Rabin speaks out on Owner "controversy"

[Sean]

He has been posting to his FB a lot lately and posted this today-

https://www.facebook.com/pages/Trevo...375493?fref=nf

Hi Folks, well I guess it's time for controversy.

I have always thought that spending any time on past issues takes up valuable time from the future. However, I have had tons of emails from people referring to Trevor Horns revisionist history . I was sent an interview with Trevor Horn about Owner ..."his brainchild"... As far as the song not being wanting to be done, it had always been what I KNEW when I wrote it, that it would be the strongest possibility as a single. As I mentioned before, the first time someone felt as strongly as I did, was Ron Fair, who by the way, had spent time editing, and getting it in a less raw state to present to RCA when he wanted to sign me. Long before Yes.

Trevor Horn claims the share that was allotted to him was for contributing to the verse. I am always updating stuff from demo time to final master. If I was to play to you my original demo of "Can't look away" compared to the final,...it's very different, I went through that process on all of 90125. In fact I remember Jon complaining to Trevor Horn that he hadn't added much from what I had finally presented. Trevor Horn had thanked him, saying that (in effect). If it ain't broke don't fix it.

Trevor Horn being allotted a percentage was a thank you for introducing me to the syn clavier which is one of the keyboards I used on the song and I had not used before. Also for the fun we had making it. I could go on,but I've bitten my lip for a long time, largely because Trevor Horn and I are good friends. After 90125 he flew me to London to spend a couple of weeks with him to play the guitars on the Tina Turner album. Also did stuff for him on Seal, Frankie,Cher and I don't remember beyond that. But we became good friends and remain good friends. I did give 30 percent of the song away and landed up with 70 percent. Jon did add to my lyrics in the verses and deserved what he got as did Chris. One can hear MY development of the song on 90124 . Sound doesn't lie. (glad I released it, it actually wasn't even my idea)...

We all worked really hard on Owner to get it where it landed up, ..and Chris,Jon and Trevor were fantastic to work with. I always was proud to acknowledge that Jon and I had an amazing time on Talk, and my reputation as a control freak is unfair, I demand a lot from everyone and mostly myself. Up to now, I have always said "no comment" about this, and other "things" which I will continue to do. In Trevor's case , he has always spoken of me with affection and praise. I feel the same about him. But it was time on this to close the chapter which I have ignored for decades. I definitely won't waste anymore precious time on this, but I have really been inundated with mail and had to respond.

Thanks for listening. And I still love Trevor Horn.

I find this stuff quite silly. I think it suggests an elevated sense of importance from the "stars" who make this "profound art". Artists should do their job and appreciate that they are lucky enough to do what they like and have the good fortune to have people interested enough to listen. The sense of self importance and entitlement, I find loathsome.

[zorknapp]

I think the issue with the song, is that Rabin's demo on 90124, and the completed song on 90125, are SO different. Rabin seems to be saying here that the differences are mainly his creation.

I recall reading that Squire wrote the music for the bridge, "After my own indecision they confused me so..." section.

Anderson probably rewrote some words here and there. Rabin says that Horn's credit is mainly for being a good guy, and introducing him to the Synclavier.

*This* is why we need to hear more of the "Cinema" versions of the 90125 album, not just It Can Happen. What was Owner like once it was recorded by them, the interim version between Rabin's (horrible) demo, and the final 90125 version.

Immersion edition of 90125? Yes please!

Mike

[Scott Bails]

And can we please have the full version of "Cinema," or "Time," or whatever it's called???

[2steves]

don't really like Yes west as it sounds like the 80's to me--and Owner sounds like what Horn was doing production wise in the studio at the time ---so whether he wrote a lyric or a note---the sound of the song sounds like pure Horn to me.

[Scott Bails]

don't really like Yes west as it sounds like the 80's to me

Don't The Yes Album and Fragile sound like the 70s?

[Yves]

Sean, that is my issue with all artists. It is for this reason that I am not starstruck and never feel the need to meet artists for autographs, etc... I'll like their art but keep my distances.

[Sean]

Can you meet them and not be starstruck? I have met a lot of artists I admire but never really felt that way.

[dgtlman]

[Servo]

[Jerjo]

Once again, more Yes drama. I think Yes fans thrive on this stuff more than the music, or at least the new music. Come to think of it, that's probably a wise choice.

[Yves]

Can you meet them and not be starstruck? I have met a lot of artists I admire but never really felt that way.

The ones I have met through the "prog festival circuit" have not left me starstruck. I guess if I met some really big name artists I probably would be.

[trurl]

Well... I'm sure Trevor R. was onboard with the changes but to me the biggest thing about the final version of OooLH that worked was the transition from arena rawk to the stripped down minimalist groove and piccolo snare loop and I really think that was Horn's doing. Oh, and dialing in the tempo a few clicks slower. That's a big deal.

[Squids]

Well... I'm sure Trevor R. was onboard with the changes but to me the biggest thing about the final version of OooLH that worked was the transition from arena rawk to the stripped down minimalist groove and piccolo snare loop and I really think that was Horn's doing. Oh, and dialing in the tempo a few clicks slower. That's a big deal.

Yeah, the production plays such a huge role in that one that one could easily argue a writing percentage for that (more than because he was a nice guy and suggested a cool keyboard... btw I thought it was a Fairlight Horn mainly used. But, I guess a Synclavier as well. Gotta love the 80s when the latest unaffordable keyboard cost as much as a house! haha).

I love Trevor Rabin but there is a little bit of Rick Springfield in him. Fortunately it's balanced by the Al Di Meola in him.

[Fracktured]

I knew nothing of Trevor before Yes and from what I understand the original recordings that were planned with Chris and Alan weren't supposed to be Yes material. It only evolved into Yes when Jon came on board. I can understand then the conflicting directions that the music started taking to become more Yes orientated to appeal to the Yes fan base. When I first heard Owner on the radio I didn't know it was Yes until I heard Jon singing. I knew they had gotten back together, but as with probably 99% of all Yes fans Owner was not what I or anyone else expected to hear. It reinvented the band and looking back gave them a reason to continue because of having a hit single. It also introduced people to Yes that most likely would have never paid any attention if they would have done another Tormato or Drama style Lp. Love it or hate it, it may be the reason Yes is still around today.

[JeffCarney]

I knew nothing of Trevor before Yes and from what I understand the original recordings that were planned with Chris and Alan weren't supposed to be Yes material. It only evolved into Yes when Jon came on board. I can understand then the conflicting directions that the music started taking to become more Yes orientated to appeal to the Yes fan base. When I first heard Owner on the radio I didn't know it was Yes until I heard Jon singing. I knew they had gotten back together, but as with probably 99% of all Yes fans Owner was not what I or anyone else expected to hear. It reinvented the band and looking back gave them a reason to continue because of having a hit single. It also introduced people to Yes that most likely would have never paid any attention if they would have done another Tormato or Drama style Lp. Love it or hate it, it may be the reason Yes is still around today.

I think the opposite is true. It helped them succeed in the embarrassing 80s, but the reason Yes is around today is because they were smart enough to pretty much abandon the AOR nonsense and at least try to get back to their established musical brand.

Had they kept going in that "80s" direction, they'd be third on County Fair bills behind Journey and Foreigner.

[Fracktured]

I think the opposite is true. It helped them succeed in the embarrassing 80s, but the reason Yes is around today is because they were smart enough to pretty much abandon the AOR nonsense and at least try to get back to their established musical brand.

Had they kept going in that "80s" direction, they'd be third on County Fair bills behind Journey and Foreigner.

I may have not expressed myself clearly. I agree with you Jeff, but what I meant was this helped them stay lucrative throughout a period of time when progressive rock was frowned upon by the music industry.

[yamishogun]

Thanks for listening. And I still love Trevor Horn.

I find this stuff quite silly. I think it suggests an elevated sense of importance from the "stars" who make this "profound art". Artists should do their job and appreciate that they are lucky enough to do what they like and have the good fortune to have people interested enough to listen. The sense of self importance and entitlement, I find loathsome.

I thought the ending was sort of funny. Right after Rabin professes his continued love for Horn, it seems like he takes a parting shot at him! I realize that Rabin is speaking in general but the entire post was about Horn taking too much credit.

[trurl]

I love Trevor Rabin but there is a little bit of Rick Springfield in him. Fortunately it's balanced by the Al Di Meola in him.

Hey, Rick Springfield was awesome. Much cooler than Al Di Meola. I know what you meant though

[No Pride]

Hey, Rick Springfield was awesome. Much cooler than Al Di Meola. I know what you meant though

[profusion]

Horn's substantial contribution to all of 90125 can clearly be heard in the fact that Big Generator and Talk didn't sound as good or have the same flawless arrangements. It might be accurate to say that Horn didn't have a lot of contribution to the basic writing of OOALH, but it wouldn't be nearly the song that it is without Horn's input.

[musicislife]

I'm laughing at the praise that's all of a sudden being heaped upon the nerdy looking guy by the same Yes fans who mercilessly tore him a new one when he dared to take over for Anderson back in 1980. I had to pinch myself. For a second, I actually thought I was in shiteville.

[GuitarGeek]

Hey, Rick Springfield was awesome. Much cooler than Al Di Meola. I know what you meant though

Wait, since when does Rabin speak with a fake American accent, or bum around on soap opera sets?! At least Trevor's never been afraid to let people know where he's from!

Seriously, it's the Rick Springfield side that I feel makes Rabin's music bearable. I like DiMeola, but a little bit of the unsmiling Italian guy from NJ goes a long way. I'd rather be stranded on a desert island with Rabin and Springfield than DiMeola.

[yamishogun]

Horn's substantial contribution to all of 90125 can clearly be heard in the fact that Big Generator and Talk didn't sound as good or have the same flawless arrangements. It might be accurate to say that Horn didn't have a lot of contribution to the basic writing of OOALH, but it wouldn't be nearly the song that it is without Horn's input.

Talk is the Yes album that showed Rabin's genius as Squire was too drugged up to participate. A brilliant album -- wish Squire could have been there.

[Frumious B]

Rabin has spoken of being influenced greatly by John McLaughlin, but not Al Di Meola.

[the winter tree]

Even though 90125 can be viewed as "too 80s sounding" or "too pop" today in 2014, at the time it came out it was a fresh and innovative work. I thought YES were dead in the water and was thrilled that they were back and successful. Even though they were mining the same field as Journey Styx etc at the time, they were always miles ahead of the competition artistically and sonically. It was a perfect marriage of artrock and pop.

But the momentum was broken with the BIG GENERATOR fiasco.

Unfortunetly, there has never been a completely successful "3rd act" to the YES story. But then again not many ever even get a second.