Progarchives, the progressive rock ultimate discography

TREVOR RABIN

Crossover Prog • South Africa


From Progarchives.com, the ultimate progressive rock music website

Trevor Rabin picture
Trevor Rabin biography
Trevor Charles Rabinowitz - Born 13 January 1954 (Johannesburg, South Africa)

Born in 1954 in Johannesburg, Trevor RABIN started playing guitar at the age of twelve, and within a year he was playing his first local gigs in his brother?s band. From there he formed his first group CONGLOMERATION, and was a session musician by the tender age of 17. His musical career was delayed by being drafted into the army, but on leaving he soon formed RABBITT with former CONGLOMERATION bandmates, Neil CLOUD and Ronnie ROBOT. RABBITT soon became the most successful rock act ever to come from the country, winning multiple awards and having hit albums and singles.

He left RABBITT and moved to London in 1978 where he produced bands such MANFRED MANN'S EARTH BAND also released his debut solo album. He moved to LA in the early Eighties, where he came to the attention of Chris SQUIRE who was looking for a guitarist for his new band, which at that time was called CINEMA. However, after Jon ANDERSON joined the band the decision was taken to again take up the name YES, and the resulting album '90125' became the biggest selling of their career.

Trevor was with Yes for four albums, and since leaving he has concentrated mostly on film scores, and has continued to work in multiple different styles of music, including progressive rock. At the time of writing he has released five solo albums, with the most recent coming out in 2012

TREVOR RABIN forum topics / tours, shows & news


TREVOR RABIN forum topics Create a topic now
TREVOR RABIN tours, shows & news Post an entries now

TREVOR RABIN Videos (YouTube and more)


Showing only random 3 | Search and add more videos to TREVOR RABIN

Buy TREVOR RABIN Music



More places to buy TREVOR RABIN music online Buy TREVOR RABIN & Prog Rock Digital Music online:

TREVOR RABIN discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

TREVOR RABIN top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.17 | 6 ratings
Beginnings [Aka: Trevor Rabin]
1977
2.50 | 8 ratings
Face To Face
1979
2.20 | 5 ratings
Wolf
1981
3.21 | 27 ratings
Can't Look Away
1989
2.50 | 2 ratings
Con Air (OST)
1997
3.00 | 1 ratings
Enemy Of The State (OST)
1998
3.00 | 1 ratings
Armageddon (OST)
1998
0.00 | 0 ratings
Deep Blue Sea (OST)
1999
5.00 | 1 ratings
The Glimmer Man (OST)
1999
0.00 | 0 ratings
Gone In 60 Seconds (OST)
2000
3.00 | 1 ratings
The 6th Day (OST)
2000
0.00 | 0 ratings
Remember The Titans (OST)
2001
0.00 | 0 ratings
American Outlaws (OST)
2001
0.00 | 0 ratings
The One (OST)
2001
0.00 | 0 ratings
Exorcist: The Beginning (OST)
2004
0.00 | 0 ratings
National Treasure (OST)
2004
0.00 | 0 ratings
The Great Raid (OST)
2005
0.00 | 0 ratings
Gridiron Gang (OST)
2006
0.00 | 0 ratings
Flyboys (OST)
2006
0.00 | 0 ratings
Snakes On A Plane (OST)
2007
0.00 | 0 ratings
National Treasure: Book Of Secrets (OST)
2007
0.00 | 0 ratings
Get Smart (OST)
2008
0.00 | 0 ratings
Race To Witch Mountain (OST)
2009
0.00 | 0 ratings
The Sorcerer's Apprentice (OST)
2010
0.00 | 0 ratings
I Am Number Four (OST)
2011
3.32 | 18 ratings
Jacaranda
2012

TREVOR RABIN Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.30 | 10 ratings
Live In LA
2003

TREVOR RABIN Videos (DVD, Blu-ray, VHS etc)

TREVOR RABIN Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

1.76 | 10 ratings
90124
2003
0.00 | 0 ratings
Changes
2020

TREVOR RABIN Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

TREVOR RABIN Reviews


Showing last 10 reviews only
 90124 by RABIN, TREVOR album cover Boxset/Compilation, 2003
1.76 | 10 ratings

BUY
90124
Trevor Rabin Crossover Prog

Review by patrickq
Prog Reviewer

2 stars Trevor Rabin's 90124 is a Voiceprint CD which gathers some of his home and studio demos from 1981 to 1991. Apparently, all eleven songs were at some point considered for one of the Yes albums on which Rabin appeared: 90125 (1983), Big Generator (1987), Union (1991), and Talk (1994). All but two will at least be familiar to fans of the band.

Rabin must have selected some of the tracks as a way of communicating how little they changed once they entered the Yes creative process. The 1991 demo of "Where Will You Be," is essentially an instrumental version of the song that would appear on Talk. "Walls," which would precede "Where Will You Be" on that same album, has the same music, lyrics, and arrangement as the canonical version, but here Roger Hodgson, not Jon Anderson, sings the harmonies. Anderson's cool vocal addition to the coda of the Talk version ("oh, this indecision?") is of course missing, but little else is. Similarly, the "Love Will Find a Way" demo is very close to the version that was finally released on Big Generator. And while "Miracle of Life" is explicitly identified as a "demo" on the CD tray liner, it sounds more like an early rough mix (sans Anderson's vocals and a few of the lyrics) of the track which would eventually appear on Union. By the time this mix was made, the sound effects, backing-vocal samples, and even the mandolin section were already in place.

But most of the songs which were demoed for Yes's 90125 are a different story. For example, the track labeled "Cinema" is entirely distinct from the same-titled song on 90125. This "Cinema" would later be remade by Rabin, Chris Squire, Tony Kaye, and Alan White as "Take it Easy," which itself would be rejected for inclusion on 90125. Confused yet? The liner notes state that Rabin wished this album to illustrate the creative process, and thus two recordings, the first with just voice and acoustic guitar, are spliced to create the "Owner of a Lonely Heart" demo here. In some ways, it makes sense that the unnecessarily-hair-rock pre-chorus in this version was removed for 90125, but it kind of has a fun, Loverboy or early Bon Jovi vibe. The opening track, "Hold On," is spliced together the same way. But what's interesting is that only half of what would become the "Hold On" of 90125 is in the demo here. Most of the rest of the final song is taken from the macho-rock "Moving In." Wisely, they excised the lyrics (e.g., "I'm moving' my love into you?"). And then there's "Would You Feel My Love," which they wisely excised in its entirety.

90124 also contains a demo of "Changes," to which White and Anderson would later make significant contributions. But unlike "Hold On," "Changes still retains its AOR feel in the final version. Finally, there's the song "Promenade," short but enjoyable Rabin arrangement of a Mussorgsky excerpt.

Except to hard-core Yes or Rabin fans, this compilation is completely non-essential. And yet it's fun to put on once in a while, for the very purpose Rabin intended: it's an enjoyable window into his creative process.

 Can't Look Away by RABIN, TREVOR album cover Studio Album, 1989
3.21 | 27 ratings

BUY
Can't Look Away
Trevor Rabin Crossover Prog

Review by patrickq
Prog Reviewer

3 stars I guess I understand, but I still don't understand. Why did albums in the late 1980s and early 1990s have to be fifty or sixty minutes long? The ubiquity of the CD format was definitely a big part of the answer, although the growth started several years before CDs overtook cassettes as the industry standard in 1991. Yes's Drama (1980) was 37 minutes long, while 90125 (1983) and Big Generator (1987) were each about 45. Then Anderson Bruford Wakeman Howe* (1989) was 59 minutes and Union (1991) clocked in at over 65 - - and both were marketed as single albums.

At 55 minutes, Yes guitarist Trevor Rabin's Can't Look Away was part of the trend: at the same time older people were bemoaning the shortening of the youth attention span, albums had gotten a good 15 minutes longer during the 1980s. And as Rabin's fourth studio LP demonstrates, more isn't necessarily better. Side One of the original vinyl is serviceable AOR - - with the exception of the wonderful "Sorrow (Your Heart)," which somehow didn't click with radio programmers despite at least some promotion by Elektra. I'm not sure why it didn't receive an official single release in the US; not only is it very catchy, it seems like it would have been timely insofar as it related to South African Apartheid.

Anyway, after the first three songs - - the Apartheid-related "I Can't Look Away," the lead single "Something to Hold on To," and "Sorrow," the quality wanes, and by the end of the first side, Rabin's run out of hooks. Three of the Side Two songs are interesting instrumentals - - they don't simply sound like arena-rockers without the singing. But the other four tunes are schlocky AOR, at least compared to the tunes on the obverse. That's despite the fact that Rabin, who wrote seven of the songs himself, involved co-composers on the other six. Bob Ezrin, who had produced Peter Gabriel's debut as well as the career best-selling albums of Alice Cooper, Kiss, and Pink Floyd, co-wrote three songs, and former Slapp Happy member Anthony Moore contributes lyrics to two. Rabin's father Geoffrey and former Rabbit producer Patric van Blerk are also credited on one track each.

Rabin was a relatively young singer/multi-instrumentalist and a decent singer when he joined Yes in 1983, and many fans viewed him as an interloper who pushed the band away from prog-rock and toward pop-rock. In 1997, newcomer Billy Sherwood was perceived in much the same way. The comparison is superficial at best, but Rabin and Sherwood have a significant similarity as solo artists. Neither needs much help in the studio, as each is sufficiently talented as a songwriter, singer, producer, and instrumentalist. Each has contributed significantly to the Yes discography (most notably, to 90125, Big Generator, and Talk in Rabin's case, and Keys to Ascension 2** and Open Your Eyes in Sherwood's). But neither has produced a solo album that holds my interest from start to finish. In Sherwood's case, it may be a certain sterility and monotony in his sound, and in Rabin's, it's his AOR fare.

In terms of Can't Look Away, I do give Rabin specific credit for not turning in an Eric Johnson or Joe Satriani album. First of all, those guys, and a few others, were already there and were busy doing that in 1989. Second, Rabin is capable of writing and singing accessible pop-rock songs, so why not?

Can't Look Away is a three-star album, though among three-star albums it's below average. Nonetheless, there are some good AOR tunes here, a few interestingly odd instrumentals - - and "Sorrow (Your Heart)," which stands as one of the most enjoyable Rabin songs I've ever heard.

====

*certainly not a Yes album, but like Can't Look Away, it fits the pattern.

**primarily, but importantly, as a producer.

 Live In LA by RABIN, TREVOR album cover Live, 2003
3.30 | 10 ratings

BUY
Live In LA
Trevor Rabin Crossover Prog

Review by patrickq
Prog Reviewer

2 stars My first exposure to this concert was via a 1990 Westwood One in Concert double album with excerpts from a Chris Rea concert on one LP and excerpts from Rabin's December 13, 1989 show on the other. The 2003 Voiceprint CD had ten tracks (a few of which were medleys of two songs), totaling 65 minutes; the 2014 Varèse Sarabande reissue (which I'm reviewing here) adds "Solly's Beard" from an unknown date on the same tour. Interestingly, neither includes the song "Promises" which was included on the Westwood One show.

Anyway, I was a little disappointed upon my first listen to the LP. The songs were familiar to me: "Owner of a Lonely Heart" and "Love Will Find a Way," plus four tunes from Rabin's recent solo LP Can't Look Away - - which I assume was being promoted via the Westwood One show. The problem? Rabin and company (Lou Molino (drums), Mark Mancina (keyboards and backing vocals), and Jim Simmons (bass and backing vocals)) were obviously playing along to prerecorded tapes. The female vocals on the first two tracks ("Cover Up" and "Sorrow (Your Heart)") are lifted directly off of Can't Look Away, while there are at least three Trevor Rabin's singing on the third song, "Love Will Find a Way." (At one point, at the end of the first verse, there's an error, as the live Rabin sings "I don't need to be," while the prerecorded ones are singing "It's so hard to be." This raises the possibility that the keyboardist was triggering samples, in which case my "prerecorded tapes" assumption is incorrect.) Later, when the crowd sings the verses on "Owner of a Lonely Heart," it sounds like four or five tracks of the same four or five people singing in the studio (including Rabin himself). And somehow they all knew all of the lyrics! Plus it was evident even in 1990 that some of the synth parts were MIDI sequences.

Despite my complaints, when I had the opportunity 25 years later to buy the CD, I shelled out the cash.

The songs on Live in LA that weren't on the Westwood One record are "Heard You Cry Wolf," from Rabin's 1981 album Wolf; "Changes;" from 90125; and three songs from his then-current album: "Can't Look Away," an medley of "Etoile Noir" and "Eyes of Love," and "Sludge," which includes an interpolation of Gentle Giant's "Just the Same."

Come to think of it, the album might've been called Just the Same rather than Live in LA - - it's a collection of too-faithful renditions of most of Rabin's best 1980s material. On much of the album the instrumentation, in addition to the vocals, is note-perfect; I'd be willing to believe that any imperfections were fixed in the studio. But I guess that this has to be looked at as a promotional item as much as a live album: it was meant to be heard once on the radio to entice you to go to the store and buy Can't Look Away. And actually, that's my suggestion too.

 90124 by RABIN, TREVOR album cover Boxset/Compilation, 2003
1.76 | 10 ratings

BUY
90124
Trevor Rabin Crossover Prog

Review by Guillermo
Prog Reviewer

2 stars An album which is really a collection of Demos of songs recorded by Trevor Rabin before he joined YES in 1981 and until 1991, with songs which were recorded by the band in the albums "90125", "Big Generator", "Union" and "Talk". Being essentially Demos the recording of most of them is not very good. Only two of these Demos were not recorded by YES: "Would Yo Feel My Love", a Pop Rock ballad, and an arrangement of "Promenade" from Mussorgsky`s "Pictures at an Exhibition", played with electric guitars.

Some Demos are interesting, like the Demos for "Hold On" and "Moving In", with parts of both of them which were later used for the final version of the song called "Hold On" from the "90125" album, The Demo for "Changes" shows the song without the contributions that Alan White (the instrumental intro) and Jon Anderson (the final lyrics) made for that song in the "90125" album.

"Where Will You Be" is an instrumental version of the same song which was recorded for the "Talk" album, very similar to the final product. "Owner of a Lonely Heart" shows the song without the final arrangements and with different lyrics and also lacking the contributions that Jon Anderson (additional lyrics) and Chris Squire (bass guitar arrangements) made to the final song which was recorded for the "90125" album. In one interview Rabin said that producer Trevor Horn had a songwriter`s credit in this song more for his production and arrangements for the song and as a "thank you" gesture for thinking that the song could be a Hit Single than for really contributing something else to the song.

"Walls" has Roger Hodgson (one of the co-writer of this song) singing backing vocals, with some arrangements which sound very influenced by Hodgson, but anyway sounding very similar to the final version which was recorded by YES for the "Talk" album. This Demo lacks a brief section that maybe was Jon Anderson`s final contribution to the song (a brief lyric that he sings in the final version).

"Love Will Find a Way" is a bit differerent to the final version which was recorded for the "Big Generator" album, lacking the strings arrangement used as an intro and the harmonica solo used in the final version, but it still is very similar to the final product. The same is for "Miracle of Life", which was recorded for the "Union" album, having some different arrangements but sounding very similar anyway to the final product.

"Don`t Give in" (track number 11 in this album) is a different version of "Make It Easy", a song which was included in the "Yesyears" Box Set, with different lyrics and arrangements.

This "90124" compilation of Demos is interesting. Maybe it is more interesting to listen to the changes that the contributions of the other members of YES made to the final versions of the songs which appeared in the albums which the band recorded with Trevor Rabin as a member of the band. It also shows how important was Rabin for the new sound of the band after Steve Howe left the band in early 1981, and also shows why Chris Squire and Alan White asked Rabin to form a band, because they liked his songs and musical ideas to re-establish YES as a band in the eighties with a more accessible style of music.

 Can't Look Away by RABIN, TREVOR album cover Studio Album, 1989
3.21 | 27 ratings

BUY
Can't Look Away
Trevor Rabin Crossover Prog

Review by Guillermo
Prog Reviewer

3 stars Without doubt, TREVOR RABIN is a very talented musician. He not only is a very good guitarist, but also he is a good keyboard player, lead singer , composer and producer. All these things appear in all the albums that he recorded as a member of YES between 1983 and 1994. Many fans of the band did not like very much his influence in the band`s music because it changed from being Prog Rock to a new style of music which also included some Pop Rock music influences and Hit Singles which were played a lot in the Radio. Despite all these influences, I still think that he was talented enough to be a member of that band. In the albums that he recorded with the band there are some good quality songs and some very good lead guitar playing by him.

This album, his fourth as soloist, was released almost at the same time as the "Anderson, Bruford, Wakeman, Howe" album, an album which Jon Anderson recorded with those other then former members of the band, being tired of the music direction that YES was having then. YES lost Anderson since late 1988, so the band was on hiatus, without a lead singer. So, Rabin took the opportunity to record this new solo album titled "I Can`t Look Away", maybe looking for a new chance as a soloist in 1989.

This is a good album, with songs mostly composed and arranged in the Pop Rock music trends of the late eighties, with some of them still having some Progressive rock influences. Unfortunately, the album is not very consistent as a whole and some songs really are not very interesting.

Among the best songs in this album, they are "I Can`t Look Away", "Something to Hold On To" (which became a Hit Single and maybe it is th best song from this album), "Sorrow (your heart)" (very influenced by Souht African music), "Cover Up", and "Promises" Coincidentaly, all these songs are the first five songs in the album, and with "Sludge", all are the strongest from the album. With the exception of "Promises", all these songs were also included in his live album titled "Live in L.A." which was released until 2003. That album has all these songs played better in concert.

Unfortunately, the rest of the songs are not as good, being mostly very Pop Rock ballads (like "I Didn`t Think It Would Last", "Hold On to Me", and "I Miss You Now"), plus a "power ballad" which sounds like being very influenced by FOREIGNER ("Eyes of Love") with a guitar riff very influenced by that band`s guitarist (Mick Jones). "Etoile Noir" and "The Cape" are instrumental pieces of music, not very interesting for my taste.

So, Rabin left at the first half of the album the best songs, with the rest of the songs (with the exception of the heavy instrumental titled "Sludge") not being as interesting. The album only reached the number 111 in the "Billboard 200" chart in the U.S., so it was not very successful in commercial terms, even with the very eighties production. But "Something to Hold On To" became a Hit Single, reaching the number three in the U.S. Billboard charts, and having a video which was played on TV.

The recording and mixing of the album is very good. Rabin recorded very good lead and backing vocals, and his guitar playing is very good, having some very good guitar solos in some songs. So, this is a good quality album which could have been more interesting for some of Rabin`s fans and some fans of the Pop Rock market.

YES`s drummer Alan White appears in two songs, but in this album his drums playing style is not very easy to be identified, having to compete with some programmed drum machines.

This album was the last released Rabin`s solo album until 2012, when he released his album titled "Jacaranda", after recording a lot of soundtrack albums for films since leaving YES in mid 1995.

 Live In LA by RABIN, TREVOR album cover Live, 2003
3.30 | 10 ratings

BUY
Live In LA
Trevor Rabin Crossover Prog

Review by Guillermo
Prog Reviewer

4 stars In mid 1991 a concert from TREVOR RABIN was broadcasted in one Stereo FM Radio Station in my city. It was the time (since maybe 1987) when very good Rock music concerts were broadcasted by at least three different Stereo FM Radio Stations in my city. I recorded some parts of that broadcast from Rabin`s concert in one cassette which unfortunately does not work anymore. The set list of that concert was very similar to the one which this "Live in L.A." album has, but the radio broadcast also included "Promises", another song from Rabin`s "I Can`t Look Away" album which unfortunately was not included in this live album. I can`t say if the concert which was broadcasted in the radio was the same concert which was released in this live album, but both are very energetic performances by Rabin and his band from his 1989 solo tour to promote his "I Can`t Look Away" studio album which was released in the same year.

This live album has several songs from that 1989 studio album, plus one from his "Wolf" album and three songs ("Changes", "Owner of a Lonely Heart" and "Love Will Find a Way") which Rabin previously recorded with YES in the albums "90125" and "Big Generator". Rabin really had a hard time trying to reach some high notes which were originally sung by Jon Anderson in "Owner of a Lonely Heart", leaving some parts of the song to be sung by the audience. "Cover Up" has as an intro an instrumental part which was later included in YES`s "Lift Me Up" song from the "Union" album in 1991.

From the songs which he originally recorded for his "I Can`t Look Away" album, "Sludge" is a heavy instrumental piece of music with some Prog Rock and Jazz-Rock inlfuences with very good drums by Lou Molino III, and the title song from that album is played with a very good final part which includes an extended lead guitar by Rabin. The rest of the songs are mostly good songs with a mixture of good Pop Rock music with some Prog Rock influences. "Sorrow" has some South African musical influences with some Pop Rock arrangements which made me remember a bit some of Paul Simon`s music from his album "Graceland".

The recording and mixing of the album is good. But only four musicians are credited, with Rabin and two of his musicians singing, But sometimes the backing vocals sound "so good" that sometimes I think that Rabin used some pre-recorded tapes or backing vocals samples to fill the sound, or that the backing vocals were really sung by uncredited backing singers (something that I really don`t know), but it is more likely that Rabin used pre- recorded tapes or backing vocals samples for the additional backing vocals. Anyway, this is a vey good live album that shows Rabin and his band playing very well in concert. It really is a shame that his "I Can`t Look Away" album was not very successful in the charts. I think that Rabin really had a lot of potential to be more successful as a soloist. Maybe the constant pressures from major record labels to have Hit Singles and Hit albums disappointed Rabin a bit as a soloist and as member of YES to make him dedicate his later musical career to compose soundtrack music for a lot of films, a thing which made him very successful (and maybe happier) in that field and being more comfortably away from the more demanding Pop Rock music market.

 Can't Look Away by RABIN, TREVOR album cover Studio Album, 1989
3.21 | 27 ratings

BUY
Can't Look Away
Trevor Rabin Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

3 stars For what it's worth, this album holds a special place to me, since I had a wonderful time at the release party held in Boston. I was at the party, and Trevor Rabin noticed that I was the only one there actually listening to the album. So, over continuous glasses of champagne, we had a nice discussion about the album, Yes, and prog rock in general.

I honestly didn't think much of the album at the time, as I was listening to bands like Doctor Nerve and Univers Zero mostly in those days, and didn't have much appreciation for this pop-ish style of music. But since Rabin's addition to the archives, I've taken a fresh look at the disk.

If you like the 80's Yes, then you may just enjoy this album. It definitely displays Rabin's influence, and points to him as the leader of Yes during that period. The song styling is similar in many ways, and quite often sounds like tracks that could have been on "Big Generator". It has a similar, clear production, with Rabin's rich harmonization of guitars, keyboards and vocals.

Much of it also sounds like classic Foreigner, which isn't necessarily a bad thing. Rabin's undoing comes in his sometimes too schmaltzy lyrics, hitting the depths on "Hold On To Me". But those points don't totally overwhelm the fact that Rabin is a truly gifted guitarist. His solos throughout lift even the sappy love songs to a listenable level.

The album revs up a bit at the end. "Sludge" is the best, and most progressive and aggressive track. It's an instrumental that becomes an almost metal fusion piece. "I Miss You Now" displays some nice bass work from Rabin, and "The Cape" provides a nice ending over an almost new-age backing track.

Does this album justify Rabin's inclusion here? Not quite, but "Jacaranda" certainly does. But as a slightly prog, but mostly rock album, it's pretty good.

 Jacaranda by RABIN, TREVOR album cover Studio Album, 2012
3.32 | 18 ratings

BUY
Jacaranda
Trevor Rabin Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

3 stars The Yes man goes Jazz-Rock/Fusion!

Released in 2012, Jacaranda is Trevor Rabin's first solo album since 1989's Can't Look Away (though he has created a staggering amount of film soundtracks for many major films in the interim). What should be pointed out right from the start is that while Can't Look Away was an album very much in the style of 80's and 90's Yes (particularly the four albums to which Rabin contributed: 90125, Big Generator, Union, and Talk), Jacaranda is an all instrumental Jazz-Rock/Fusion album. What struck me immediately while hearing this album for the first time was how remarkably much it sounds like a Steve Morse album! Rabin has obviously picked up quite a lot of tricks from that guitarist of The Dixie Dregs and now of Deep Purple. This is not a criticism as such since I like Steve Morse and Rabin is one of few guitarists that are equally good, but it is not what I personally would have expected from him.

Jacaranda showcases Rabin's immense guitar playing skills very well, but his skills as a vocalist and songwriter are obviously left entirely out of the picture which is a shame. What made Can't Look Away into such a good album for me, and what made Rabin's contributions to the Yes albums that he played on so distinctive, was not just his impeccable guitar playing, but also his vocals and song writing. But Jacaranda is an album that focuses almost completely on Rabin as a guitar player. He is a great guitarist, but to my mind he is not "just" a great guitar player, and I for one would like to see more of his other sides as well.

If you are coming at Rabin's solo career from a Yes angle, expecting anything even remotely similar to 80's and 90's Yes, then Jacaranda is bound to let you down and come across as somewhat one-dimensional. If, however, Jazz-Rock/Fusion is your thing, and especially if you are a fan of the solo albums by Steve Morse, then this album is for you. Personally, I belong to the first group, but even so I can appreciate this album for what it is. I don't mind some good Jazz-Rock/Fusion like this, and Rabin does it very well, but I very much hope he one day will make another album more in the style of Can't Look Away utilizing not only his immense instrumental skills.

 90124 by RABIN, TREVOR album cover Boxset/Compilation, 2003
1.76 | 10 ratings

BUY
90124
Trevor Rabin Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

1 stars "A brutally honest first draft"

In 2003 two archival Trevor Rabin releases saw the light, both issued by the Voiceprint label. Someone had dug into the archives and found some older recordings including a live recording from 1989 which resulted in Live In LA and some demos and outtakes of material Rabin had written for Yes between 1981 and 1991 resulting in the present compilation. Out of these two the Live In LA album is the much superior one, recorded on tour in support of the very good Can't Look Away (Rabin's first solo album since he had joined Yes).

The title and the artwork of 90124 obviously refers to the Yes album 90125, the first yes album that Rabin had contributed to, though the unfinished songs included here were not all written for that album but some for Big Generator, Union, and Talk. Most of the songs here will be familiar to Yes fans, but in some cases only some parts of these songs were used by the band.

The album opens with Hold On which here consists of two different demo recordings stuck together into one. Other songs from these 1981 sessions include Changes and Owner Of A Lonely Heart, all of which would end up on 90125. These versions add little of interest to the finished versions. Moving In is a track that was not recorded by Yes, though some parts of the track were incorporated into the finished version of Hold On. The track that is here mislabelled Cinema is actually an alternate, early version of Make It Easy, a track that was written and recorded by Yes in the early 80's but was not included on any Yes album. It was subsequently released in 1991 as part of the YesYears box set and also as a single around the same time to promote that box set. Rabin often used to play part of this song live as an introduction to Owner Of A Lonely Heart. Would You Feel My Love is yet another track written by Rabin for 90125 but was not used. I can understand why!

From the Big Generator writing sessions we get Love Will Find A Way. This version is rather similar to the finished version and adds nothing of interest. Miracle Of Life is an excellent song that Rabin wrote for Union. Again, this demo version adds little of interest and I much prefer the finished album version. Finally, Talk is represented by two tracks here in Walls and Where Will You be. The former features Roger Hodgson of Supertramp on backing vocals and the latter is here presented in an all instrumental version. I enjoy this instrumental version but it can hardly be said to be essential. Promenade is a guitar version of the Classical piece by Mussorgsky (popularised by Emerson Lake & Palmer in the early 70's; Rabin was probably inspired by them). It is unclear to me why it is included here as it doesn't have anything to do with Yes.

If you have 90125 (especially the remastered CD version with bonus tracks), Big Generator, Union, and Talk, this compilation adds little of interest to your collection. It is interesting only as a historical document and it has very little listening value. It is only recommended for hard core fans of 80's Yes and Trevor Rabin's contribution to that era of the band in particular. Rabin himself has expressed scepticism about this release and called it "a brutally honest first draft" which is exactly what it is.

 Live In LA by RABIN, TREVOR album cover Live, 2003
3.30 | 10 ratings

BUY
Live In LA
Trevor Rabin Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

4 stars Oh Yes!

Following the release of Can't Look Away, his first solo album since he had joined Yes, Trevor Rabin went on tour to promote the album. On that tour in 1989 this live album was recorded, though it wasn't released until 2003. In addition to songs from Can't Look Away, the solid set list also includes some songs from the two Yes albums that Rabin had contributed to up to that time. From 90125 we get Changes and Owner Of A Lonely Heart and from Big Generator he has chosen Love Will Find A Way. The latter two songs have never been big favourites of mine, but Changes is a great selection. Moreover, snippets of both Make It Easy (a song that was first written and recorded in 1981 but remained unreleased until 1991 when it appeared on the YesYears box set) and Lift Me Up (a song that would later appear in full form on the Union album but was probably not yet completed at the time of this live recording) can be heard here. I love the riff of Lift Me Up which is played at the very opening of this concert leading into the first full track Cover Up. The Make It Easy excerpt is also really strong and introduces Owner Of A Lonely Heart here just like it would do on the Union tour later. The set list is rounded off by a song taken from an earlier Rabin solo album in Heard You Cry Wolf. All of the songs performed were written or co-written by Rabin.

I think that Can't Look Away is a very good album and all the songs they play from it here are very good. The title track is expanded to some 12 minutes and the instrumental Sludge is performed differently from the studio version. The latter sounds almost Prog Metal in this live rendition! The band that backs Rabin up here consists of Lou Molino III on drums, Mark Mancina on keyboards, and Jim Simmons on bass. Rabin himself shines on guitars and vocals.

This is a very good live album and personally I would say that it is better than any of the live recordings that I've heard from Rabin-era Yes (I'm thinking here of 9012 Live and Union Live). It is a real shame that Rabin didn't continue to play live (after he left Yes the second time around) as he had a very good thing going here. I still hope that he would again form a band around himself as strong as the band that he had when this live album was recorded and once more tour the world performing songs from his time in Yes and his best solo material. A set list similar to this one but with further songs added from Union and Talk could really be great.

Live In LA is a perfect companion to Can't Look Away and a good addition to a Yes fan's collection

Thanks to kev rowland for the artist addition. and to Quinino for the last updates

Copyright Prog Archives, All rights reserved. | Legal Notice | Privacy Policy | Advertise | RSS + syndications

Other sites in the MAC network: JazzMusicArchives.com — jazz music reviews and archives | MetalMusicArchives.com — metal music reviews and archives