shame for an album he does retain a certain amount of regard for. I will say that I still consider a first edition vinyl pressing the best way to experience Wolf, but if you only had the new remastering to go by, then it's probably the best from a digital perspective.
So let's talk about that vicious cover...
This ad for the album looks better than the actual cover, in my estimation, because you don't get that immediate sense of...how shall I put this...taxidermy. And I wouldn't necessarily fault Peter Wagg (the same guy who designed the UK packaging for Face To Face) except that I don't understand how any of the people involved, Trevor included, could have thought that there was anything...uh...visceral about a stuffed wolf, which it most obviously is. The framing for the image itself, the eerie atmosphere of the background, is wholly appropriate, as is Geoff Halpin's lettering for the title, meant to approximate clawmarks. It probably would have cost more to commission an illustration of a snarling wolf but I think that would have been far more effective. Dealing with the original scheme - and this probably goes against everything they teach you in Graphic Design 101 - I would have made the opposite choice for the images on front and back: the cover somewhat cropped and rendered in dramatic monochrome gradients with the title still in red, and the photo of Trevor and his canine companion in color. I will say only inthis case, the cover image used for the Changes disc is an improvement. There continues to be something endearingly hilarious about the back cover photo (although it's also a deliberately comedic subversion of the purported menace of the front cover). Dog lover that he is, it's not difficult to imagine some version of Trevor looking for a lady with his best friend in tow, but on the other hand it appears he's lurking about in what we can reasonably assume are derelict structures? Now that's just...creepy.
"What do you mean it's not called Woof? That's a great title!"
I came across this one while engaged in one of my never-ending trawls of the Internet and it's an interview I don't think I've read before, although I imagine there are fans who have. It's originally from 1998 and so focuses on Trevor's scoring work, but with some nice insights as regards his process at the time, working relationships with various directors and, as always, The Bruck.
There's an interesting detail regarding the soundtrack for Days of Thunder - as I had noted in a previous entry, Trevor played guitar on the David Coverdale track "The Last Note of Freedom" but it seems from his comments he might have also played on the Terry Reid track, a cover of "Gimme Some Lovin'" (and a song we know he's quite familiar with). That's my guess as it's the only other song produced by Trevor Horn on the soundtrack.
I had originally blogged about this interview when it was published, it's from the December 2016 issue of Record Collector. There's some really interesting anecdotes in this one, including Trevor's admission that he did desire to work on a Broadway show (just not the one he was offered, at least according to what he told me), meeting Paul McCartney in London during the sessions for Big Generator, and revealing that "I Miss You Now" is specifically about Trevor longing to see his parents.
Note: the next entry in my Changes review series - disc three: Wolf - will be published next Friday. This entry is another component in my overall contribution to the promotional cycle for the boxset.
****
It's been over a decade all-told that I've had various encounters with Trevor and I'm pleased to relate to you now our latest meeting of the minds: an interview specifically for Rabin-esque.
I was given the opportunity to phone Trevor at The Jacaranda Room and this past Tuesday we had a 90-minute chat regarding Changes and other related subjects. Due to technical limitations on my end I wasn't able to record the conversation but I'm going to cover the highlights, as I believe we had an interesting and enlightening exchange (but admittedly I'm biased).
As always, Trevor is one of the nicest guys to interview, incredibly gracious and generous with his time (and patient with my various tangents) and wholly engaging as a conversationalist. I am entirely grateful he agreed to talk to me about the boxset's contents and topics regarding his career overall. He was once again very complementary regarding my encyclopedic recall and remarked that I should write a book. I told him I was very busy writing all the essays for this blog but I appreciated the vote of confidence!
****
The new normal.
We began the interview with a discussion of what is going on in the world right now, and I said I knew he had another layer of worry along with all the things everyone is worrying about because of the associated strife in South Africa. Trevor acknowledged his homeland is always on his mind and believes the next six months aren't going to be an easy time for anyone in the world.
A giant in his field.
I also brought up the passing of esteemed film composer Ennio Morricone, and we discussed Trevor's favorite Morricone score, for the 1986 film The Mission. I posited that I felt it was rather influential on later composers, such as the work of James Horner. He then related to me that he had an "encounter" with Horner regarding his score for the 2003 film Radio, elements of which strongly resembled themes from Remember the Titans. This was not the only time Trevor would see his work borrowed by others (more on that later), but he attributed this kind of thing to what he refers to as "temp-itis" meaning the director's reliance on the use of a temporary score during the editing process. Another example was Teddy Castellucci's score for the 2005 remake of The Longest Yard, which contained elements resembling the scores of Remember the Titans and National Treasure. The composer paid Trevor a visit and confessed that director Peter Segal really wanted more of that type of music in the film, and he cracked under the pressure, "borrowing" quite obviously (to the point of The Bruck considering litigation, according to Trevor). Not surprisingly did Segal then select Trevor to score his next film, 2008's Get Smart.
Trevor remarked he believed Morricone had been highly influenced by classical composer Edward Elgar, quipping: "If you're going to steal, it might as well be from the best."
Working man.
He related to me the work he performed for Renny Harlin, whom he said called him with a request to "fix" the score of his latest project. I asked Trevor which of the films currently listed on IMDb he had worked on, and he confirmed to me it was The Misfits, which is currently in post-production. When discussing the progress on his new solo album, he stated that he's still at about 60% completed but he believes he knows the essence and the overall shape of the work now, and has 3-4 pieces he's really happy with, so the direction is set and he can devote himself fully for the rest of the year. When I asked him about considerations of remote recording for guest players due to ongoing logistical limitations caused by the pandemic, he replied that such a process is "cumbersome" and one he does not willingly wish to engage in.
In regards to other projects, Trevor said he had been approached by producers for a Broadway show but was ultimately not interested. As far as appearing with the L.A. Philharmonic he stated that originally Brian Lane and Larry Magid were willing to organize and finance the event but whatever plans and negotiations were thus far accomplished have been stalled by the pandemic.
(tenuous)
I asked Trevor, now that ARW is concluded as a project, if "Fragile" would see any kind of official release and he said he had no desire to release it and didn't think it had any particular relevance in hindsight given that the band is over. He wasn't even certain it should have been recorded in the first place but thought it would at least serve as a starting point in their endeavors even as they ultimately couldn't manage to record an album due to logistical issues. He confirmed to me that it was realized strictly between the three of them: with Rick recording his piano parts in England, Jon recording his vocals at The Jacaranda Room, and Trevor providing all other instrumentation and vocals. Jon contributed lyrics to the bridge (because, as Trevor noted, Jon likes the "freedom" to add things into an existing structure), but Trevor had already written the melody (and had different lyrics originally), so the ARW version of the song would be credited to both Trevor and Jon. I asked about the origin of "Fragile" and Trevor replied he wrote it as a favor for the showrunner of Agent X; it was composed after the scoring was completed because Herron wanted a song but Trevor was not specifically compensated for writing it, thus he retained the copyright.
The arduous journey from reluctance to cooperation.
By his own admission, Trevor did not make it easy for Rob Ayling to put together Changes, it took much cajoling (as it did with the 90124 project); Ayling paid him a visit in Los Angeles and Trevor gave him access to all his ephemera just to get the man off his back, so to speak, and indicated what he has in storage is quite a jumble. Shelley assisted with the process of looking through everything. So all of the inclusions were suggested by Ayling, and we can appreciate that Trevor finally overcame his reluctance to be his own archivist after a fashion and acquiesced. The photos for The Making of Wolf booklet were among those items he had saved and were thus discovered by Ayling, and luckily must have been safely stored away for the past 40 years. Trevor noted that at first he couldn't understand the appeal of something like 90124, but agreed in part because he knew there was an ongoing evolving narrative regarding the origins of 90125 and his part in it, and so wanted to produce the originals to prove his point.
What could have been.
This led me to ask about something from the original press release for Changes and that was allegedly the inclusion of demos recorded with Roger Hodgson (which took place in 1990). Trevor stated he couldn't quite remember how many songs they worked up but it was probably "almost an album's worth" and "The More I Look" was also one of those songs (which later appeared on Roger's 2000 album Open The Door). I remarked that as a fan I was happy the demo version of "Walls" was included on 90124 because one of the things I love about the song is the beautiful close harmony Trevor and Roger perform on it, and the thought of an entire album like that would have been a wonderful thing to hear. He agreed, stating he believes the project to be one of the real missed opportunities of his career and considers Roger to be like a brother, noting how happy he was to see Roger again during touring in 2016 and 2018.
Soft focus.
I expressed my appreciation for the film music composed by Trevor Rabin promo disc being included in the boxset and for general sale, revealing to Trevor what I paid for an original copy in years prior. I asked if he had chosen the track listing and he said he did, stating that in some cases he was working from earlier versions of the themes and that's why some of them have different titles. He also noted a lot of editing was involved in putting the tracks together and I replied because of that my research into their origins took me quite a while! When I stated my theory regarding why it was created, to position Trevor away from being considered as the Action Guy in the industry, he agreed, noting that he seemingly moved from genre to genre - from Action Guy to Sports Guy, for example - in terms of the scoring projects which came his way, but was ultimately desiring to score all kinds of films. He expressed that he had a previous interest in scoring a fully-animated feature (and I reminded him that the first time we spoke in 2009 I made a plea for him to do just that) but said that now it would likely be too complex a project for him to undertake.
An early innovator.
We talked a bit about Trevor's penchant for being on the cutting edge of music technology - I noted that it was pretty amazing he predicted the rise of bedroom recordings a couple decades before they became the norm - discussing the recording of Talk and Trevor stated he would like to perform a remix of the album but because the multitracks exist on more than one type of media (both analog and digital), such a project would be very difficult if not impossible at this point. He acknowledged he would have done some things differently, especially in regards to the drum sounds. I brought up the seeming disclaimer included as a "PS" in the credits: "Caution" Extreme Digital Dynamic Range and he replied that Victory (perhaps Phil Carson himself) included that without his knowledge and if he'd seen the liner notes prior to release he would have insisted it be removed. Trevor recalled that when he first moved to Los Angeles in 1981, living in a house he rented from Manfred Mann's Earth Band vocalist Chris Thompson, he set up a studio in the garage to write and record demos and there were other musicians he knew who also had home studios at the time. But the recording industry at large had mounted a seeming war against such endeavors, threatening suits and other legal action against artists working from home...which all seems rather ironic in our present-day circumstances.
All the way live.
I wanted to discuss the inclusion of the '89 performance at Boston's Paradise Theater, expressing to Trevor that he has a different perspective on concerts than fans do. His fans - whether they attended one of the shows on the club tour or not - desire the total experience of a performance. We don't think of it as "a very long performance that takes a lot of listening" (as he stated in the PROG interview) but rather listen to it as if we were there. I noted that I have audience recordings of two other shows in addition to Boston and L.A. and even though it's the same setlist, I appreciate the subtle differences between each show. I enthused that he created a great setlist and had a great band. Trevor said that once he was convinced to include the bootleg of the radio broadcast he was happy with the decision, noting the broadcast recording is more "raw" and has a "completely different vibe" to the Los Angeles show. I asked him about whether it was possible to release the full recording of the L.A. show and he replied the multitracks no longer exist, but seemed to indicate that there might be soundboard recordings of some of the dates still in his archives.
Facing up to Face To Face.
Having just recently composed a ginormous essay about the making of said album, I proffered my theory about how having to record three albums at the same time, but two in particular, may have contributed to Face's overall lack, shall we say. Trevor allowed that it might have had something to do with it but it was primarily that he had never felt the kind of pressure in making an album which he experienced during the writing and recording of Face To Face. So suffice to say he didn't perform well overall, in his estimation. He agreed with me that Rene's Call Me is a great album, and we talked about "Paying My Dues" and reached a consensus that its' similarity to "Owner" was not purposeful but likely just a type of experimentation Trevor was desiring to pursue at the time as regards arrangements.
Van Rabin...?
I brought up to Trevor the oft-discussed similarity of the opening for "Hot For Teacher" to "Looking For A Lady - (Wolfman)" and this prompted a story about another "borrow" - the opening riff from "Eyes Of Love" which you can hear in the track "Baluchitherium" from the 1995 Van Halen album Balance. Trevor happened to hear the song during a televised football game and contacted Eddie Van Halen about it, recalling that back in 1989 he had gone out to see Steve Stevens performing at The Roxy with Eddie and Steve Lukather and Eddie had told him he enjoyed Can't Look Away, seemingly joking that Trevor shouldn't be surprised to hear something from it on the next Van Halen record. And so, two albums later...Trevor remarked to me that he was shocked I wasn't familiar with that story. "I can't believe I'm telling you something you don't already know!" he exclaimed.
Trevor stated that once he and Eddie talked about the "borrow" they worked out an agreement for Trevor to be compensated. Trevor stated that he didn't actually mind being borrowed from as long as there was some acknowledgment involved. Later, when relating the sequence of events to Paul Linford, his assistant remarked on the other seeming borrow and once Trevor listened to "Hot For Teacher" he realized that it was a far more obvious lift. So he has no doubt in his mind where the intro to "Hot For Teacher" originated.
Besides a long acquaintance with Eddie, Trevor had other encounters with the band, such as when he was invited to see Van Halen perform in London at the Hammersmith Odeon in 1978, and spent time backstage being "talked at" by notorious motormouth David Lee Roth. As long-time fans are aware, Trevor was considered as an opening act for the band, but for various reasons it never came to pass. He also told me he had been approached at least twice about producing an album for the band during the Hagar years, noting that Sammy is "a really nice guy."
More boxes?
I asked about the purported plans for another boxset of his film music and Trevor explained that while it's a good idea, it's also a very difficult project to accomplish from a logistical standpoint, especially when it comes to licensing. I told him about the essay I wrote for the blog in 2016, stating that a score anthology/compilation in celebration of his 20th anniversary as a film composer would be a wonderful idea. I laid out the whole concept, and Trevor thought it was interesting, but likely ultimately remains unconvinced...probably.
Encounter with The Purple One and other adventures.
I am one of those people possessed of an irrepressible curiosity regarding certain ventures, and having touched on the making of Big Generator, I then said: "And while you were there at Sunset Sound mixing the album, so was...Bob Dylan!" I confirmed to Trevor that whatever he recorded with Dylan at one of the sessions for Down in the Groove, it never made the album. He appreciated me telling him this because he had no idea himself. I explained to him that according to my research the making of that album was also quite fraught with contention, is not regarded too highly overall, and so it's not necessarily a bad thing that he didn't make the cut. But contrary to my speculation, he said Elliot Roberts had originally contacted him regarding Dylan's request, he never had any interaction with the album's producer Beau Hill. And also during those months of mixing one day he crossed paths with a member of Prince's entourage, who summoned Trevor for a (brief) encounter. Apparently His Royal Badness didn't think much of "Owner of a Lonely Heart" - shooting hoops out back while wearing his custom-made Andre No. 1 4-inch heel boots.
"It was very weird," Trevor said. "Yep, that's Prince alright," I replied.
I say that simply because the other one is everywhere. I have multiple copies of it myself (I even had Trevor sign one of them in 2012 and sent it to a friend of mine). So when I say it's not special enough for a boxset, I believe I know whereof I speak.
