Media Watch: This Is Rock issue 200

Available now for purchase, Spanish-language music magazine This Is Rock features a story on YesWest in its' February issue.

Yes: 1983-1988 

Yes at the crossroads decided to embrace the Eighties with the arrival of the unknown Trevor Rabin.  A new, more guitar-based sound redefined Yes, leading to success with Jon Anderson on vocals, and souring the party for his die-hard '70s fans.  Still, it's the record that found many new fans of its progressive-meets-pop style.

The Secret Discography: a helping hand

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

As I posted previously, Trevor gave another interview last year which I wasn't aware of at the time, but at least in terms of one particular detail it is one of the most interesting.

Discussing the history of Rabbitt with Sound of the Movies host Michael Hollands, Trevor related how Duncan Faure was brought into the band:

"After the army, I had produced a guy called Duncan Faure, just a single he had - it didn't actually catch and soon after then we thought it would be nice to have a keyboard player in the band and a second singer so we got him in the band and that's how it really began and how we went on."

Admittedly it surprised me because this anecdote seems counter to previous narratives, such as when T.H. Cutler noted in her history of the band that Trevor, Ronnie and Patric van Blerk attended a show of Duncan's (in either 1974 or early 1975 I would estimate) and they asked him to join the band.  Duncan had made his debut as a recording artist back in 1972 with the band Orange Cash Boat, dubbed - as Mary Fortney noted in her biographical essay on Duncan - "South Africa's Youngest Pop Sensation."  A few years later, Duncan would immortalize his early years in the song "I Was Eleven" which was recorded by Rabbitt as well as The Rollers.

Returning to Trevor's recollection...it is true that Trevor co-produced a single for Duncan - the release of which was also documented by T.H. Cutler - and the A-side was later re-recorded by Rabbitt for the "Morning Light" maxi-single.

"When You're Without Her"/"Ballad of a Human Being" released 1975.

It's possible that Patric was scouting for talent as per his usual and even though this particular single didn't succeed they appreciated Duncan's obvious abilities and appeal and figured he would be an asset to the band.  Duncan himself did assert in an interview from 2014 that when he joined the band it was before they had developed their local popular following.  However, the fact that Duncan's participation on Boys Will Be Boys! is limited to one song does suggest that he joined while they were finishing up work on the album at the very least, which was in 1975.

The DNA of a teen idol: Duncan in the '70s.

Speaking of Our Boys...eagle-eyed Cee noticed this about a particular upload of "Hold On To Love" - it contains what appears to be some additional footage of Rabbitt (after the 3-minute mark) performing the song on television with a string section, parts of which we've seen over the years (an excerpt from "Searching" for example).  Again, it's these rare glimpses which make me positively ache for some kind of in-depth career retrospective/compendium of the beloved Lekker Four.

Media Watch: (one more) interview from last year

Because I didn't see any publicity via social media for this one I missed it when reporting on interviews for the Changes promotional cycle, but Trevor appeared on the Sound of the Movies podcast last year, which focuses on film scorers and others involved in the industry.  It's a wide-ranging interview dealing with the whole of his career, so there's not much long-time fans don't already know.

imposter syndrome

I've previously blogged regarding people pretending to be Trevor on social media and it looks like there's another one now on Instagram - the account @tcryes.  I imagine this has already been discussed in some of the Facebook groups but as I'm not a member of any of those I only found out about it this week.

There's not much content - just a story linked and one post - but both of those things raise various red flags to me as well as any long-time die-hard fan who is familiar with Trevor's online presence and posting habits up to this point - a subject I have also covered/opined upon over the years.

In support of this impression I thought I would list my reasons as to why I am asserting this account is fake; and I certainly welcome any views/feedback/insight via email as to why someone might think I'm wrong or lacking particular information.  But I really do think it's fairly obvious.

The name: I honestly do not believe Trevor would name an Instagram account in that fashion, as I would imagine he'd be able to obtain a verified account as a public figure/celebrity in the same way he did for Facebook and Twitter.

Frequency of social media engagement: Most of us are fully aware that Trevor has not posted on Facebook (his primary venue for the aforementioned activity) in over two years now.  So why would he now create an Instagram account and start a podcast?  As someone who spoke with him over the past year, I can verify Trevor is focused on finishing his new solo album and even if he were to start another project or hobby, I honestly can't believe it would involve podcasting.  It's true that a lot of people are getting into podcasting - both as an acknowledgment of its' popularity as well as the way in which the online world has been impacted by the pandemic - but given Trevor's existing relationship to social media overall I would say he would be one of the least likely people to do this.

Bio: That bio is just...weird.  The whole thing.  I could break down every detail but I would hope it wouldn't be necessary for the people who read this blog.  But especially linking 90125 on Spotify because although Trevor has promoted his own work he's never been a shill for it.  If he was going to link anything in his bio it would likely be the Sharespace website he announced back in 2018.

Additionally, I will say that the choice of the user icon is the only likely thing which might be considered legit.

The story: as noted there is an story linked - we've seen details of Trevor and Shelley's house over the years via various sources and I really don't think that's it.  But I will say I believe that they do celebrate secular Christmas so it's not the presence of a Christmas tree which is the tell, so to speak.

The post: This is really the bait, of course, though to what end exactly I couldn't say. But I have not been able to find actual evidence of this alleged podcast anywhere, even beyond the outlets listed in the post.  There is a podcast with that name, but created by someone else.

I address these comments to "Trevor" in reaction to parts of the text:

-1- Behind the scenes producing our album "Close to the edge"

Uh...do you mean the 1972 Yes album Close To The Edge which you were not involved with at all?

-2- Episode 1 is joined with a good friend and film writer John Grey, John and I worked closely on one of my first film appearances in The Glimmer Man.

That guy you've got pictured there, that's director John Gray.  I mean, if it was someone you valued you'd want to get their name correct, right?  But also, the real Trevor wouldn't necessarily want to devote an entire podcast episode to that movie - and I know this because I've discussed it with him on two separate occasions and I know what he thinks of it.

In summation...it was fairly easy to debunk this for anyone, not just me, and I imagine there's other fans who've done just that in the two weeks since this account appeared.  I just feel bad for anyone who might have thought this was genuine.  As we know, if Trevor desires to give any update on social media he's going to post to his Facebook page (which will automatically crosspost to his Twitter account) and although I think many of us would love it if he decided to create his own podcast, I really don't see it happening.  And that's okay too, even if his current non-presence means that certain bad actors with parasocial fixations/lack of boundaries are attempting to fill the void.

One of our favorite days!

As we cautiously make our way through 2021 at least there is one bright spot thus far, and that is wishing Our Maestro a very Happy Birthday and being grateful for his 67 years on this planet.  I hope his creativity continues to flow, that he continues to be gratified in making music and will be happy enough with the end result to share it with all of us very soon.

Cheers! from me & Cee

Changes, disc ten: film music composed by Trevor Rabin promo

 

(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.)

* ~ * ~ *

Now that we've come to the end of this series, I'd like to once again thank my readers around the world for their interest, as it was both challenging and enjoyable to research and compose these essays, even as some of the work had already been accomplished in previous years.

And that applies to the last disc, as I had published an entry on this release in its' original form as part of my Collector's Corner series in 2015.

http://rabinesque.blogspot.com/2015/11/collectors-corner-just-big-softy.html

I would definitely name this disc as one of the collector's holy grails given its' previously rare status (and, reflecting that, high price) and so its' inclusion in the boxset is a nice gesture to fans.  Admittedly, I was gratified to be able to discuss my analysis of the promo's raison d'être with Trevor (who, for the record, didn't disagree with my comments) because it is a very interesting artifact of his scoring career in my estimation.

And as it stands, this may be the only curated compilation of Trevor's scoring work we will be able to own and enjoy.  I hope that is not the case, but one never knows.

                                        * ~ * ~ *

As I asserted in the original essay, this promo has a specific purpose to it but also is representative of the early years of Trevor's career as a film scorer in Hollywood, specifically 1997-2002; and so in a way it makes sense that beyond the inciting events I mentioned, this disc was envisioned to provide Trevor further coverage as regards the potential of his overall career.  After seven years (if we say Trevor took that path beginning in 1995) and 17 films (on which he was the principle composer or co-composer) there was still time not to be entirely typecast within the industry.

As has been noted in previous fandom discussion, the disc itself is rather short, but the purpose of a promo is to provide an introduction to a scorer's work, either from a general viewpoint or related to work on a particular film.  So this compilation gave those in the industry making the decisions a chance to hear a different aspect of Trevor's talent, just enough to potentially influence their decisions if the selections as a whole achieved the goal.

And we would have to presume from the way "Aftermath" is labeled that it was already happening to an extent - it's all about context.  So as with the previous entry regarding the Jack Frost promo, I want to discuss these themes/cues in the context of emotive, lyrical pieces of music - do they portray Trevor the composer in a more sensitive light?

I would also reiterate as Trevor was the one selecting the material, he did himself a disservice in not including "Frostbite" or anything from Whispers: An Elephant's Tale, although that might not have been possible for whatever reason.

                                        * ~ * ~ *

My annotations on each track are the result of a couple years of research, as by that point (circa 2013) I had collected many of the score promos/DVD rips of Trevor's music (as regards those scores not officially released) as well as official releases, although in the case of The Banger Sisters I had to watch the film a few times to determine the source of those inclusions in this promo.

"Remember The Titans"

Remember the Titans (2000)

The score for this film contains a fair amount of stirring music as well as more reflective selections, and this piece would fall into the latter category, but it's quite lyrical.  It does quote "Titans Spirit" just a bit as well.  If anything the selections from the film on this disc make a good case for the score to finally receive a physical/digital release by a boutique label.

"Grace" 

(an edit of "Harry and Grace Make Peace" with additional elements from the film's suite)

Armageddon (1998)

I consider "Harry and Grace Make Peace" to be one of those beautiful themes I've mentioned in other essays.  This edit is delicately emotional and majestic.

 
"Banger Sisters" 

(an edit of the main themes)

The Banger Sisters (2002)

The primary motif of the main theme is really compelling even as it's quite simple.  There's a really interesting use of percussion and guitar in this score, although the film has a lot of licensed music in it as well.  But including two pieces from this score is another "proof of concept" kind of decision overall.

"Prague" 

(a promotional mix which combines the theme "Prague Main Titles" with elements of "Welcome To Prague")

Bad Company (2002)

"Prague" is absolutely one of Trevor's best themes ever - so gorgeous!  This is an interesting edit, really evocative, and in its' own way as affecting as "BMBBO."  I didn't mention this in the YMP podcast episode, but Bad Company is also one of my favorites of Trevor's scores.

"A Beautiful Mind Trailer" 

(aka "Aftermath")

Deep Blue Sea (1999)

I like to think that "Aftermath" and "Titans Spirit" were the themes which really got Trevor noticed in the film world itself; when you write a theme which can be applied to more than one visual then you know you've done it right.  You may have only meant for your music to accompany a specific moment, but universality is indicative of a particular creative power.

"Remembrance" 

(aka "Trisha")

Con Air (1997)

The oldest of the material included here, and it really is an emotional moment in a film full of obnoxious over-the-top bluster (not music-wise though).  Trevor's playing is understated but evocative.

"Friendship" 

(an edit of two separate cues)

The Banger Sisters (2002)

I really love the particular tones Trevor used on this score.  Given its' subject it made sense that it was a tad more guitar-heavy.

"Sunrise" 

(aka "First Kiss")

American Outlaws (2001)

Trevor scored two Westerns (released the same year), and I would say this score is somewhat more lighter in tone overall (especially as it shifts idioms throughout) with some reflective moments.  It's actually a rather underrated score, in my estimation.

"Gettysburg" 

Remember the Titans (2000)

I like the grandeur this particular cue exhibits, it would foreshadow his work on such films as The Great Raid and The Guardian.

Onto the booklet now...which is of course totally different from the one included in the original promo, save Trevor's quote which originally appeared on the back cover.  I would take issue with a few points in the liner notes (which I assume were written by Rob Ayling), as I don't believe all the details are necessarily correct.  With all the images included it would lead one to believe that this is a more inclusive compilation when in fact it only represents one particular period.  I think it would have been a better idea to just include one-sheet images from those films actually represented in the selections.  The list of career credits is basically a cut-and-paste from Wikipedia (Fair Game should have been omitted as Trevor was not the principle composer on that film) and sure, at least one era-appropriate photo was included but again - with that ghastly red filter!  Also, including the one-sheet for A Beautiful Mind is somewhat disingenuous, because although "Aftermath" was used in the trailer, none of Trevor's music is actually in the film itself.  But these kinds of things are only revealed through research, and it's clear that was not a consideration in the overall assemblage of this box set.

                                        * ~ * ~ *

Beyond the point in time which film music composed by Trevor Rabin represents, Trevor would continue to have a very successful career by most people's standards - eventually being selected as one of Variety's Billion Dollar Composers and the recipient of ASCAP's Henry Mancini Award (previously the Golden Soundtrack Award), given to composers for outstanding achievements and contributions to the world of film and television music.  Other awards and accolades would also be bestowed.  A piece of his scoring music provided the soundtrack for a moment of cultural zeitgeist which is still talked about to this day.  2006 could be considered his most successful year overall, with five films in release bearing his compositional credit.  He worked in film and television as well as advertising and theme parks.  In terms of longevity, relevance and opportunity I do believe anyone could make an argument for Trevor's overall performance in Hollywood.  But taken in a larger historical context, this promo does hint at the possibility that success came at a particular price: populist but never quite serious, widely-known but never quite diverse, the guy writing music for bombastic popcorn flicks, even if it might have been the best popcorn ever.

And yet here we have evidence that Trevor was capable of passion and gravitas, it was always there even if perhaps it was never particularly desired on the part of those who employed him.  It could be said that such a conundrum seems indicative of the external expectations regarding Trevor as an artist and a musician throughout his career.  But this compilation does indeed contain music which is emotionally affecting and lyrical, as well as some of the best music of his scoring career overall. 

 

There's an entire generation, at least, of fans who know Trevor Rabin as a film scorer and only later discovered that he had a prior career in rock music.  Those fans deserve a more comprehensive score compilation, but also, if this particular part of Trevor's history is to be considered equally important as any other, then I would hope it is further illuminated in the future.