Spotted on Instagram: nice to see this previously unseen (at least to me) concert shot from the 9012Live tour, courtesy of the photographer, A.D. Ligammari II. And from Trevor's choice of guitar we know that they photographed the bromantic shenanigans during "City of Love."
Showing posts with label epic bromance. Show all posts
Showing posts with label epic bromance. Show all posts
Saturday, September 4, 2021
Thursday, August 19, 2021
imagine (if you will)
Spotted on YouTube: with eternal thanks to the tireless efforts of fandom archivist Yes Source, who this week posted a super-cut video of all available clips from the Imagine a Cure tribute concert which took place on April 18, 2009. As long-time fans are aware, this was one of only five times in which a partial reunion of the YesWest lineup has taken place in the last twenty years. The show was the brainchild of Yes drummer Alan White and featured an all-star plethora of rock n'rollers paying tribute to the music and memory of John Lennon with proceeds benefitting Susan G. Komen for the Cure. As the compilation doesn't feature any full performances you'll only see snippets of Trevor here and there, but luckily there are a few precious seconds of him singing "Gimme Some Truth" and sharing quips with Chris Squire.
At the time, a sighting of Trevor actually publicly performing was delicious manna in our fandom desert!
Monday, September 14, 2020
A Guide to Field Recordings: 9012Live
The timing of this entry is primarily prompted by a fandom works crossover so crazy it might actually work! Recently I joined fellow Yesfan and dear friend Jennifer Albright, co-creator/co-host of the Have You SEEN This? podcast, for a discussion of 9012Live - that cinematic classic and YesWest cultural document of everything which is both glorious and hilarious but also endearingly kitschy about the 1980s. My eternal love and thanks to Jen for entertaining my idea, being so gracious to allow me to come on her show, and for all the hours we've spent geeking out over prog rock through the years.
Official links for Have You SEEN This?
http://www.haveyouseen.us/
https://soundcloud.com/have-you-seen-this
The full version of the episode is about two-and-a-half hours and was kindly provided to me by Jen as an exclusive to Rabin-esque. You can listen/download via this link:
https://drive.google.com/file/d/1L3IIXocRSyN6agiSDJfok-67jD9DBPcV
This is a bonus episode of the show, so if you'd rather listen to the edited version you can join their Patreon to access it for a pledge of $2.00/month, which will also grant you access to all the other bonus content available. I highly recommend it if you'd like to support a really great podcast!
Have You SEEN This? Bonus episode 81: 9012Live
https://patreon.com/posts/41578832
I admit that I might have flubbed on a few things in my comments, so I will fully cop to any mistakes and offer apologies. I did have notes, but some of the discussion was off-the-cuff. And that discussion is equal parts serious and humorous and takes aim at some sacred tenets of Yes fandom, so I caution against potential offense to listeners, thus I offer a...
Content warning: contains profanity, snark, general affectionate irreverence and lampoonery courtesy of two fangirls who are also legitimately discerning adults.
Caveat audiens.
But as I already had a write-up of the film and the album in the works, I decided I would combine the two, so here now is my commentary on these releases, provided as an accompaniment to my remarks in the podcast and in observance of 9012Live's (in both forms) 35th anniversary this year.
Beyond fandom circles, Yes' concert film 9012Live is known for being director Steven Soderbergh’s professional debut; the movie is 67 minutes long and concentrates on songs from 90125, with only two songs included from the Classic Yes era. 9012Live received a Grammy nomination for Best Long-Form Music Video in 1987 but lost out to Sting’s documentary Bring On The Night. It was one of the earliest releases from Atlantic Records’ Home Video division, which was launched in mid-1985. In VHS form, 9012Live had an original retail list price of $29.88.
Content warning: contains profanity, snark, general affectionate irreverence and lampoonery courtesy of two fangirls who are also legitimately discerning adults.
Caveat audiens.
But as I already had a write-up of the film and the album in the works, I decided I would combine the two, so here now is my commentary on these releases, provided as an accompaniment to my remarks in the podcast and in observance of 9012Live's (in both forms) 35th anniversary this year.
*~*~*
The film was aired on HBO but was also screened in rock clubs as a worldwide promotional “video tour” beginning in February 1986, which was reportedly covered by MTV at the time.
9012Live and 9012Live: The Solos were released simultaneously in November 1985, the album was created as a companion to the film. The DVD release of the film came in 2006, featuring bonus content and a Director’s Cut without the Charlex effects, then an expanded version of the album was released in 2011 featuring two extra songs. But we still don’t have an officially-released pro-shot/recorded version of an entire 9012Live show...and we probably never will.
Although Charlex's involvement in the world of music videos would be relatively short-lived (though the company is still in operation to this day), their participation in the production of 9012Live was considered rather groundbreaking at the time. In May of 1985, Billboard covered Charlex’s work on the film for the Video Music section of the publication - Charlex was brought on board the project to “modernize” and “enhance” the film, to bring it more in line with the way music videos were being created at the time. This was the first time the special effects production company had been asked to work on a longer-form project, on the heels of their award-winning contributions to The Cars’ video for “You Might Think.” Lookout Management liked what they had done with The Cars' Heartbeat City videos collection from 1984 and asked them to do something similar for 9012Live. But while Charlex created only transitional pieces for The Cars' video album, they did much more for 9012Live, even beyond what was originally negotiated for their contract. They envisioned each song as a type of music video on its own while also including transitional pieces between songs as well as a framing device to begin and end the film (as long-time fans are aware, the ending is where the title for the next album came from), and used the palette of the album design and stage production as their guide for those elements which appear in color. Since all of the Charlex footage came from the 1950s (educational and industrial training films, for example), I find it amusing that it’s considered a modernization, but I know that’s strictly meant in terms of the use of post-production SFX. There’s all kinds of effects used for the “living electronic collage” they created as the framing device.
By the time Charlex received the film it had been edited down to nine songs. They were asked to leave “Owner of a Lonely Heart” alone - hence the sort of gimmicky (but not in a bad way, in my estimation) editing you see in that song instead, although I love that “smash cut on speed” utilized at the beginning, sequenced to that one famous sample. I wonder if maybe they considered releasing another single and video for “Owner” around that time consisting of that part of the film (hence why it has more obvious edits), but their choice was “Hold On.”
While I certainly prefer watching the film without the Charlex effects, I can appreciate the effort which went into them, both thematically and technically. As a piece of conceptual video I think it works some times ("Changes" and "City of Love") and not others ("Hold On" - which really just needs to be viewed in all its' actual bromantic glory). Historically I can understand why the braintrust thought it was a good idea to contemporize the band's efforts overall. Love it or hate it, YesWest has a distinct visual identity in the continuum and that's a big reason why I love it.
Filmed in Edmonton, Canada in September 1984 near the end of the North American 9012Live tour, the film is a mix of live footage and pick-up shots which were filmed during the day of the second show - it was a two-night stand, and they filmed both nights. I think it’s edited quite well but you can tell the difference, especially when it comes to “Starship Trooper” where everyone looks rather more sweaty in certain shots but not in others. Apparently the film was also meant to include the encore “Roundabout” but it was cut, perhaps because there’s a continuity error - Trevor isn’t wearing the same pants in all shots. In some it’s the black satin pants with the yellow striping, in others black leather pants. I think the leather pants may have been from when they were filming the pick-up shots. That portion is included as bonus content on the DVD release.
Watching the Director’s Cut versus the original version gives you an appreciation for the way Soderbergh decided to film the show, there’s an immediacy achieved without having to necessarily resort to the kind of editing and post-production which was typically utilized at the time by directors like Russell Mulcahy, Wayne Isham and Marty Callner. It seems a far more “natural” experience of a concert, if you could see a show up-close in that way. Compared to the way Yessongs was produced in 1972, for example. Yessongs is very dark and it’s primarily close-ups shot from the photographer’s pit mixed with long shots from the balcony and then also shots from the side of the stage. In 9012Live there are intentional editing cuts to the music at some points, and the use of varying types of composition to emphasize that this is a band onstage. The staging itself dictates a sort of artificiality of perspective and use of the space. Originally Yes was going to have Berlin as their opening act for the 9012Live tour but the raked stage set meant there was no room for another band to set up, thus fans got to watch cartoons while waiting for showtime and this set a precedent over the course of their particular career trajectory. But overall the editing is wholly engaging and dynamic and adds great value in terms of repeat viewing. Soderbergh stated in an interview from 2012 that at the time he was working on the film he believed he was turning into a formalist - he liked to polish things - but I don't view it as a drawback in this case.
The best thing about 9012Live, in my estimation, is that it is shot on film rather than video. It makes everybody look so gorgeous. And despite being an artifact of its' time that particular medium provides it with a certain timeless aura when viewed in the present day. It's amusing to me that many fans deride the '80sness of the film, especially in terms of hair and wardrobe but the truth is Yes has always been a band of its' time in that respect. They've always worn rather fancy stage outfits and sported haircuts which were trendy (Chris especially). So it's rather less hypocritical to opine that their '80s look was not to one's taste but the '70s were fine because reasons. It's certainly laughable now on some level, but really I think it's wonderful to have a document of a time when they were young and popular and excessively glorious. Because that's never happening again. I find it's something more than mere nostalgia to experience. To watch 9012Live provides something beyond memories of my own youth, it's joy in a particular triumph and that translates to their performances. If I'm depressed, 9012Live never fails to give me happiness. So in these trying times it's become entirely necessary in maintaining my overall mental health.
That's right: 9012Live is my self-care. There, I said it.
But it's not as if the performative aspect is underplayed in this film, there's editing choices which emphasize the personalities and staging very distinctly - such as "Leave It" which as we know now was pretty much entirely lip-synched (save for Trevor and Jon's lead verses and end refrains) and set to the single version of the song, augmented with a few instrumental flourishes. Certain parts of the performance are choreographed, and probably even more so for the sake of the film. As well, certain aspects of the production had changed by the second North American tour, as the laser effects were omitted but they continued to utilize the fairly large Vari-Lite rig. But it makes for an entertaining experience, even if it's one which makes you laugh (and possibly even sympathetically cringe). Again, Chris Squire was known for more than a few things, and his outsize personality and flamboyance onstage were legendary. The uniqueness of the situation is part and parcel of the film itself, meant to celebrate YesWest as much as market them to any portion of the public not already in their thrall. The Arena Rock performative aspect is entirely necessary in terms of entertainment value. It's also interesting to have a document which primarily focuses on their contemporary identity, as when the band performed they had to continue to acknowledge the past, culminating with the Eighty Dates tour in support of the Union release and a setlist which was more Classic Yes in its' makeup than what they were ostensibly supposed to be promoting. Fans were then somewhat shocked to witness the band playing nearly the entirety of Talk in 1994, as they had grown so used to the preponderance of Classic Yes songs in a typical YesWest setlist.
But this is what touring used to be about in the Long Long Ago - playing the new songs. And by taking on the mantle of Yes - and thus the collective history of the continuum - even an updated version of the band could never wholly focus on cultivating their own identity.
And so even the live album - if you can call it that - was again focusing on contemporary Yes, with the "solo" setpieces within the '84 setlist as well as two songs from 90125. It really comes off as more of a novelty than anything, although I think it's enjoyable as a live document even as it also subverts the established expectations of fans.
The additional songs included on the 2011 reissue had both been previously released:
"It Can Happen" - as the b-side of "It Can Happen" (Atlanta 4/16/84)
"City of Love" - as the b-side of "Rhythm of Love" (from 9012Live - Edmonton '84)
...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo setpiece of sorts and makes for a nice overture (as both YesWest and ARW amply demonstrated in their shows). But I certainly recommend getting the reissue for anyone who's a completist or perhaps has never owned a copy of this release previously. It's unfortunate that only the original release has been licensed for streaming. Of those full songs included, I do think the two which are most indicative of the YesWest live experience are "Hold On" and "City of Love" which sound so amazingly alive and masterful in their renditions. And I will say as someone who has never been that big of a fan of "It Can Happen" - the Atlanta version, while heavily augmented by sampling and backing tapes, is also really engaging. Repeated listening has caused me to realize that the figure Trevor plays behind the verses sounds a lot like the riffing in "Run Like Hell."
One consideration is if YesWest had released a traditional live album then the solo spots would have likely been omitted in favor of songs and so I suppose given a choice of one or the other it's understandable that someone (like the band) would have wanted documentation of this aspect of the live experience. It could even be that because we don't see this aspect in the film it also prompted the decision to make the solos the focus of the album.
Given what has been included overall via officially-released sources, here is how 9012Live: The Solos should be sequenced (in my opinion).
Hold On
Si/Solly's Beard
Changes
Soon
It Can Happen
Amazing Grace/Whitefish
City of Love
More than a few fans have also posited that they believe the version of "Solly's Beard" included on the remastered version of Trevor's Live in L.A. album was sourced from 9012Live: The Solos and I will say I also believe that's likely correct. I've done some comparative listening and it's definitely from 1984 as well as nearly identical in length. It certainly would have been the easiest source to obtain. It makes sense from a logistical standpoint but not a contextual one, which I elaborated upon in my "Trevor vs. Trevor" essay from 2016. But it is one of the best versions and also best-recorded, so I get it, even as it makes the research geek in me twitch because it's not a historically-accurate inclusion. Speaking of sources, the solo spots themselves are from their June 24th show in Dortmund (which was also filmed and televised in part) and the full songs from the 9012Live recording.
But also speaking of expansions...let's talk about the DVD extras because 9012Live is an example of a reissue which is entirely desirable with new (to us) and exciting bonus material (unlike pretty much everything else having to do with YesWest archival releases at least in the past decade or so). This is the visual release (besides YesYears) which is absolutely required for YesWest fans to own.
Access All Areas
This is a behind-the-scenes look at the '84 tour, but it's also almost an inversion of the expected format. I would call it perhaps an "observational documentary," a short film with a particular editorial perspective, one which is rather more frank about the backstage experience (but not in an overtly salacious kind of way). It's largely humorous but at times that's because all Steven has to do is point the camera and whomever is in the lens is "on." But I completely understand why it wasn't released in 1985, it's simply too honest about the business of touring and the business of YesWest - if in fact it was meant to be released at all; it's possible Soderbergh shot it for the organization's amusement, or his own for that matter. The ridiculous and the cunning are presented with equal focus and directness. I suppose you could say that it does dilute the glitz of what we imagine rock stars experience in that we witness the job of required social interaction with journalists, contest winners, radio station employees, and Atlantic Records reps in an endless parade of introductions and small talk. I am also amused that in those sequences the two people you don't see are Chris and Trevor. In fact you don't see a lot of Chris in general, which I assume is purposeful. Although you do get two distinct examples of his drier than a gin martini humor - Chris Squire was the master of a well-timed quip.
The most obvious example of commentary I can think of is the "Meanwhile..." intercut, illustrating that the performative aspect of rock n'roll touring only works as well as it does because it's actually powered not by its' stars, but by the people who take care of everything else behind it. The fact that the conversation in question is about a decision which one of those stars made (and it is something The Goon did not agree with) only underscores the distinction in terms of the power dynamics at work in this particular milieu.
And speaking of the little people: as much as the role of Casey Young has been downplayed over the years by various people (and then those claims subsequently debunked by Casey via social media) just think about how many times you see him backstage. He wasn't just a tech, he traveled with the band. He is actually identified in the end sequence. So let that perspective speak for itself, as it were. Casey had a job to do, but don't believe anyone who tries to convince us he didn't work all that hard.
And that reminds me! A recent edition of Yes Music Podcast features an interview with Casey - check it out (if you haven't already).
https://yesmusicpodcast.com/whos-that-under-the-stage-its-casey-young-and-hes-happy-to-talk-about-it-444/
Speaking of unsung heroes - the legendary road manager Richard Fernandez (the guy in the white hat) is shown several times along with his assistant Mickey Heyes, and these are the guys who really do all the work, along with the road crew, which Steven doesn't seem to be particularly interested in because we've never treated to a sequence showing load-in or out. It was kind of a cliche at that point, I suppose. But this leads me to ask...who is The Goon, exactly? He's a man who can make things happen, that's for sure. You always need a good fixer on the road, where anything can happen (and frequently does).
Naturally the greatest virtue of this short film is Trevor Rabin: sometimes bitchy, mostly goofy, wholly adorable. Who wouldn't want to just follow him around and chronicle his hijinks?
I think perhaps the most compelling aspect of Trevor's appearance is his air of Oh isn't this entirely ridiculous? coupled with the charm and charisma he has obviously possessed since birth, infusing his entire personality. The camera loves him, and so do we.
The Interviews
This is b-roll footage and it's uncertain what it's meant for but filmed concurrently in Edmonton. These segments were edited by his long-time collaborator Larry Blake (who was the sound recordist on Access All Areas). I think the whole is far more interesting for what isn't said as much as what is. But I also think they all tend to come off equally guarded and unguarded. There's as much equivocation as candor in their replies. And hairspray - lots and lots of hairspray.
9012Live and 9012Live: The Solos were released simultaneously in November 1985, the album was created as a companion to the film. The DVD release of the film came in 2006, featuring bonus content and a Director’s Cut without the Charlex effects, then an expanded version of the album was released in 2011 featuring two extra songs. But we still don’t have an officially-released pro-shot/recorded version of an entire 9012Live show...and we probably never will.
Although Charlex's involvement in the world of music videos would be relatively short-lived (though the company is still in operation to this day), their participation in the production of 9012Live was considered rather groundbreaking at the time. In May of 1985, Billboard covered Charlex’s work on the film for the Video Music section of the publication - Charlex was brought on board the project to “modernize” and “enhance” the film, to bring it more in line with the way music videos were being created at the time. This was the first time the special effects production company had been asked to work on a longer-form project, on the heels of their award-winning contributions to The Cars’ video for “You Might Think.” Lookout Management liked what they had done with The Cars' Heartbeat City videos collection from 1984 and asked them to do something similar for 9012Live. But while Charlex created only transitional pieces for The Cars' video album, they did much more for 9012Live, even beyond what was originally negotiated for their contract. They envisioned each song as a type of music video on its own while also including transitional pieces between songs as well as a framing device to begin and end the film (as long-time fans are aware, the ending is where the title for the next album came from), and used the palette of the album design and stage production as their guide for those elements which appear in color. Since all of the Charlex footage came from the 1950s (educational and industrial training films, for example), I find it amusing that it’s considered a modernization, but I know that’s strictly meant in terms of the use of post-production SFX. There’s all kinds of effects used for the “living electronic collage” they created as the framing device.
The source of the intro/outro:
"Young Man's Fancy" created for the Edison Electric Institute in 1952.
"Young Man's Fancy" created for the Edison Electric Institute in 1952.
By the time Charlex received the film it had been edited down to nine songs. They were asked to leave “Owner of a Lonely Heart” alone - hence the sort of gimmicky (but not in a bad way, in my estimation) editing you see in that song instead, although I love that “smash cut on speed” utilized at the beginning, sequenced to that one famous sample. I wonder if maybe they considered releasing another single and video for “Owner” around that time consisting of that part of the film (hence why it has more obvious edits), but their choice was “Hold On.”
While I certainly prefer watching the film without the Charlex effects, I can appreciate the effort which went into them, both thematically and technically. As a piece of conceptual video I think it works some times ("Changes" and "City of Love") and not others ("Hold On" - which really just needs to be viewed in all its' actual bromantic glory). Historically I can understand why the braintrust thought it was a good idea to contemporize the band's efforts overall. Love it or hate it, YesWest has a distinct visual identity in the continuum and that's a big reason why I love it.
Oh, and this. I love it for this too.
Filmed in Edmonton, Canada in September 1984 near the end of the North American 9012Live tour, the film is a mix of live footage and pick-up shots which were filmed during the day of the second show - it was a two-night stand, and they filmed both nights. I think it’s edited quite well but you can tell the difference, especially when it comes to “Starship Trooper” where everyone looks rather more sweaty in certain shots but not in others. Apparently the film was also meant to include the encore “Roundabout” but it was cut, perhaps because there’s a continuity error - Trevor isn’t wearing the same pants in all shots. In some it’s the black satin pants with the yellow striping, in others black leather pants. I think the leather pants may have been from when they were filming the pick-up shots. That portion is included as bonus content on the DVD release.
Watching the Director’s Cut versus the original version gives you an appreciation for the way Soderbergh decided to film the show, there’s an immediacy achieved without having to necessarily resort to the kind of editing and post-production which was typically utilized at the time by directors like Russell Mulcahy, Wayne Isham and Marty Callner. It seems a far more “natural” experience of a concert, if you could see a show up-close in that way. Compared to the way Yessongs was produced in 1972, for example. Yessongs is very dark and it’s primarily close-ups shot from the photographer’s pit mixed with long shots from the balcony and then also shots from the side of the stage. In 9012Live there are intentional editing cuts to the music at some points, and the use of varying types of composition to emphasize that this is a band onstage. The staging itself dictates a sort of artificiality of perspective and use of the space. Originally Yes was going to have Berlin as their opening act for the 9012Live tour but the raked stage set meant there was no room for another band to set up, thus fans got to watch cartoons while waiting for showtime and this set a precedent over the course of their particular career trajectory. But overall the editing is wholly engaging and dynamic and adds great value in terms of repeat viewing. Soderbergh stated in an interview from 2012 that at the time he was working on the film he believed he was turning into a formalist - he liked to polish things - but I don't view it as a drawback in this case.
The best thing about 9012Live, in my estimation, is that it is shot on film rather than video. It makes everybody look so gorgeous. And despite being an artifact of its' time that particular medium provides it with a certain timeless aura when viewed in the present day. It's amusing to me that many fans deride the '80sness of the film, especially in terms of hair and wardrobe but the truth is Yes has always been a band of its' time in that respect. They've always worn rather fancy stage outfits and sported haircuts which were trendy (Chris especially). So it's rather less hypocritical to opine that their '80s look was not to one's taste but the '70s were fine because reasons. It's certainly laughable now on some level, but really I think it's wonderful to have a document of a time when they were young and popular and excessively glorious. Because that's never happening again. I find it's something more than mere nostalgia to experience. To watch 9012Live provides something beyond memories of my own youth, it's joy in a particular triumph and that translates to their performances. If I'm depressed, 9012Live never fails to give me happiness. So in these trying times it's become entirely necessary in maintaining my overall mental health.
That's right: 9012Live is my self-care. There, I said it.
But it's not as if the performative aspect is underplayed in this film, there's editing choices which emphasize the personalities and staging very distinctly - such as "Leave It" which as we know now was pretty much entirely lip-synched (save for Trevor and Jon's lead verses and end refrains) and set to the single version of the song, augmented with a few instrumental flourishes. Certain parts of the performance are choreographed, and probably even more so for the sake of the film. As well, certain aspects of the production had changed by the second North American tour, as the laser effects were omitted but they continued to utilize the fairly large Vari-Lite rig. But it makes for an entertaining experience, even if it's one which makes you laugh (and possibly even sympathetically cringe). Again, Chris Squire was known for more than a few things, and his outsize personality and flamboyance onstage were legendary. The uniqueness of the situation is part and parcel of the film itself, meant to celebrate YesWest as much as market them to any portion of the public not already in their thrall. The Arena Rock performative aspect is entirely necessary in terms of entertainment value. It's also interesting to have a document which primarily focuses on their contemporary identity, as when the band performed they had to continue to acknowledge the past, culminating with the Eighty Dates tour in support of the Union release and a setlist which was more Classic Yes in its' makeup than what they were ostensibly supposed to be promoting. Fans were then somewhat shocked to witness the band playing nearly the entirety of Talk in 1994, as they had grown so used to the preponderance of Classic Yes songs in a typical YesWest setlist.
But this is what touring used to be about in the Long Long Ago - playing the new songs. And by taking on the mantle of Yes - and thus the collective history of the continuum - even an updated version of the band could never wholly focus on cultivating their own identity.
And so even the live album - if you can call it that - was again focusing on contemporary Yes, with the "solo" setpieces within the '84 setlist as well as two songs from 90125. It really comes off as more of a novelty than anything, although I think it's enjoyable as a live document even as it also subverts the established expectations of fans.
The additional songs included on the 2011 reissue had both been previously released:
"It Can Happen" - as the b-side of "It Can Happen" (Atlanta 4/16/84)
"City of Love" - as the b-side of "Rhythm of Love" (from 9012Live - Edmonton '84)
...and they're nice to have, certainly, but I think it would have been possible and also desirable to include something from that tour which technically had never been released before, such as a recording of "Hearts." We know there is audio of complete shows in the archives, even though it's very likely it will simply remain there. I also think it's entirely reasonable to state that "Cinema" should have been included as the first track as it represents a collective solo setpiece of sorts and makes for a nice overture (as both YesWest and ARW amply demonstrated in their shows). But I certainly recommend getting the reissue for anyone who's a completist or perhaps has never owned a copy of this release previously. It's unfortunate that only the original release has been licensed for streaming. Of those full songs included, I do think the two which are most indicative of the YesWest live experience are "Hold On" and "City of Love" which sound so amazingly alive and masterful in their renditions. And I will say as someone who has never been that big of a fan of "It Can Happen" - the Atlanta version, while heavily augmented by sampling and backing tapes, is also really engaging. Repeated listening has caused me to realize that the figure Trevor plays behind the verses sounds a lot like the riffing in "Run Like Hell."
One consideration is if YesWest had released a traditional live album then the solo spots would have likely been omitted in favor of songs and so I suppose given a choice of one or the other it's understandable that someone (like the band) would have wanted documentation of this aspect of the live experience. It could even be that because we don't see this aspect in the film it also prompted the decision to make the solos the focus of the album.
Given what has been included overall via officially-released sources, here is how 9012Live: The Solos should be sequenced (in my opinion).
Hold On
Si/Solly's Beard
Changes
Soon
It Can Happen
Amazing Grace/Whitefish
City of Love
More than a few fans have also posited that they believe the version of "Solly's Beard" included on the remastered version of Trevor's Live in L.A. album was sourced from 9012Live: The Solos and I will say I also believe that's likely correct. I've done some comparative listening and it's definitely from 1984 as well as nearly identical in length. It certainly would have been the easiest source to obtain. It makes sense from a logistical standpoint but not a contextual one, which I elaborated upon in my "Trevor vs. Trevor" essay from 2016. But it is one of the best versions and also best-recorded, so I get it, even as it makes the research geek in me twitch because it's not a historically-accurate inclusion. Speaking of sources, the solo spots themselves are from their June 24th show in Dortmund (which was also filmed and televised in part) and the full songs from the 9012Live recording.
But also speaking of expansions...let's talk about the DVD extras because 9012Live is an example of a reissue which is entirely desirable with new (to us) and exciting bonus material (unlike pretty much everything else having to do with YesWest archival releases at least in the past decade or so). This is the visual release (besides YesYears) which is absolutely required for YesWest fans to own.
Access All Areas
This is a behind-the-scenes look at the '84 tour, but it's also almost an inversion of the expected format. I would call it perhaps an "observational documentary," a short film with a particular editorial perspective, one which is rather more frank about the backstage experience (but not in an overtly salacious kind of way). It's largely humorous but at times that's because all Steven has to do is point the camera and whomever is in the lens is "on." But I completely understand why it wasn't released in 1985, it's simply too honest about the business of touring and the business of YesWest - if in fact it was meant to be released at all; it's possible Soderbergh shot it for the organization's amusement, or his own for that matter. The ridiculous and the cunning are presented with equal focus and directness. I suppose you could say that it does dilute the glitz of what we imagine rock stars experience in that we witness the job of required social interaction with journalists, contest winners, radio station employees, and Atlantic Records reps in an endless parade of introductions and small talk. I am also amused that in those sequences the two people you don't see are Chris and Trevor. In fact you don't see a lot of Chris in general, which I assume is purposeful. Although you do get two distinct examples of his drier than a gin martini humor - Chris Squire was the master of a well-timed quip.
The most obvious example of commentary I can think of is the "Meanwhile..." intercut, illustrating that the performative aspect of rock n'roll touring only works as well as it does because it's actually powered not by its' stars, but by the people who take care of everything else behind it. The fact that the conversation in question is about a decision which one of those stars made (and it is something The Goon did not agree with) only underscores the distinction in terms of the power dynamics at work in this particular milieu.
And speaking of the little people: as much as the role of Casey Young has been downplayed over the years by various people (and then those claims subsequently debunked by Casey via social media) just think about how many times you see him backstage. He wasn't just a tech, he traveled with the band. He is actually identified in the end sequence. So let that perspective speak for itself, as it were. Casey had a job to do, but don't believe anyone who tries to convince us he didn't work all that hard.
And that reminds me! A recent edition of Yes Music Podcast features an interview with Casey - check it out (if you haven't already).
https://yesmusicpodcast.com/whos-that-under-the-stage-its-casey-young-and-hes-happy-to-talk-about-it-444/
Speaking of unsung heroes - the legendary road manager Richard Fernandez (the guy in the white hat) is shown several times along with his assistant Mickey Heyes, and these are the guys who really do all the work, along with the road crew, which Steven doesn't seem to be particularly interested in because we've never treated to a sequence showing load-in or out. It was kind of a cliche at that point, I suppose. But this leads me to ask...who is The Goon, exactly? He's a man who can make things happen, that's for sure. You always need a good fixer on the road, where anything can happen (and frequently does).
Naturally the greatest virtue of this short film is Trevor Rabin: sometimes bitchy, mostly goofy, wholly adorable. Who wouldn't want to just follow him around and chronicle his hijinks?
I think perhaps the most compelling aspect of Trevor's appearance is his air of Oh isn't this entirely ridiculous? coupled with the charm and charisma he has obviously possessed since birth, infusing his entire personality. The camera loves him, and so do we.
The Interviews
This is b-roll footage and it's uncertain what it's meant for but filmed concurrently in Edmonton. These segments were edited by his long-time collaborator Larry Blake (who was the sound recordist on Access All Areas). I think the whole is far more interesting for what isn't said as much as what is. But I also think they all tend to come off equally guarded and unguarded. There's as much equivocation as candor in their replies. And hairspray - lots and lots of hairspray.
PS: here's a couple fun facts...Soderbergh was only 21 when he directed 9012Live, and his birthday is the day after Trevor's. Capricorns: Most Likely to Become a Wunderkind.
PPS: I've brought this up before, but recently I read a retrospective review of 9012Live on a film blog and the person who wrote it joked that Soderbergh gave James Spader in Sex, Lies, and Videotape Jon Anderson's hairstyle and that is not correct. Don't get distracted by the blond thing. Soderbergh gave him Trevor's haircut circa the Edmonton shoot. It's positively uncanny.
Friday, May 22, 2020
Media Watch: *thumbs up*
With thanks to Henry Potts for the heads-up.
Many artists are using this time of worldwide quarantine to further engage with fans via social media and one of those is former Genesis guitarist/solo artist Steve Hackett, who has come out with (among other things) a video series entitled Track Chat. Yesterday's entry was for a song from his 2012 collaboration with Chris Squire - with an appropriate portmanteau, Squackett - A Life Within A Day.
He posits that this music might provide insight as to what it would have been like if Genesis (of a certain era) and Yes had gotten together to record. I will say that the title track is one of my favorites from the release, it has a kind of Middle Eastern modality vibe to it. Around the 2:45 mark Steve notes: "I remember Trevor Rabin saying he liked this a lot which is very nice to know. Those Yes connections." And with great performances and progressive values as embodied by the recording, it's easy to see why.
Many artists are using this time of worldwide quarantine to further engage with fans via social media and one of those is former Genesis guitarist/solo artist Steve Hackett, who has come out with (among other things) a video series entitled Track Chat. Yesterday's entry was for a song from his 2012 collaboration with Chris Squire - with an appropriate portmanteau, Squackett - A Life Within A Day.
He posits that this music might provide insight as to what it would have been like if Genesis (of a certain era) and Yes had gotten together to record. I will say that the title track is one of my favorites from the release, it has a kind of Middle Eastern modality vibe to it. Around the 2:45 mark Steve notes: "I remember Trevor Rabin saying he liked this a lot which is very nice to know. Those Yes connections." And with great performances and progressive values as embodied by the recording, it's easy to see why.
Thursday, October 17, 2019
#tbt: Dream Team
Spotted on Twitter: here's a nice alternate version, as it were, of Chris & Trevor's classic Guitar Player cover from 1987, with another photo from that particular session. This was for the Japanese music magazine Young Mates Music Player, published in May 1988.
Tuesday, June 26, 2018
Time-travel Tuesday: taking the Southern route
Earlier in the year I posted regarding a film clip which had been shared on tumblr from Yes' 1985 South American tour, and uploaded today on the Yes Source channel is what appears to be the entire segment (or nearly so) of Chris and Trevor's appearance on Argentinian media - and it does address the issues they experienced with touring in the area.
Thursday, June 21, 2018
Media Watch: more chronicles of the Golden Age
This week the fandom's valued archival entity Yes Source has been updating his channel with more material from the YesWest era, including many iconic interviews and media specials which we're all familiar with and so it's now all in one handy place online for us Rabinites to enjoy!
https://www.youtube.com/channel/UCSX-Iki812AOFip8lF9Xf-A
This particular interview segment with Chris and Trevor is one of my favorites; it might have been filmed on a day which I believe is chronicled in the Access All Areas footage from the 9012Live DVD release.
https://www.youtube.com/channel/UCSX-Iki812AOFip8lF9Xf-A
This particular interview segment with Chris and Trevor is one of my favorites; it might have been filmed on a day which I believe is chronicled in the Access All Areas footage from the 9012Live DVD release.
Monday, May 14, 2018
This date in Yesstory: one part of a great and varied legacy
One of the more interesting events which the YesWest lineup took part in was It's Only Rock n'Roll, a concert celebrating Atlantic Records' 40th anniversary which was held at Madison Square Garden on May 14, 1988, about a month after the end of the Japanese leg of The BIG Tour. It was the last performance of this particular lineup until the Talk tour kicked off in June 1994.
The massive show, featuring over two dozen artists from the Atlantic roster past and present, was broadcast on radio and TV, and the band's song selection drew from both the Classic era and their current oeuvre. A DVD of the HBO broadcast version was released later in the year. However, out of the five songs the band performed only two were included on the DVD set.
With thanks to The Groovy Archives tumblr account - this backstage photo from the event has a very interesting caption which possibly reveals what Anderson, Bruford, Wakeman and Howe wanted to name themselves originally.
As I've noted in a previous entry, this performance contains a moment of truly Epic Bromance during "Hold On," which was part of Chris and Trevor's routine for the song, but with a bit of a twist.
"I've Seen All Good People"
"Hold On"
"Owner of a Lonely Heart"
"Roundabout"
Tuesday, February 27, 2018
Time-travel Tuesday: good times
Spotted on Instagram: here is a great moment we have previously seen from Chris and Trevor's reunion at the Imagine A Cure benefit show (coordinated by Alan White) in 2009, with some accompanying context courtesy of the photographer.
Thursday, January 18, 2018
#tbt: generating a BIG groove
This past Saturday The Groovy Archives tumblr posted a scan in honor of Trevor's birthday from when Chris and Trevor were the cover story for the September 1987 issue of Guitar World, and Neal Preston's accompanying photos are now-iconic images of the Epic Bromance so I think it's a perfect time to appreciate this particular moment in the spotlight.
Tuesday, January 2, 2018
Media Watch: todo bien
A very Happy New Year to everyone! Here's to many good things coming up in 2018.
With massive thanks to Gaby (her tumblr blog is noted below) for sharing this piece of Yesstory, from the South American tour of 1985 - which as we know was both historically significant (playing to the largest crowd of their career at the Rock In Rio festival) and rather dangerous (being the first UK-affiliated band to play in Argentina after the Falklands War of 1982 meant that security was heightened and bomb threats caused three of the dates to be cancelled). There is a mention of the associated drama from assistant tour manager Mickey Heyes on the back cover of the 9012Live: The Solos release. This interview segment is hilariously adorable!
A couple years back Argentinian DJ Guille Petruccelli posted a photo from that same day on his Twitter account and it's the undeniable magic of Trevor which can make this kind of shirt look fabulous.
With massive thanks to Gaby (her tumblr blog is noted below) for sharing this piece of Yesstory, from the South American tour of 1985 - which as we know was both historically significant (playing to the largest crowd of their career at the Rock In Rio festival) and rather dangerous (being the first UK-affiliated band to play in Argentina after the Falklands War of 1982 meant that security was heightened and bomb threats caused three of the dates to be cancelled). There is a mention of the associated drama from assistant tour manager Mickey Heyes on the back cover of the 9012Live: The Solos release. This interview segment is hilariously adorable!
A couple years back Argentinian DJ Guille Petruccelli posted a photo from that same day on his Twitter account and it's the undeniable magic of Trevor which can make this kind of shirt look fabulous.
Murio Chris Squire, el bajista de Yes, alli estuve,Velez 1985 comparto este recuerdo con el guitarrista Trevor Rabin. pic.twitter.com/0XjZ7zyhiQ— Guille Petruccelli (@GuiPetruccelli) June 29, 2015
Sunday, April 9, 2017
notes from the Hall of Famer
Today Trevor posted on social media to share his impressions of the R&RHoF Induction Ceremony and future plans.
As i'm sure you all know, I'm not big on social media. no reason, I just seem to not go there often. So please... https://t.co/i2B8A2Bqi7— Trevor Rabin (@Rabin_News) April 9, 2017
Sunday, January 15, 2017
Media Watch: more good old times
Here are more YesWest archival interviews courtesy of VHS Dust's YouTube channel...
This interview has been in trading circles for a few years now, Trevor and Jon pay a visit to the MuchMusic studios in Toronto during The BIG Tour of 1987.
These 90125 era clips feature Chris and Trevor.
This interview has been in trading circles for a few years now, Trevor and Jon pay a visit to the MuchMusic studios in Toronto during The BIG Tour of 1987.
These 90125 era clips feature Chris and Trevor.
Wednesday, January 4, 2017
a complete Union
Today Rick's site features an update with the good news that he will be joining his Yes cohorts at the Rock & Roll Hall of Fame induction ceremony on April 7th after all.
I am very pleased to announce that as the Hall of Fame have now agreed to present Chris Squire’s wife with a posthumous award acknowledging his massive contribution to YES, I have agreed to attend the Induction ceremony in New York to both stand proudly with my fellow band mates Jon and Trevor and also to watch Chris’s wife Scottie collect this well deserved award on his behalf. I also hope that this move to acknowledge members of bands who sadly did not live to receive their own honour, means they can get them posthumously in the future.
Friday, October 28, 2016
The Best (subjectively and objectively)
Of late there's been a couple listicles floating around regarding what is the best of Trevor's work in the YesWest era. So I'd thought I'd join in on the fun except I wanted to approach it from two perspectives: my favorite track as well as the one I think is the best - because with the way my mind works those two assessments are often applied to different songs. However, I have previously written about some of these songs, so I'll be taking the liberty of quoting myself. And of course it is gratifying to know that three of my selections have made the ARW setlist for the current tour.
90125
My Favorite: "Changes"
Even with the changes to "Changes" it is every bit as much Trevor's signature song as is "Owner" - and a work which successfully melds Trevor's melodic sensibilities with Yes' prog-minded ambition.
The Best: "Hearts"
The first of those songs which fans would come to refer to as "epic" as regards YesWest, and one which features amazing performances and a wonderfully dynamic sense of drama and emotion, topped with Jon's cosmic fairy-dust.
Big Generator
My Favorite: "Rhythm of Love"
This song manages the feat of being a hit single and showing a bit more grandeur in its' use of harmonies and various touches of production filigree... it is seductive in every way. And it's got one of Trevor's best solos.
The Best: "I'm Running"
This is my favorite YesWest epic.
My comments from the entry "something Fishy"
The most ambitious, intricate, and interesting song on an album which tends to be underrated even now; the story goes Chris drove Trevor a bit nutty during sessions by playing the bass riff which opens the song over and over again as an idea he wanted to work on. At first Trevor wasn't sure of its' potential but then he finally relented and wrote a Latin-themed melody to go with it, as well as some of his best lyrics (then added to with a refrain by Jon). The song shifts frequently in dynamic and mood and sounds quite unlike anything they'd done (or would do ever after) with great performances and production and lots of interesting little touches (including the hilarious use of a duck call as a transition) and I believe it's a great example of Trevor taking the foundation of Chris' idea and building a beautiful edifice on top of it, even as he used the analogy that Chris was "polishing the vase" due to his obsession with the riff while the building fell down around him!
Union
My Favorite: "Lift Me Up"
Trevor's greatest anthem, 'nuff said.
My comments from the entry "something Fishy"
Long-time fans know Trevor originally wrote this song prior to its inclusion on the album, as he and his touring band played the opening sequence as their entrance music on the club tour of 1989. But Trevor has recounted that he and Chris worked on the lyrics together, and the choice of words lends a sense of grandeur to the whole. This remains an incredibly compelling song, and also a highlight of the Union tour setlist.
The Best: "Miracle of Life"
This is another of Trevor's anthems, and an excellent one given its' specific subject of animal rights. But also it is an interestingly complex take on what might be considered his version of progressive rock (even as Trevor recently said he's not too fond of the term).
Talk
My Favorite: "Real Love"
This song never fails to give me chills, and I would play it as evidence of what I love about Trevor's playing and production/mix skills.
My comments from the entry "something Fishy"
On an album which is largely defined by the efforts of Trevor and Jon, choosing to make their own collaboration the core of the production, this is a moment in which Trevor does his best once again to take Chris' idea and expand and elaborate upon it until it is something epic in the realization. Their harmonies on the bridge refrain before the chorus are absolutely wonderful, and the groove and growl and power with touches of a more mysterious atmosphere of the song entire is something yet again unique in their catalog while also a perfect expression of what YesWest was meant to be as an ensemble.
"It’s a song that one should listen to late at night, with headphones on, in a certain frame of mind."
In what I believe is the very best couplet, the song moves from considerations of the macro:
Far away, in depths of Hawking's mind
to the micro:
to the animal, the primalistic grind.
From the vastness of the universe to the tiny fraction of space between two coupling bodies: Trevor not only drawing inspiration from his reading of A Brief History of Time, but also the way in which he tended to juxtapose Jon's more cosmic concerns with those of the physical world, invoking the marriage of Earth and Air. And the multiple layers and textures, the dynamic movement of the arrangement, the way Trevor makes Jon's vocal sound like he's literally floating out in space, then suddenly moving right in front of us, and the wild panning of the end solo (shades of "Owner") complimented by the rumbling waves of Kaye's Hammond organ - it's an amazing ride.
The Best: "Endless Dream"
Many fans consider this the only YesWest epic and for me the way in which it moves through distinct passages, changing moods and ambitious musicianship is nothing short of amazing.
My comments from the entry "Talk and the modern sound of YesWest"
"Endless Dream" calls to mind other Yes epics like "Close To The Edge" and "Yours Is No Disgrace" in terms of arrangement, progression, and textures. But it goes beyond these traditional structures to include a wholly three-dimensional experience which - especially on headphones - moves around you with adventurous sound placement and layering. The "Talk" section of the song contains so many interesting passages, including the section where the listener is placed in the very center of the sonic image, with intricate harmonies, sound effects (created by guitar), rhythmic bass and percussion, and textured vocals. The ambition and grandeur of the music is perfectly balanced with the emotion of Jon's performance, as the heart and conscience of the composition, as well as brilliant two-part and three-part harmonies from Jon, Chris and Trevor. The contrast between the verses which Trevor and Jon sing is yet again that marriage of Earth and Air, even as each invoke philosophical and emotional import. Trevor deliberately textures his voice to provide a particular mood, juxtaposed with Jon's clear natural register. The song evokes the traditional values of Yes: progressive, far-reaching, complex and engaging long-form compositions, but rendered with the tools and taste of their current musical context. Indeed, how else would we expect YesWest to create such a work?
This is just my theory, but the electronic synth element we hear at a couple points in the song - during what I refer to as the "celestial" passages - sounds nearly identical to a loop from Cybotron's "Clear" which was originally released in 1983. The loop has been sampled numerous times over the years, including a few instances in the early 1990s, and was originally inspired by Kraftwerk's "Hall of Mirrors" from 1977.
As I mentioned there was a callback in "State Of Play" and I hear two in "Endless Dream" - one is the harp sound from the intro to "Rhythm Of Love" at approximately 8:06 and then the hook from "Where Will You Be" around 15:06.
Of course, no listicle would be complete without an embedded playlist, so here is mine, from my Rabin-esque YouTube channel.
90125
My Favorite: "Changes"
Even with the changes to "Changes" it is every bit as much Trevor's signature song as is "Owner" - and a work which successfully melds Trevor's melodic sensibilities with Yes' prog-minded ambition.
The Best: "Hearts"
The first of those songs which fans would come to refer to as "epic" as regards YesWest, and one which features amazing performances and a wonderfully dynamic sense of drama and emotion, topped with Jon's cosmic fairy-dust.
Big Generator
My Favorite: "Rhythm of Love"
This song manages the feat of being a hit single and showing a bit more grandeur in its' use of harmonies and various touches of production filigree... it is seductive in every way. And it's got one of Trevor's best solos.
The Best: "I'm Running"
This is my favorite YesWest epic.
My comments from the entry "something Fishy"
The most ambitious, intricate, and interesting song on an album which tends to be underrated even now; the story goes Chris drove Trevor a bit nutty during sessions by playing the bass riff which opens the song over and over again as an idea he wanted to work on. At first Trevor wasn't sure of its' potential but then he finally relented and wrote a Latin-themed melody to go with it, as well as some of his best lyrics (then added to with a refrain by Jon). The song shifts frequently in dynamic and mood and sounds quite unlike anything they'd done (or would do ever after) with great performances and production and lots of interesting little touches (including the hilarious use of a duck call as a transition) and I believe it's a great example of Trevor taking the foundation of Chris' idea and building a beautiful edifice on top of it, even as he used the analogy that Chris was "polishing the vase" due to his obsession with the riff while the building fell down around him!
Union
My Favorite: "Lift Me Up"
Trevor's greatest anthem, 'nuff said.
My comments from the entry "something Fishy"
Long-time fans know Trevor originally wrote this song prior to its inclusion on the album, as he and his touring band played the opening sequence as their entrance music on the club tour of 1989. But Trevor has recounted that he and Chris worked on the lyrics together, and the choice of words lends a sense of grandeur to the whole. This remains an incredibly compelling song, and also a highlight of the Union tour setlist.
The Best: "Miracle of Life"
This is another of Trevor's anthems, and an excellent one given its' specific subject of animal rights. But also it is an interestingly complex take on what might be considered his version of progressive rock (even as Trevor recently said he's not too fond of the term).
Talk
My Favorite: "Real Love"
This song never fails to give me chills, and I would play it as evidence of what I love about Trevor's playing and production/mix skills.
My comments from the entry "something Fishy"
On an album which is largely defined by the efforts of Trevor and Jon, choosing to make their own collaboration the core of the production, this is a moment in which Trevor does his best once again to take Chris' idea and expand and elaborate upon it until it is something epic in the realization. Their harmonies on the bridge refrain before the chorus are absolutely wonderful, and the groove and growl and power with touches of a more mysterious atmosphere of the song entire is something yet again unique in their catalog while also a perfect expression of what YesWest was meant to be as an ensemble.
My comments from the entry "Talk and the modern sound of YesWest"
At the album premiere party, Trevor described "Real Love" thus:"It’s a song that one should listen to late at night, with headphones on, in a certain frame of mind."
In what I believe is the very best couplet, the song moves from considerations of the macro:
Far away, in depths of Hawking's mind
to the micro:
to the animal, the primalistic grind.
From the vastness of the universe to the tiny fraction of space between two coupling bodies: Trevor not only drawing inspiration from his reading of A Brief History of Time, but also the way in which he tended to juxtapose Jon's more cosmic concerns with those of the physical world, invoking the marriage of Earth and Air. And the multiple layers and textures, the dynamic movement of the arrangement, the way Trevor makes Jon's vocal sound like he's literally floating out in space, then suddenly moving right in front of us, and the wild panning of the end solo (shades of "Owner") complimented by the rumbling waves of Kaye's Hammond organ - it's an amazing ride.
The Best: "Endless Dream"
Many fans consider this the only YesWest epic and for me the way in which it moves through distinct passages, changing moods and ambitious musicianship is nothing short of amazing.
My comments from the entry "Talk and the modern sound of YesWest"
"Endless Dream" calls to mind other Yes epics like "Close To The Edge" and "Yours Is No Disgrace" in terms of arrangement, progression, and textures. But it goes beyond these traditional structures to include a wholly three-dimensional experience which - especially on headphones - moves around you with adventurous sound placement and layering. The "Talk" section of the song contains so many interesting passages, including the section where the listener is placed in the very center of the sonic image, with intricate harmonies, sound effects (created by guitar), rhythmic bass and percussion, and textured vocals. The ambition and grandeur of the music is perfectly balanced with the emotion of Jon's performance, as the heart and conscience of the composition, as well as brilliant two-part and three-part harmonies from Jon, Chris and Trevor. The contrast between the verses which Trevor and Jon sing is yet again that marriage of Earth and Air, even as each invoke philosophical and emotional import. Trevor deliberately textures his voice to provide a particular mood, juxtaposed with Jon's clear natural register. The song evokes the traditional values of Yes: progressive, far-reaching, complex and engaging long-form compositions, but rendered with the tools and taste of their current musical context. Indeed, how else would we expect YesWest to create such a work?
This is just my theory, but the electronic synth element we hear at a couple points in the song - during what I refer to as the "celestial" passages - sounds nearly identical to a loop from Cybotron's "Clear" which was originally released in 1983. The loop has been sampled numerous times over the years, including a few instances in the early 1990s, and was originally inspired by Kraftwerk's "Hall of Mirrors" from 1977.
As I mentioned there was a callback in "State Of Play" and I hear two in "Endless Dream" - one is the harp sound from the intro to "Rhythm Of Love" at approximately 8:06 and then the hook from "Where Will You Be" around 15:06.
Of course, no listicle would be complete without an embedded playlist, so here is mine, from my Rabin-esque YouTube channel.
Wednesday, October 26, 2016
update: Trevor on Debateable
But first, here's a totally adorable photo op from the 21st, as Our Trev is once again meeting the army of Rabid Rabinites across the land:
Here is Mark Goodman's Instagram post from that day:
I previously mentioned Trevor's appearance on SiriusXM's Debateable - he called in from Boston for episode two, while guitarist Vernon Reid and drummer Steve Jordan were in the studio with hosts Mark Goodman and Alan Light. The primary topic of discussion was this year's RnRHOF nomination and the ongoing relevance of the organization. Trevor observed that the type of music Yes is known for isn't normally the populist choice He also noted that at 62 he was the "baby" of the Yes-related group of potential inductees. He was asked about the evolution of the legacy of Yes, and Trevor discussed how Chris' passing has had an impact on that legacy. He admitted that he's not even really aware of "who's in and who's out" when asked to consider who should be installed. He elaborated on one of the surprises of his career - working with LL Cool J on "Deepest Bluest" for Deep Blue Sea - and noted "how smart the guy was, how musical he was." Trevor also spoke again of Johnny Fourie, citing him as "my favorite guitarist ever" (and as a peer, apparently an influence on John McLaughlin) but "no one's ever heard of him."@Rabin_News On cloud 9 since meeting you in the hotel elevator after the ARW show in CT😍❤🎸🎶#StillFangirling #ARW #FanSinceAge11 #MadeMyNight pic.twitter.com/5akA1HdXUu— MariaElizabeth (@MissMariaRast) October 26, 2016
Here is Mark Goodman's Instagram post from that day:
Thursday, August 25, 2016
Media Watch: new Guardian article
UK publication The Guardian posted an article today regarding the contentious fractious history of several bands, and one of them is Yes. The text features quotes from Trevor; for example, he relates the memorial for Chris Squire he and Shelley held at their home in July 2015.
https://www.theguardian.com/music/2016/aug/25/ub40-stiff-little-fingers-yes-bands-that-split-in-half
I imagine nothing will dispel the ongoing legitimacy debate regarding the concurrent activities of the current lineup of Yes and ARW, but as each outfit believes they are presenting a valid expression of Yes music, it is up to audiences to support and enjoy whomever they desire.
https://www.theguardian.com/music/2016/aug/25/ub40-stiff-little-fingers-yes-bands-that-split-in-half
I imagine nothing will dispel the ongoing legitimacy debate regarding the concurrent activities of the current lineup of Yes and ARW, but as each outfit believes they are presenting a valid expression of Yes music, it is up to audiences to support and enjoy whomever they desire.
Saturday, July 9, 2016
This date in Yesstory: Surprise!
On this day in 2010, Trevor made a surprise appearance during Yes' performance at the Greek Theatre in Los Angeles to perform on his signature song "Owner of a Lonely Heart."
It's rather bittersweet now to watch the interplay between Chris and Trevor (as it was the last time they would ever appear onstage together), but I remember when I first watched this video I chuckled to see Chris seeming to follow Trevor into the wings as if it were old times. I will always regret not being able to make it to this show - because I was made aware beforehand that Trevor was going to be there - but of course life in our modern wired world means that whatever happens, you're likely to see video of it on YouTube at some point.
It's rather bittersweet now to watch the interplay between Chris and Trevor (as it was the last time they would ever appear onstage together), but I remember when I first watched this video I chuckled to see Chris seeming to follow Trevor into the wings as if it were old times. I will always regret not being able to make it to this show - because I was made aware beforehand that Trevor was going to be there - but of course life in our modern wired world means that whatever happens, you're likely to see video of it on YouTube at some point.
Tuesday, June 14, 2016
Media Watch: new interview on WOAI website
An ongoing series wherein I comment on Trevor's recent publicity.
What appears to be the first official interview with Trevor regarding ARW has been published today.
http://news4sanantonio.com/news/entertainment/trevor-rabin-talks-about-reuniting-with-former-yes-bandmates
Various subjects are discussed, such as the motivation behind the project, his role in YesWest and the development and recording of their most popular song, as well as his foray into film scoring. Trevor does confirm a few things previously mentioned by Jon and Rick, such as Chris' passing providing a more urgent motivation.
What appears to be the first official interview with Trevor regarding ARW has been published today.
http://news4sanantonio.com/news/entertainment/trevor-rabin-talks-about-reuniting-with-former-yes-bandmates
Various subjects are discussed, such as the motivation behind the project, his role in YesWest and the development and recording of their most popular song, as well as his foray into film scoring. Trevor does confirm a few things previously mentioned by Jon and Rick, such as Chris' passing providing a more urgent motivation.
"Chris and I were friends throughout the years. Every couple of years, he would always ask me if I wanted to come back to the band," he said. "I was in touch with Chris every day until his death."Trevor also comments on the status of the new music:
"Chris' passing made me think that life is short and that if the three of us were ever going to work together, now was the time. We all agreed that we've got to do this."
"I don't want to rush these songs," he said. "We've had offers from different record companies, but we've said no. We want control over the vision for our songs. Once you start listening to record company executives, then you lose sight of what you wanted to do in the first place."The article concludes with an enthusiastic comment from Trevor regarding the upcoming tour:
"We're very excited to get out and play live," he said. "Our fans are very special to us and we have set the bar high for what they'll experience in concert. This is a journey that has been a long time coming for all of us. We're not going to waste or take any moment for granted."
Friday, March 4, 2016
Scenes from an Epic Bromance
Note: this post is image-heavy (for those of you with slower browsers).
Over the years they appeared on magazine covers together, and did an endorsement ad for Ampeg together, but their interaction in live performance was truly a joy to behold, because it's all in those smiles...watch just about any YesWest video or performance footage and at some point you will see Chris and Trevor with smiles meant solely for each other.
When they say a picture is worth a thousand words, well, sometimes it really is true. This sequence in the performance of the song in the 9012Live concert film (which was also released separately as a promotional video) is what caused me to originally term their relationship an epic bromance. During the 9012Live tour, Chris and Trevor were playful - often downright silly - throughout each performance, but this was one of those classic evocations of interaction regarding the way in which rock music can be distinctly sexual. And for a song which originally contained a blatantly sexual narrative it's fitting (even if we didn't know it back in 1985).
The song was performed as a part of Yes' appearance at the Atlantic Records 40th Anniversary concert at Madison Square Garden in 1988, which was broadcast worldwide. During their customary interaction, Chris does something even more obviously affectionate.
As those who have viewed 9012Live and various pro-shot shows are aware, Chris and Trevor had an entire routine for this song, it was choreographed (and in the aforementioned film, you can see that Trevor is so over the whole thing - he rolls his eyes at Chris just before the part where Chris pretends to knee Trevor in the crotch).
"Love Will Find A Way"
The video for this song is randomly weird as videos of the 1980s tended to be, but Chris and Trevor's mimed interaction during the instrumental break is particularly hilarious.
"Shock To The System"
Color-coordinated outfits aside, their interaction in the song during the end solo/vamp is akin to what they did with "Hold On" but I tend to think they may have been having fun with it strictly as parody or to distract themselves from the fact that they - especially Trevor - didn't enjoy playing this one at all.
This one incorporates a true BFF ritual: the secret handshake. For the outdoor shows in sheds on the Eighty Dates tour where they couldn't use the rotating stage, a routine came about for the introduction to Trevor's solo spot where Jon told a story about a boy and his friend, the boy practiced music every day and his friend polished the stool he sat upon, complete with humorously dramatic enactment. But in the Mountain View version there's a few other details...one was the prank played on Trevor of injecting the seat of his stool with water (and you can clearly see his wet behind as he walks around on the stage during the solo), and also their Aren't we cute? hug for the audience.
Talk release party broadcast 3/16/94
This promotional event was held at the Hard Rock Cafe in Hollywood, and there was a lot of alcohol ingested during the proceedings. The participants (and the very rowdy audience) became progressively intoxicated as the evening went on, which lent a decidedly comedic aura, with an emphasis on party. Trevor and Jon gave an interview the following day where Trevor all but publicly acknowledged he was thoroughly hungover and he noted he hadn't actually slept since the previous night.
Host Bob Coburn made this hilarious observation towards the end of the broadcast - after Trevor performed a drunken singing impersonation of Jon - as he witnessed Chris and Trevor's antics:
"Uh-oh, Chris and Trevor are hugging, no, Chris is mugging Trevor, look out!"
Trevor quipped, "Jon, I know you're in the car, listening."
Coburn attempted to regain control, but by then it was probably much too late.
"Trevor, quit mugging Chris over there! And now they're mugging for the cameras, it's a giant mugging here at the Hard Rock."
Trevor said, "He's full of -" then howled like a dog.
"I Am Waiting"
During the denouement of this song as performed on the Talk tour in 1994, Chris would walk from his side of the stage over to Trevor's - something he did often during a YesWest show - they would play the final sequence in unison, and then at the very end, Chris would offer Trevor his index finger which Trevor would grasp, then raise their arms up high, finally putting their arms around each other's shoulders and taking a bow. It was thoroughly adorable and with hindsight I can appreciate that after all they'd gone through by that point in their shared existence they still cared for each other deeply.
Subscribe to:
Posts (Atom)