(With eternal thanks to Dearest Friend of the blog Cee for visual assistance with the physical media. And also many thanks to everyone who has helped spread the word about my coverage of Trevor. I truly appreciate everyone who has taken the time to read the blog and also provide engagement via links and other comments on social media.)
"I think it is important to remember that 'Owner' was Yes' only number one, and that 90125 was their most successful album and was well-received by the most skeptical and cynical of critics. However, it has always been frustrating to me to be perceived as the guy who just writes the hit songs. Since the album and the single were so successful they have almost been equated with commercialism, rather than people just liking the album and buying it."
- Trevor Rabin, 1995
I thought the above quote was an interesting way to introduce this essay because it's a somewhat early example of Trevor attempting to contextualize his legacy in the way he believes is credible. What he desires to be recognized for versus the ongoing perception of fans, journalists/critics and the like. And the release of 90124 is another expression of that same desire, as he was now separated from that concern for nearly a decade and coming to understand that all involved had different agendas regarding the who, what, where, when and why of it all. So taking control of one's own narrative is perhaps the only way you might convince the greater number of interested parties of your own truth. But does this collection meet that objective? Yes and no, I would say.
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A few years ago I had the idea of approaching a review of 90124 in the context of my "Trevor vs. Trevor" series, comparing the demos of classic YesWest songs with the fully realized versions but once again now we have this boxset and so here we are. I still think it's a good idea which hopefully I can expand upon sometime in the future. As well, earlier this year someone posted a playlist on YouTube which is his version of what the Cinema album would have been, and my opinion of that assemblage will also be the subject of an upcoming entry. For now I'm going to discuss what 90124 is...and what it should have been to be worthy of its' title.
What is significant about the timing of 90124 is it was released a year prior to the reissue of 90125 as part of Rhino's "Expanded & Remastered" series for the Yes back catalog from 1969-1983. And in the context of the original idea for the album it would have made for an interesting companion to the other. Instead what we have is more of a historical compilation of demos, which is not bad but rather more kitchen sink-ish. Thus I don't think the title fits at all given the actual contents. However, because 90124 was also supposedly the original title of that album (but had to be changed to the next number in the sequence in order to achieve worldwide uniformity) there is another layer of reference in using it beyond the notion of a historical pun (in addition to the fact that chronologically its' release coincides with 90125's 20th anniversary).
But as I've noted before in terms of how Trevor ultimately viewed the release, it was to prove a point. To quote the original entry for the album on his official website:
This album is a fascinating insight showing how Trevor developed his songs and demonstrates how much his presence influenced the sound of YES.Given that various bootlegs of some of those demos were in circulation for likely 20 years at that particular point, it somehow doesn't surprise me that Rob Ayling would come up with such an gambit: entirely derivative, to seemingly trump a source already in existence, but in this particular case I will say that the sound quality is better overall because the provenance is straight from the creator. Having said that, I don't really discern any particular difference between this new mastering and Paul's mastering for the original release in 2003, which may have something to do with the source material. Some tracks sound better than others, which in part has to do with how the demos were originally recorded (as is affirmed in the 2003 liner notes).
Plainly-stated, 90124 is only the official version of the idea, and yet because it's historically inclusive it does have an additional value in regard to what was already in rather wide circulation. So let's talk about what that is.
DJ/journalist Doug Curran claims that he also has a Cinema-era demo tape in his possession, given to him by the band backstage at a 9012Live show, but it appears none of its' contents has made it into circulation which is unfortunate (for us) because he also claims the tape contains a recording of the mythical (in YesWest lore) composition "Time."
Henry Potts originally composed an entry on the release for the Yescography website back in 2003-2004 and included an original tracklisting for 90124 which is much more in keeping with the concept of "Songs originally written for Trevor's next solo album which were then given to Cinema and worked up/recorded for 90125." I would say that the majority of these were likely written in 1981-82; but as we know Trevor has stated that "Owner" was originally composed in 1979.
1. One Track MindOf everything which has been in circulation I estimate there's about 20-25 songs which Trevor brought into the new relationship, as it were, some of which did not make the cut here for the original concept.
2. Hold On
3. It's Enough
4. Changes
5. Love Ain't Easy
6. Moving In
7. Who Were You With Last Night
8. Baby I'm Easy
9. Would You Feel My Love
10. Tonight's Our Night
11. Owner Of A Lonely Heart
12. I'm With You
13. Must Be Love
14. Don't Give In
That tracklist is the one Voiceprint originally said would be on the album, but it was changed fairly late on to the release we got.
The addition of "Don't Give In" versus "Make It Easy" makes sense because the latter had already been released as part of the YesYears boxset in 1991 and its' inclusion on the expanded version of 90125 meant that it was already in the corporate vault. But because "It's Over" - a song solely credited to Trevor - was also included on the reissue of 90125, it does make me wonder how many songs total were officially recorded for the album and if there's any chance we could learn of the entire slate, so to speak, even if we might never get further bonus material.
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"Hold On"
Demo: (1981)
Final: 90125 (1983)
In my drafts I have an entire essay devoted to "Hold On" and the pervasiveness of its' concept. Trevor has written this song at least four different times. I can certainly understand how Chris and Alan could have listened to the original demo and said, "Yeah, this is a good idea!" but at the same time understand that it needed to be evolved beyond what it was (hence why at least at first they were using the lyrics from "Moving In"). And what it became is a classic in the YesWest oeuvre.
Again dear readers, I unironically love this version of the song. There, I said it. It's the cheesiest thing Trevor has ever written (that we know of) but it's also incredibly compelling. The chord progression just does something to my central nervous system. And that simile for sex? Yeah, I don't even know what to tell you there, except maybe he thought it was funny? Was it just as simple as the fact that kite rhymes with light? It's hilarious but more in terms of laughing at than with, so to speak. But the next time someone says "Oh go fly a kite!" you know you will find yourself cracking up.
The "unplugged" intro of the vocal melody was obviously recorded at a different time (same as the one for "Owner") but it's a nice detail in terms of how the songwriting process often does start with something so simple which is then elaborated upon in the process of building the song to actually be performed by others.
"Changes"
Demo: (1981)
Final: 90125 (1983)
Trevor has noted previously that this is "kind of a melancholy song" and that is certainly true in its' original form. It's entirely moody in keeping with its' subject which belies what the song is actually about. Even as I appreciate all of the early '80s demos for providing a glimpse into Trevor's creative process and direction at that time, I feel "Changes" really did become the very best version of itself once subjected to the collaborative process.
"Moving In"
Demo: (1981)
Final: Unreleased
The reason why both "Hold On" and "Moving In" were included is best expressed by Trevor's comment in Yesstories: "So we kept the chorus from 'Hold On' and we used the verses from 'Moving In.'" This does illustrate how many versions a song can go through before it becomes the final product. I would say that when you compare the two, "Moving In" comes off better as a complete song, but on the other hand it's just not as delicious. Those of you who love the 90124 version of "Hold On" as much as I do know exactly what I mean.
"Would You Feel My Love"
Demo: (1981)
Final: Unreleased
I get why this song likely does have fans among Rabinites because it's romantic; even after all this time it's really difficult for me to articulate why I'm not that fond of it. I just don't particularly connect with it overall. But as Trevor says it was meant to make the cut at some point, here it is.
"Where Will You Be"
Demo: (1991)
Final: Talk (1994)
I can understand why Jon immediately wanted to sing over this track when he heard it, it's beautiful. And the demo served as the actual basis for the Talk version, as I noted in my essay on the album from 2016. It certainly makes a case for Trevor's talent for instrumentals and themes which was no doubt useful when attempting to get people in the film industry to take him seriously.
"Owner of a Lonely Heart"
Demo: (1981)
Final: 90125 (1983)
As Trevor noted in his interview for Notes from the Edge, this version is updated from the one he originally recorded. I consider it as sort of a bridge between the original and the final version in terms of how he envisioned the idea overall. Unlike many people I don't think it's awful; it has a rather playful quality and the way it shifts between melodic rock in the bridge and chorus and a kind of dance-pop feel in the verses is clever and fun.
"Walls"
Demo: (1990)
Final: Talk (1994)
This is my absolute favorite of the entire release and the only reason why I'm glad it did stray from the original concept. As I noted in my recent interview with Trevor, I absolutely love the blend which Trevor and Roger Hodgson attain in this song, it's like what they call "blood harmony" which is normally attributed to siblings because they have similar physiological bone structure and thus their voices can resonate at nearly the same frequency. That kind of close harmony which Trevor and Roger achieve gives me chills every time. Plus I think it's one of Trevor's best songs (and again it's not one which has a lot of support in the overall fanbase) in terms of the way the desire for emotional connection is expressed: the contrast between the pensive quality of the verses and the optimistic yearning of the chorus.
"Promenade"
Demo: (1987)
Final: Unreleased
I do love this, every time I listen to it I'm reminded of Trevor's promises for a release featuring these kind of "classical for electric guitar" renditions and then I get depressed because it's probably never going to happen. I think it would have made interesting entrance music for the Talk tour but that idea was scrapped, it seems. But again, there's also a demo which is older than the one on 90124 and it's essentially the same idea but not as elaborate or well-recorded which makes me think maybe he re-recorded it for this release?
"Love Will Find A Way"
Demo: (1985)
Final: Big Generator (1987)
There's credence to Trevor's story of being asked to compose a song for Stevie Nicks by way of a couple details:
-1- Yes and Stevie shared the same manager at the time (Tony Dimitriades).
-2- Outside songwriters had been commissioned for material during the making of Rock A Little; another example of a song which was not used (though by Stevie's choice) was "These Dreams," written by Martin Page and Bernie Taupin which was then recorded by Heart for their eponymous 1985 album. Yet another example was Stevie hearing the work tape of "Don't Come Around Here No More" in 1984 and telling Tom Petty and Dave Stewart that she wasn't touching the song because she couldn't do any better than Tom's vocal.
So that's three other hit singles Stevie missed out on, although she had two of her own from that album, so I think it all worked out. From my perspective, I'm not exactly certain that I'm hearing what Alan White heard in terms of potential for Yes, although I suppose it's possible that what he was hearing was something which could be popular but different as regards what YesWest was doing at the time. It's definitely a pop song and as with other demos on this release it is enjoyable hearing his (lone) lead vocal. But honestly, I'm more partial to the working version included in The Alternate Generator compendium, which I suppose indicates that I prefer when the song became Yes-ified.
"Miracle Of Life"
Demo: (1990)
Final: Union (1991)
This is just a great song, and I think most people - be they fans of YesWest or not - will acknowledge that. As with "Where Will You Be" the demo - a complete song in itself - is primarily the basis for the version included on Union. For me, it's entirely in the spirit of what many believe Yes should embody in terms of theme, ambition and execution.
"Don't Give In"
Demo: (1981)
Final: Unreleased
I'm not "aka"ing this song because I still stand by my assertion that "Don't Give In" and "Make It Easy" are two different songs no matter how they came to be. However, I will say that it was nice to see the correction of the title no matter the source, but if it was me? You're welcome.
I would posit this song has been mislabeled from the time that the demo for "Don't Give In" originally made it into circulation. Although the version on 90124 is closer to "Make It Easy" whereas in the original demo (which is instrumental) you can hear the connections to "Our Song." It does make me wonder if Trevor had two different songs as he did with "Hold On" and "Moving In" or if "Don't Give In" was the source and then the band took that and worked it up into "Make It Easy." The latter seems to make sense especially if you consider the similarities in each chorus, as well as the fact that "Don't Give In" only has one verse.
My main contention with the way Gonzo tried to present this in the context of the boxset is: how can this song be "Make It Easy" when that phrase appears nowhere in the lyrics?! All told, I think I prefer "Make It Easy" to the original idea, although strictly from an instrumental point of view it's certainly a piece of music which I can see appealing to Chris and Alan.
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So let's return to that original list and consider if it was a good idea...
1. One Track Mind - yes, only because I've yet to encounter it in fandom circulation and I want to hear it, even if it's not as deliciously cheesy as "Slow Dancer."
2. Hold On - DEFINITELY FOREVER
But the original demo is different than the one which made it onto 90124 in that he may have re-recorded it or augmented it at some point. I think I prefer the 90124 version in that it's just more of everything, gloriously over the top.
3. It's Enough - I like this one, it has an anthemic vibe and it's catchy. So I'd be happy with it on 90124.
4. Changes - yes, it's an interesting snapshot of Trevor's AOR abilities.
5. Love Ain't Easy - this is probably aka "Girl It Ain't Easy (Living Without You)"
This reminds me so much of Trevor's material circa 1979-80 and as such I hope they would have decided against it. It's not wholly bad, just totally unsuitable for Cinema. So I would pass on this one.
6. Moving In - maybe? Technically it should be included. I guess I'm just prejudiced in favor of the exquisite cheese of "Hold On."
7. Who Were You With Last Night - as with "Love Ain't Easy" this is another one which just wouldn't have been right for Cinema and so thematically not a choice for inclusion. However, I have a theory that "You Know Something I Don't Know" is somehow based on this song, but I'm probably the only one who thinks that.
8. Baby I'm Easy - this is another of my guilty pleasures, but I would have been wholly in favor of it being included on 90124. I have a theory that it was originally written for someone else, based on the lyrics - like I have this feeling it was better-suited for Rene or Stevie (Lange, not Nicks).
9. Would You Feel My Love - that's still a "no" from me, dawg (despite technically adhering to the concept). "Harmony" would have been a far better choice, in my opinion.
10. Tonight's Our Night - I will assert that this is essentially yet another version of "Hold On" - I actually consider it the bridge between "Stop Turn" and "Hold On." But it's not quite as good, and he's borrowing from himself again. So when you've already got the best you don't need the rest.
11. Owner of a Lonely Heart - its' inclusion only settles the argument of whether or not it was born a hit single and not made into one if you're willing to believe the original really does have the requisite DNA, which many fans do not. But because it's on 90125 it definitely belongs here.
12. I'm With You - even as Trevor noted it was developed by the band but not chosen for 90125 I still quite enjoy this song so I'm disappointed that he decided to leave the demo off 90124.
13. Must Be Love - see "One Track Mind."
14. Don't Give In - I think the original instrumental version would be the best to include in this collection because it does point to elements of 90125 and that era.
What should be on 90124 in terms of early songs already in circulation? "Fools" definitely. Not only because it's the basis of "Hearts" but it features a guitar tour de force in the second half of the song. And it's actually less cheesy than "Hold On" I would say, even if Trevor is borrowing from himself lyrically (there's bits of "I Sleep Alone" and "Everybody's Cheating"). Also "You Know Something I Don't Know" aka "Carry On" since we know Cinema did have that song in their repertoire as well as "I'm With You." And Trevor says "Would You Feel My Love" was meant for 90125 and Jon wanted to sing it, so I'm going to have to take him at his word.
So in my estimation a true 90124 release would look something more like this:
Owner of a Lonely Heart
Hold On
Changes
You Know Something I Don't Know
I'm With You
Would You Feel My Love
Don't Give In
Fools
I think this would have appealed to fans at least, though I'm not certain if it would have come off as an even more niche type of release. Perhaps overall a better concept would have been a two-disc set: one which could be 90124 and the other could be something like "Demos 1985-1992" covering material from the other three albums. I just think that the way 90124 is presented and the way it actually comes off in the listening leads to a sort of cognitive dissonance. But it's such a clever title I can understand why they didn't want to let go of it even as they decided not to adhere to the concept.
Granted, I'm not trying to say I don't enjoy 90124, because I do, mostly. Especially when it comes to the Union and Talk inclusions. I suppose it would be tantamount to sacrilege to state something like: "You know what these songs could use less of? Jon Anderson." but do I think that? Sometimes, yeah I do.
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| The exquisite vintage which is Trevor Rabin. |
Thankfully, the absolute travesty of the original 90124 booklet has been avoided in this version; it takes its' cue in the composition from the booklet for Trevor Rabin, offering excerpts of the article which journalist/Yes biographer Chris Welch originally composed, as well as "liner notes" created from Trevor's quotes in that article. However there's still an attribution missing because "Walls" should be credited to Trevor and Roger Hodgson. And the recording dates listed are also not complete. Of the images included - and I'm a fan of the one on page 7 especially - I don't understand why they didn't also use the one from 2003 which is included in the Archives booklet. Or a selection from that particular photo session which as far as I'm aware was to promote the 2003 releases. Like this one, which I'm also quite fond of.
And it's also nice to see there's a better crop of the J.L. Cooper Electronics ad on page 4 (even if chronologically it doesn't make any sense). But I think Trevor's comments regarding the songs themselves should have also been included in the text (albeit in a less confusing fashion than originally).
I appreciate how the original sleeve design of 90125 is reprised but I think the background color should have been something other than brown. Like purple, for example. But otherwise I don't have any complaints about the packaging concept except, again, none of those photos were used in the original booklet and at least one would have been nice. But also in terms of this release, as I remarked in a recent conversation on Yesfans (and I've changed my mind as regards my original opinion), the version of "Can't Find My Way Home" which Trevor recorded for The Banger Sisters - and was offered as an exclusive to those who originally purchased this album - should have been included as a bonus track.
So 90124 has been redeemed in its' execution in a few ways, but not in others. It is something which is wonderful to have even as it's not what it seems to be. Given the number of Trevor's unreleased songs which are out there to be found (via sources official and unofficial), you could actually create a double or triple album if you include 90124 and more is always a good thing, right? A theme song for us Rabinites should be a version of another song but this one would be titled "It's (Never) Enough."
