Trevor Rabin

First, I wanted to say that Talk was and remains the best Yes album in ages. I listened to it again just last week and it still blows me away. It's criminal that it hasn't gotten more recognition. Second, I wanted to ask you about your creative process. Does your music often spring into your head fully formed or does it come out of "jamming" on the guitar or other instruments? Do you write lyrics separately or in conjunction with the music?

Thanks for your thoughts on the Talk album. It's close to my heart, as is 90125 and Big Generator As far as writing, it is a bit of a mystery. I never know where or what is going to come to me.

Your work's been an inspiration to me for many years, and I've really enjoyed your development as a musician and an artist. I just wanted to say that your music got me through hours and hours of tennis practice a few years back, and now I'm quite good and enjoying the game a lot. When I'm out on the court, I still think of the great songs from Can't Look Away and Big Generator. I wonder, do you like tennis? If not tennis, then what sports do you like to play, or what books do you read?

I love tennis, although at best I'm average.

I remember reading an interview in one of the guitar magazines where you said that The Beatles were a big influence on you (and everyone else). Are you friends with any of them? You listed "Being For the Benefit of Mr. Kite" in particular as a very intriguing song with all of the studio effects. Did you ever cover any of their songs? Could you ever see yourself trying your hand at a studio recording of "Benefit", even if it was just for fun and never to be released?

Good thought. Maybe I'll try something from Beatle Land when time allows.

The production on Talk is simply stunning. What an album, what guitaring and compositions. A wonderful final album with Yes. Selfishly, I am anguished that I'll never see you play with them.

Question: When are you going to return to play in South Africa?

Thanks so much for your compliments. I really toured hard on the Talk album and enjoyed making it. I put as much energy into its making as I did 90125 or Big Generator.

I do hope to play South Africa again, but it won't be this year.

Knowing you like to have a large hand in the songwriting, producing and playing of the music, what kept you in YES for so long? I would imagine it's because the unique talent and creativity around you made your parts a "better whole" than any single contribution, but that's just my assumption. What kept you?

I knew I wanted to work in a more challenging place, so film and solo albums is where I want to be. I had been thinking about this about two tears before leaving the band.

Any thoughts on Yes' Keys To Ascension? Do you think Squire, Alan, Anderson went too retro?

Have not really heard enough of the album to say, sorry.

I am recording an album direct with Rockman units. I LOVE them! What can I do to warm up the sound a little? Sometimes, my guitar sounds so metallic?

My experience with direct effects has been good with a Korg A3 (not made anymore). Maybe you can find one second-hand. I'm not too keen on Rockmans anymore.

One of my favorite songs, "The Runner" by Manfred Mann's Earth Band has a guitar solo that has your style all over it. Is it really yours? Also, I really liked the acoustic guitar parts on the Big Generator album, specially "Shoot High Aim Low" and the excellent musicianship you displayed on "Miracle of Life". Will the next album go that way or do you wish to depart from that?

Yes, I think I played on "The Runner" (can't quite remember) but I love Manfred as a person and I have a tremendous amount of respect for him as a musician. I was happy to learn what an amazing pianist, both jazz and classical he is, when I produced Manfred Mann's Earth Band. I try not to copy myself or anyone else; therefore, I hope to explore new places when I do the next album.

Since you have always used state of the art recording technologies, especially the all digital format on Talk, I was wondering if you would use the new digital surround 5.1 technologies, like DTS, to record any future albums? And would you ever consider re-releasing Talk using DTS surround to take advantage of its already phenomenal sound quality?

I am working closely with Dolby Labs at the moment on the Dolby 5.1 format. I hope this format takes off, as it sounds spectacular. Dolby have approached me about remixing 90125, Big Generator, Talk and Can't Look Away for release on the DVD 5.1 format. I hope I have time, as I think albums would visit a whole new creative place. I have a very good 5.1 system and I love it!

It is my understanding that you composed the soundtrack (or score) of Steven Seagal's The Glimmer Man. I also have heard that Seagal had written some of the songs -- be it the soundtrack, score, I don't know -- additionally. Is it true, and if so, are you aware at which parts of the movie that his contributions are playing?

On The Glimmer Man, Steven had written some really good songs, but we ended up not using them. I believe they appear in his new movie. As far as The Glimmer Man score, Steven ended up not playing or writing.

I finally got a copy of "Wolf" on CD a few months back. How did you like working with Ray Davies? Can you explain the "Wolfman" in the title "Looking For A Lady (Wolfman)". I also noticed that there a few guitar references on "Wolf": the guitar solo on "She's Easy" sounds like a tip of the cap to Michael Schenker, the beginning of "Looking For A Lady" seems like a reference to your friend Steve Morse, and "Take Me To A Party" sounds like slide a la Jeff Beck. I know Mo Foster and Simon Phillips both appeared on albums by Schenker and Jeff Beck around the same time "Wolf" was recorded. Is it fair to assume that, or am I wrong?

I like Ray Davies; he was interesting to work with. His focus was mostly on lyric. Wolfman refers to the hunter in us. "She's Easy" - I had not heard Michael Schenker until after "Wolf"; however, funnily enough soon after "Wolf", I was approached to produce him (I like him a lot). "Looking for a lady" (intro) was basically a jam that I had with Jack Bruce and Simon Phillips which I ended up working up for the album. I think you are correct on the last question.

Hi Trevor! Glad to see you back answering question in the Forum. I really enjoyed the Con Air soundtrack! I was wondering how you and Mark divided the responsibilities in composing and performing the score. Did you play all the guitar parts?

Mark had to depart early into Con Air to score Speed II, so I ended up doing pretty much most of the score on my own. Yes, I did play the guitars on Con Air.

Trevor, when will we get a new record?

I intend to record a new album next year, so hopefully release will be by the end of '98.

Do you think you might work with Chris Squire in solo projects? He certainly complements your guitar style. Will you ever return to Edmonton, Alberta again? You haven't been here since the 90125 Tour.

Chris Squire and I would like to work together at some point, but we're both busy doing different things right now. We do speak quite often. I would love to play Edmonton again, hopefully in the not too distant future.

Is there a chance that a live CD from your 1989 tour will be released? Get back to Philly soon!

I miss Philly. The 1989 tour will be released at some point. I'm very happy with the results of the final master.

Why are the songs on the Japanese pressing of "Wolf" in a different order from the songs on the American/European pressing?

I did not know that the order was different. It should have been the order of the European copy.

What are your favorite three songs that you have written and what are your favorite three albums of all time?

Faves are "Owner", "Hearts", "Changes", "Endless Dream", "Can't Look Away", "Shoot High Aim Low", "Miracle of life". Fave albums: 1812 with Bernstein and NY Philharmonic, "Electric Ladyland", "Birds of Fire".

I have heard about a commercially ill-fated laserdisc video of the last Union show in San Francisco in 1991 that you had cancelled after making 10 copies. Is there chance that we will see it released in the future? Also, on the guitar solo of "Owner of a Lonely Heart", what other effects did you use besides the pitch transposer?

No other effects on "Owner" solo; just very very loud guitar in the studio in stereo. Not sure about Union video.

On your next tour will you be touring with a full band or do a solo tour? Also will you be touring clubs or the larger theaters? Please come to Oklahoma!

Interestingly, after the bombing in Oklahoma, I was driven to write a 22 minute orchestral piece with guitars and vocals all about the dreadful incident, but have not released it. I love Oklahoma and will be including it on the next tour with full band.

Is your Strat or your Trevor Rabin Model Alvarez you primary guitar? What amps do you use to get your sound (electric).

My signature model Alvarez has become my "most used" guitar. I use Ampeg 120's (amps).

What was it like working with Jack Bruce?

Working with Jack Bruce was great. Unfortunetly Jack, Simon Phillips and I jammed a lot (besides what went on the Wolf Album) and I cannot find those tapes. I remember the jams being very inspired.

How much true pleasure do you get out of your music these days? I've rarely ever seen you smile onstage and I've recently heard music on a movie soundtrack that, well, didn't particularly seem like you were into it. I just wonder, with the hectic schedule you keep up, if there have been times where you've had to put out something you just didn't like; you never SEEM happy. Just smile more. It feels good after a little practice (Heh,Heh).

I am suprised to hear that you feel I don't smile on stage. I love performing, so I will show my teeth from now on. Sometimes I forget the joy I feel from creating music due to the heavy schedule, but whenever I go on holiday or take time off, I always look forward to working again.

Who or what does the title "Solly's Beard" refer to? Also, on the Can't Look Away tour you introduced "Sorrow (Your Heart)" by saying it was written for a friend of yours. Could you explain?

I had a close black friend in South Africa named Kenny who went through many hardships. This song was for him. Solly was my dog who we recently lost....old age.

I read some time ago in two separate interviews with you that the song "I'm Running" was originally 11 minutes long, and earlier that the song "Cinema" was initially 13 minutes long. Tim Morse, in Yesstories, additionally claims that "Cinema" was originally a 20 minute piece called "Time." Could you clarify the song lengths, and describe the music that got cut from each song? What happened during the extra 17 minutes of "Cinema?"

"Cinema" was called "Time", but as a 20 minute piece ,didn't fit the atmosphere of 90125. It was quite complex with many time signatures, etc. We all liked it in the band.

Sorry to see that you're not currently with Yes, and I hope that your departure isn't permanent. It's sad not to see you involved. Yes without Trevor Rabin is like peanut butter without jelly. You belong there, but I also can't wait to hear your next solo album.

I hope you like jelly on its own. Thanks for your compliments.

Is there a place (city, country, whatever) that you have never visited that you would like to, either on tour or just as a tourist? Also, do you have specific musicians in mind or committed to be in your band for your next tour? Anyone we know?

Many places I would like to go, but I have been to a lot of places that I loved. As far as the band goes, I haven't decided yet.

Have you listened to Yes' new album Keys To Ascension, and if so, what do you think of it?

No, I havent heard it.

When you write a song like "Endless Dream", how much do you write on paper, and how much is manufactured in sessions?

My writing takes on many different techniques; some are wriiten on manuscript, some on guitar, piano, etc.

Have you ever visited Australia or do you plan to? I think a visit here would create a lot of interest in your recent and future work.

No, I haven't as yet had the opportunity to visit Australia, but I definitely intend on doing so. Perhaps my next tour.

On the track "The More We Live...Let Go" from Union, are you doing any of the vocal tracks?

I can't remember if I sang vocals on that. Sorry.

Did you use an orchestra in "The Glimmer Man" (and will you in "Con Air")? If so, do you personally write out the individual parts for each instrument and conduct or do you have an arranger/conductor you work with?

I didn't use an orchestra on "The Glimmer Man", but I am using one on "Con Air". As much as I'd like to, there isn't the time to do the conducting.

I watched "The Glimmer Man" last week. The music was wonderful and it fit the picture very well. I heard that Steven Seagal played guitar on the soundtrack, too. What did you think of his playing?

Steven did play guitar on some of the soundtrack. I would have to say he's pretty good.

During your tenure with Yes why did it seem like there was so little "new" music being made. From 90125 through Talk, Yes only made 3 1/2 studio albums (Union being the half). Everything else being made up of greatest hits and compilation Albums. I remember you saying once that Big Generator "took to long to make". Lastly, is "Janakananda Room" as in Rajarsi Janakananda (James J.Lynn) w/ Self-Realization (Paramahansa Yoganada)?

It did seem to take a long time to make and gear up for Yes albums, but you cannot control the schedule of creativity. The word is Jacaranda, which is the name of a beautiful tree. The street I grew up on was lined with Jacaranda trees. Thanks for writing.

I'd heard that you declined an offer to join Asia when it was being formed. Were they looking at you as singer, guitarist, or both? Did you rehearse with them, and if so, who was in the band at that point?

Yes, I did decline Asia. At the time of rehearsals it was Carl, John, Steve and Geoff. I was to be the singer, guitar player and writer.

The liner notes in Union seem to suggest that while ABWH was working on its second album, Yes had been reduced to only Tony, Alan and Chris. Had you quit the band?

I had taken time to do solo stuff and work with Roger Hodgson.

Do you intend to release some of your earlier solo albums on CD? Will you work with Simon (Phillips) again on some project? And, I know your influence comes from Jazz guitar players, but what rock/metal guitarists do you think are good or technically proficient?

All three solo albums are out on CD on One Way Records. Simon and I are friends and we enjoyed working together, there are no plans to work together again. I don't have a favorite guitar player, but there are many I admire.

Is the mental process you use for composing film scores different than for composing songs for, say, an album? I understand the musical product will be quite different, but my question deals more with the inspiration you draw upon for your ideas rather than the resulting format.

Writing for film is entirely different. Besides the technical aspects, it is very inspiring. It's a great question. Film often demands an understanding of (the) orchestra, the ability to "paint sound" and, unfortunately, to work fast. Also the film is re-edited so often that you tend to be updating music all the time to fit the film. I read recently that film music is the modern day platform for neo-classical music. I tend to agree.

Will you be playing any Yes music on your next solo tour?

I will perform material from 90125, Big Generator, Talk, and possibly something from Union on my next tour.

Who is Paul Linford? I see that he mastered your CD and co-produced the "Glimmer Man" soundtrack. Do you and he plan to continue working together?

Paul Linford is my assistant and does great work for me.

Now that you are out of Yes, do you plan on being a solo musician or have you considered forming a new band along with your solo plans? Do you plan on using new technology, like the hard disk, in future recordings as you did with Talk, and do you feel that it's better than digital or analog tape methods of recording?

I left Yes because there were so many other things I wanted to do: solo albums, film scores, and working with other people. I have always had an interest in technology - and use the latest stuff available. Both analogue and digital (tape or non linear) are valid.

What was your main inspiration behind many of the heartaching songs on your "Can't Look Away" album?

"Can't Look Away" was largely inspired by the heartache and anguish in South Africa before Mandela came to power.

Is there a story behind the juxtaposition of 'I eat at chez nous' within the more romantic lyrics of "Love Will Find a Way"?

"Love Will Find A Way" is a hopeful love song. I eat at chez nous was a bit of humour, as I was stuck on that line and had about eight different lines, none of which I was happy with.

With your well varied compositions, do you consider yourself more a keyboard/piano player or guitarist? What instrument do you primarily write with?

My main instrument is and always will be guitar, although I love playing other instruments. For scoring I write on piano, mostly, or on paper.

Did your parents play any instruments?

My father was the leader of the Johannesburg symphony; a great violinist. My mother was a piano teacher.

1. Where was the '62 strat purchased?
2. How old is Ryan Now?
3. When you tour, will you come to the southeast US?

1. The '62 strat was purchased in South Africa
2. Ryan is 11
3. I am sure the tour will come to the South East

I loved the guitar sound you got in your solos on the Union tour. You were using a white guitar with piezo pickups. Can you tell us about that particular guitar?

If you're referring to my acoustic guitar I used during the solos, it's my Alvarez.

I have seen that you recently declined an invitation to join ELP in the studio for their next project. How well do you know the band? Is there any chance in the forseeable future that you would consider a joint project with them?

ELP sent me a song that they wanted me to play on. Unfortunately, that was at the same time "The Glimmer Man" was at its peak, and I had no way of being able to do it. I have high regard for the band, and if time allowed, I would have loved to have done something with them. I know them well, they're all great guys. I don't think we'll be doing anything together soon, though.

I was wondering about something technical on the Talk album. One of the greatest things about the album is how (it) has such a strong low end. What is going on other than Squire's bass lines?

EQ and arrangement are important. Specifically, a lot of the bass guitar is doubled by low end synthesizers.

Have you checked out any of the homepages dedicated to your work or news groups about yourself or Yes? How do you feel about all that endless bickering between fans of the Howe vs. Rabin variety?

Periodically. I feel the Rabin fans are correct.

Now that you are doing film scores is there a chance that you might use Rick Wakeman in any of this work, or just team up with him in the future for any project?

Collaborating with Rick on film scores is not in the cards. However, we do hope to do something together on some level sometime. Time is not on our side right now.

You are credited on Jon Anderson's 3 Ships album (for "fab guitar"). Do you remember what track(s) you played on? I seem to recognize your playing on "Where Were You?".

I cannot remember what I played on the 3 ships album, sorry.

I understand that you have a classical background. Where did you go to school, and who was your biggest influence?

I studied music privately with a South African Professor named Walter Mony. As far as my biggest influences, I have many, but I would have to say right now Beethoven. I recently transcribed Beethoven's 5th for twelve guitars which will be on a Steve Morse album sometime soon.

Will we have a chance, one day, to listen to what you did with Roger Hodgson?

Roger and I still hope to do an album together. Time is our enemy. We're great buddies, though.

I was wondering if you have heard the young Canadian violinist named Ashley MacIsaac?

No, I haven't heard of Ashley MacIsaac.

What are your personal favourite guitars?

My favorite guitars are my '62 strat, my (Alvarez) Pantera and my Gibson Barney Kessel.

What is your standing with Yes right now? Are you doing any projects with them at the moment or in the near future?

I have no plans to do anything with Yes.

I am curious whether you still are in touch with any of the members of Yes even though you have left the band.

Due to my schedule I really haven't had time to communicate much with the guys in Yes.

How do you get that wonderful acoustic lead sound?

My acoustic sound has to do with playing hard and compression.

I am happy to hear about the new solo project. Do you plan to tour in support of it?

Yes, I definitely intend to tour. Just not sure exactly when. I'm committed to a couple more movies right now, but touring is a definite!!!!!!

Any plans to tour (and hopefully come to Pittsburgh this time)? If so what Yes material would you play?

When I tour, I will definitely come to Pittsburgh. (I would play) the songs I wrote. Some of the favorites being "Changes", "Owner of a Lonely Heart", "Hearts", "Shoot High Aim Low", "I'm Running", "Miracle of Life" and "Endless Dream".

I was wondering about collaborations. I heard you might do some work with Rick Wakeman (and) Rodger Hodgson. Will there be any projects like that?

Rick Wakeman and Roger are two people that I've enjoyed working with and, time allowing, we would love to work together on something.

1. Is it you doing the guitar playing on the end credits of "Twister"?
2. Will you be visting Norway again soon?

1. As far as "Twister" goes, I haven't heard the CD, so I'm not sure who plays where.
2. Not in the near future, even though I would love to.

Note: According to the Twister score CD, Eddie Van Halen plays under the end credits.

Would you ever consider working with Steve Howe and releasing a CD together?

Our styles are incompatable. I don't believe that will happen.

I always thought Yes never played the best stuff live that they did in the studio. How did you decide what to play?

Good question. I think you're right. A lot of the time our choices were not the best. A lot of my personal favourites were not always the ones I got to play live.

Now that you are composing film scores, are there any composers that you really admire

My favorite composer is Ennio Morricone ; he did the movie "The Mission."

Is it true that you have a relative in Norway? Married with your sister? And he's working in a record shop in Oslo?

I do have a relative in Norway. He is my brother in law (I am married to his sister) and yes, he does own a record store in Oslo.

I was wondering if and when you go back to South Africa, what differences you notice under the new government? Have things really changed, or is that just an illusion?

South Africa is obviously a much better country than it was previously. Mandela is a great man. Unfortunately the crime rate is extremely high at the present time.

Is there a soundtrack CD available for "The Glimmer Man"?

There is no release of a Glimmerman soundtrack at this time.

What is your standing with Yes right now? I know they have an album out with Steve Howe playing but are you doing any projects with them at the moment or in the near future?

Things change, but for now I'm so inspired by where I'm going musically, this doesn't seem like something I would do. The reason I got into film scoring is because the level of musicianship in general is higher and more challenging than in rock and roll.

Were the excellent lyrics on the track "Walls" inspired by any personal experience?

The lyrics of "Walls" were written from my time spent in the South African army.

I've always been curious about the interesting artwork on your Fender Stratocaster.

The artwork was done during guard duty in the army by myself and a friend of mine, Selwyn Schneider.

Have you ever worked with Eddie Van Halen, perhaps on the "Twister" score? If not, would you consider it?

Eddie Van Halen and I are good friends, and although we haven't worked together yet, he paid me a great musical compliment by using the opening to "Eyes of Love" on the last Van Halen CD (instrumental). We have also talked about the possibility of me producing them.

Name the three musicians you would like most to work with.

Do they need to be living? Leonard Bernstein, definitely. His recording of (Tchiakowsky's) 1812 Overture is absolutely amazing. Second would have to be John McLaughlin. Actually, just after I moved to L.A. in the early 80's I was asked by John to fill in for Al DiMeola on some gigs they were doing at the time. I got the tapes and learned all the material, but it never came about. The third person that comes to mind is Jaco Pastorius. What an incredible player he was.

How do South Africans feel about Rabbitt today?

It's funny you should ask that. The other day I got a call from a guy in South Africa about a play he was doing about Rabbitt. He wanted me to be a consultant; to make sure things are accurate, I guess.

The four of us bonded so strongly in those years. Nobody really knew what was going on - how big it really was - until years later. We just loved playing the music so much and we loved being with eachother. It was a magical time for us. About once or twice a year since then we've been asked about doing a reunion thing.

What are the other Rabbitt members doing today?

Duncan is still in music. He sang on "Can't Look Away" a few years back. Ronnie still plays bass around the house. Neil is very successful making steel furniture in South Africa. We're all still very close. We talk a lot.

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August 3, 1998