Trevor Rabin -

Trevor Rabin (born Jan. 13, 1954) is a South African-born/U.S.-naturalized guitarist, keyboardist, songwriter, and producer who first emerged in the Johannesburg art-rock/pop band Rabbitt, which he joined in 1972 at age eighteen.

Rabbitt scored locally with the chart-topping symphonic-ballad “Charlie” and the album Boys Will Be Boys!, which Rabin wrote, produced, arranged, and largely performed. After the song-cyclic A Croak and a Grunt in the Night, he left the band in 1977 for a solo career. He also contributed to albums by Margaret Singana, Mike Makhalemele, and the Soul of the City.

Settling in London, Rabin released his 1978 solo debut, Beginnings, a mostly self-contained effort with drummer Kevin Kruger and violinist Godfrey Rabin, Trevor’s father. Abroad, an eponymous version appeared with different cover art on Chrysalis.

Over the next three years, Rabin masterminded the Disco Rock Machine and made the 1979–81 solo albums Face to Face and Wolf. Concurrently, he notched producer credits with Wild Horses, ex-Moon vocalist Noel McCalla, and supergroup Manfred Mann’s Earth Band.

In 1982, Rabin collaborated with Yes alumni Chris Squire and Alan White on material for a new project, tentatively called Cinema. When Jon Anderson added vocals, Yes was reborn with the late-1983 release 90125. Led by the mega-hit “Owner of a Lonely Heart,” the album went multi-platinum and fueled a worldwide stadium tour. Rabin ultimately served as the band’s musical director for eleven years, producing the albums Big Generator (1987) and Talk (1994).

Rabin’s fourth proper album, Can’t Look Away, appeared in 1989 on Elektra. Two years later, just as two competing camps of Yes merged for the mammoth Union tour, Rabin became an American citizen. In 1996, he composed the score for Steven Seagal’s action-drama The Glimmer Man and largely concentrated on soundtrack work into the 21st century.

Background

Trevor Charles Rabin was born Jan. 13, 1954, in Johannesburg, South Africa. His father, Godfrey Rabin, practiced law and served as principal violinist with the Johannesburg Symphony Orchestra. His mother, Joy Rabin, worked as an actress and classical pianist. Rabin began classical piano lessons at six and taught himself guitar at twelve from piano exercise books after hearing Hank Marvin of the Shadows. He attended Parktown Boys’ High School in Johannesburg. Music professor Walter Mony taught Rabin theory, composition, orchestration, and conducting.

Rabin joined a band led by older brother Derek at thirteen and soon began local gigs around Johannesburg. He formed Conglomeration in 1968 with bassist Ronnie Friedman, drummer Neil Cloud, and guitarist Allan Rosenberg. Conglomeration gigged the early Seventies Johannesburg club and festival circuit.

In 1972, Rabin self-recorded the Jethro Tull cover “Locomotive Breath,” released under the Rabbitt name. He joined Freedom’s Children in 1973 as guitarist alongside singer Brian Davidson, bassist Ronnie Friedman, and drummer Colin Pratley. Rabin and Friedman then entered compulsory service with the South African Army; Rabin spent his conscription in the entertainment unit, where he arranged a big band and played in a rock group.

Upon discharge, Rabin resumed Rabbitt with Friedman and Cloud. Singer–keyboardist–guitarist Duncan Faure joined the established trio for the album lineup. Rabbitt debuted with the 1975 Jo’Burg release Boys Will Be Boys! Rabin arranged and produced the 1977 follow-up A Croak and a Grunt in the Night, a song cycle inspired by Abbey Road.

Between Rabbitt albums, Rabin arranged and co-produced the 1976 Margaret Singana album Where Is the Love. He also scored the 1976 crime-action film Death of a Snowman by director Christopher Rowley. As Trevor Terblanche, he played on budget instrumental sessions for producer Rob Schroder.

In late 1977, Rabin left Rabbitt and commenced his first solo project.

Beginnings / Trevor Rabin

RPM issued the debut album, Beginnings, in South Africa from the 1977 sessions at RPM Studios. Chrysalis released a revised international configuration under the title Trevor Rabin in September 1978.

Beginnings showcases Rabin as a self-contained performer apart from drummer Kevin Kruger and guest violinist Godfrey Rabin, who appears on “Love Life.” Chrysalis resequenced the recordings for international release and retitled several songs. The label removed “Could There Be” and “Love Alive” from the South African LP, then added “Love Life.”

“Getting to Know You Better” roars through heavy riffing and layered chorus harmonies. “Finding Me a Way Back Home” bolts from a fast opening jam into a broader main passage, then returns to introductory material for an instrumental break. “Live a Bit” widens through dense arrangement layers, then saves its solo for a rideout.

“Fantasy” pivots from forceful verses into a springier bridge before an expanded instrumental break and outro. “Stay with Me” swells around piano-led restraint and a broad chorus. “Red Desert” erupts from a keyboard prelude into a frantic run beneath high falsetto.

A1. “Getting to Know You Better” (3:59)
A2. “Finding Me a Way Back Home” (4:48)
A3. “All I Want Is Your Love” (3:39)
A4. “Live a Bit” (4:56)

B1. “Fantasy” (3:21)
B2. “Stay With Me” (3:52)
B3. “Red Desert” (3:51)
B4. “Painted Picture” (3:31)
B5. “Love Life” (4:01)

Rabin produced the original sessions at RPM Studios in Johannesburg with recording engineer Hennie Hartmann.

Gary Edwards remixed the international configuration at Wessex Sound Studios in London. Edwards recast the completed South African masters into the new Chrysalis sequence.

The Chrysalis sleeve sets a separated-color portrait of Rabin against a white field.

Chrysalis lifted “Painted Picture” as a 1978 single (b/w “Stay With Me”).

1978–79 Production and Session Work

In 1978, Rabin formed Disco Rock Machine, a studio project with singer René Veldsman and drummer Kevin Kruger. The trio recorded Time to Love, a four-track album with two Rabin originals (“Time to Love,” “Loving Styles”) and extended versions of classics by Stevie Wonder (“Living for the City”) and The Kinks (“You Really Got Me”). Rabin retained the same lineup for Disco Rock Machine 2, which RPM issued in April 1979 with three further Rabin numbers and rearranged covers of Wonder (“Higher Ground”), Spencer Davis Group (“Gimme Some Lovin’”), and The Supremes (“You Keep Me Hangin’ On”). Veldsman reemerged in 1983 as René Arnell in Via Afrika.

Meanwhile, Rabin moved to London and entered an artist-production agreement with Blue Chip Music. The company gave him access to outside sessions while Chrysalis prepared the international solo debut.

Former Moon singer Noel McCalla went solo with the 1979 album Night Time Emotion, produced and arranged by Rabin for Epic. McCalla, who sings on the 1980 Charisma release Smallcreep’s Day by Genesis bassist Mike Rutherford, remained in Rabin’s orbit.

Cape Town singer and songwriter Rene Arnell enlisted Rabin for her 1979 Ariola release Call Me, which Trevor produced and arranged in Hartmann’s presence.

Face to Face

Trevor Rabin released his second solo album, Face to Face, in 1979 on Chrysalis.

The album adds drummer Dave Mattacks alongside returning drummer Kevin Kruger. Singer Rene Arnell contributes backing parts after the completion of Call Me. Manager Pete Smith composed “The Wanderer” and “The Ripper,” while Rabin wrote the remaining seven songs.

“Don’t You Ever Lose” charges through layered harmonies and a brief organ bridge. “The Wanderer” barrels across hard-edged passages as delay-treated singing marks each chorus and bass drives connecting sections. “Now” swells from a dramatic entrance into quieter passages, then hardens beneath dense harmonies before a channel-crossing fade. “Candy’s Bar” skips through lighthearted delivery before a concertina briefly enters its second verse. “Always the Last One” drives broad harmonic rises, breaks for a rapid middle solo, and closes on a metallic echo.

A1. “I’ll Take the Weight” (3:57)
A2. “Don’t You Ever Lose” (4:02)
A3. “I’m Old Enough (To Make You a Woman)” (4:14)
A4. “The Wanderer” (3:47) – Smith
A5. “You” (2:39)

B1. “Now” (4:50)
B2. “The Ripper” (3:48) – Smith
B3. “Candy’s Bar” (4:02)
B4. “Always the Last One” (5:06)

Rabin self-produced the album at studios in Johannesburg (RPM) and London (AIR), where former Beatles soundman Geoff Emerick engineered Face to Face in sequence with albums by Wings (London Town), U.K. (Danger Money), and America (Silent Letter). The album credits four assistant soundmen, including Jon Kelly, also credited on 1978/79 titles by Kate Bush (Lionheart) and Chris de Burgh (Crusader).

The UK sleeve carries Chrysalis art direction by Peter Wagg around a Martyn Goddard portrait of Rabin. Wagg held late-Seventies packaging credits for Generation X (Generation X), Split Enz (Dizrythmia), and Jethro Tull (Stormwatch); Goddard photographed 1978/79 sleeves for Blondie, Chris Rainbow, The Cure, The Jam, and Real Thing.

Chrysalis lifted “I’ll Take the Weight” as a November 1979 single (b/w “Candy’s Bar”). “Don’t You Ever Lose” also appeared as a single, backed with “Stay With Me” from the international debut.

1979–80 Productions

In late 1979, Rabin linked with Wild Horses, a British hard-rock supergroup with ex-Thin Lizzy guitarist Brian Robertson and onetime Rainbow bassist Jimmy Bain. Rabin produced their self-titled debut album for EMI, recorded through January 1980 at Konk Studios, the London facility of Ray Davies.

In 1980, Rabin produced Chance, the tenth album by Manfred Mann’s Earth Band. Chance reinstated singer Chris Thompson after a brief two-album spell with Night, an LA-based vehicle with session singer Stevie Lange, then-wife of Rhodesian producer Robert “Mutt” Lange.

Wolf

Trevor Rabin released his third solo album, Wolf, in January 1981 on Chrysalis.

The album features drummer Simon Phillips across the main sessions. Bassists Jack Bruce and Mo Foster divide guest parts, while keyboardists Manfred Mann and John Bundrick broaden the London cast. Singers Chris Thompson, Stevie Lange, and Noel McCalla contribute supporting parts.

“Open Ended” unfurls from a dramatic introduction before its bridge rises from the chorus. “Heard You Cry Wolf” sweeps along a broad riff, nuanced lead delivery, fretless bass, and a rideout solo. “Stop Turn” lopes through a midtempo, blues-based figure as its chorus follows a strolling chord sequence. “Lost in Love” charges through direct lines before a synthesizer flare ends its final section.

“Looking for a Lady (Wolfman)” struts with power-trio swagger while keyboard accents punctuate section turns. “Take Me to a Party” rollicks through blues-based boogie as backing replies amplify its communal call.

A1. “Open Ended” (3:25)
A2. “Heard You Cry Wolf” (5:43)
A3. “Do Ya Do Ya Want Me” (3:30)
A4. “Stop Turn” (4:05)
A5. “Lost in Love” (3:45)

B1. “Looking for a Lady (Wolfman)” (4:41)
B2. “Pain” (4:35)
B3. “Take Me to a Party” (3:38)
B4. “She’s Easy” (4:26)
B5. “Long Island” (3:41)

Sessions occurred in 1980 at Konk Studios, where Rabin produced and arranged Wolf with in association with Ray Davies and engineer Ben Fenner, who worked in sequence on the proper Dave Davies solo debut (AFL1-3603), the 1981 Kinks album Give the People What They Want, and the Robin Trower / Jack Bruce merger B.L.T.

Wagg returned for art direction, with Redferns photographer Brian Cooke supplying the sleeve imagery. The front centers a snarling wolf beneath claw-scratch lettering by Geoff Halpin; the back places Rabin beside a dog. Cooke also contributed to 1981 sleeves for the two-tone compilation Dance Craze and Chrysalis shoots with Spandau Ballet.

Chrysalis issued “Take Me to a Party” in March 1981 (b/w “Looking for a Lady (Wolfman)”).

Los Angeles, Cinema, and Yes

In 1981, Rabin visited Los Angeles at the invite of Geffen A&R John Kalodner, who introduced the guitarist to an embryonic Asia lineup. Rabin withdrew when the group rejected his material. He then developed solo demos with drummer Frankie Banali and bassist Mark Andes. Meanwhile, the Earth Band retained Rabin for their 1982 album Somewhere in Afrika, which features his guitar on the Ian Thomas cover “Runner.”

In early 1982, longtime Rabin associate Robert “Mutt” Lange recommended him to Atlantic executive Phil Carson, who arranged a meeting with Chris Squire and Alan White, the longtime rhythm section of Yes.

Squire co-founded Yes in 1968 and remained through every lineup to that point. White replaced Bill Bruford in 1972 and continued through the 1980 Drama album and tour, which paired Squire, White, and Steve Howe with former Buggles Trevor Horn and Geoff Downes. When that lineup dissolved in 1981, Squire and White teamed with Jimmy Page for XYZ, an unreleased project named for “ex-Yes and Zeppelin.” The pair then co-wrote and co-produced the December 1981 Atlantic single “Run with the Fox” (b/w “Return of the Fox”), with Peter Sinfield sharing lyric credit on the A-side. Rabin joined Squire and White as they developed material for a new project tentatively named Cinema.

Squire brought in original Yes keyboardist Tony Kaye, recently active with Badfinger after stints in Badger and Detective. Kaye worked on the early Cinema material but returned to Badfinger after clashing with Trevor Horn, who briefly considered the singer role. Horn instead became producer, following recent work with ABC on The Lexicon of Love and pop duo Dollar. Cinema commenced album sessions in November 1982 with Rabin on guitar and most keyboards.

In early 1983, Cinema invited Jon Anderson to sing on several songs. Anderson recently toured behind his third solo album, Animation, and guested on the Mike Oldfield album Crises amid the wrap-up of his partnership with Vangelis. Impressed with the Cinema material, Anderson added lyrics and joined the project. The group persuaded Kaye to reconsider and briefly recruited keyboardist Eddie Jobson, Bill Bruford’s former bandmate in UK.

Jobson followed the second UK album, Danger Money, with a stint in Jethro Tull on A, conceived as an Ian Anderson solo album. His recent work included The Green Album, recorded with Zinc and former Gentle Giant guitarist Gary Green. Jobson appeared in promotional material with Cinema but withdrew when Kaye renewed his commitment.

With Anderson and Kaye joining Squire and White, Rabin now worked alongside four former Yes members. The musicians and Atlantic management abandoned the Cinema name and reactivated Yes. Their long-prepared album, 90125, appeared in November 1983 and became the largest-selling album of the Yes catalogue, reaching No. 5 on the Billboard 200 and eventually selling more than three million copies in the United States. Rabin wrote the lead single “Owner of a Lonely Heart,” which reached No. 1 on the Billboard Hot 100 in January 1984; “Leave It” followed at No. 24. The instrumental “Cinema” brought Yes a Grammy for Best Rock Instrumental Performance.

Yes spent most of 1984 on the 9012Live tour, which carried the new lineup through North America, Europe, Japan, and South America in large arenas. The itinerary closed in February 1985 with Rock in Rio, where Yes played before an estimated 250,000 people. September 1984 concerts in Edmonton supplied the footage for 9012Live, a Steven Soderbergh-directed concert video released the following year; the related 9012Live: The Solos mini-album combined individual features with performances from 90125.

Yes reconvened in 1985 for a follow-up, but Big Generator developed across two years of difficult sessions. The band began work in Italy, continued at SARM in London, and shifted among further British studios as Rabin and Trevor Horn disagreed over material and production. Horn eventually withdrew, leaving Rabin and engineer Paul De Villiers to complete the album in Los Angeles. Big Generator finally appeared in September 1987, reached No. 15 on the Billboard 200, and went platinum in the United States; the Rabin rockers “Love Will Find a Way” and “Rhythm of Love” reached No’s. 30 and 40 on the Hot 100.

The subsequent tour extended into 1988, when illness forced Rabin to cancel several dates. Anderson then left Yes and reunited with Bill Bruford, Rick Wakeman, and Steve Howe as Anderson Bruford Wakeman Howe.

1984–89 Outside Sessions

The Yes schedule left room for selected studio work. Rabin added bass and backing parts to the 1984 Frankie Goes to Hollywood album Welcome to the Pleasuredome. In late 1985, Rabin appeared alongside Cars guitarist Elliot Easton on 3 Ships, a Christmas-themed solo album by Jon Anderson. FGtH retained Rabin as one of the outside guitarists on their 1986 album Liverpool.

In 1987, Rabin played guitar on the Lisa Hartman album ’Til My Heart Stops. He also joined the large studio cast on Talking Through Pictures by Marc Jordan.

Producer Bob Ezrin brought Rabin into the 1989 WTG release The Disregard of Timekeeping, the debut album by Bonham, the hard-rock band of drummer-songwriter Jason Bonham (son of the late Led Zeppelin drummer John Bonham). Rabin played bass on “Bringing Me Down,” “Holding on Forever,” and “Don’t Walk Away.” He also arranged the backing parts and sang with former Rabbitt colleague Duncan Faure.

Can’t Look Away

Trevor Rabin released his fourth solo album, Can’t Look Away, in July 1989 on Elektra.

The album pairs Rabin with drummer Lou Molino III on five tracks. Drummer Alan White appears on “Cover Up” and “I Miss You Now,” while Denny Fongheiser plays on “Eyes of Love.” Singer Duncan Faure returns for six selections. South African singers Tsidii Le Loka, Beulah Hashe, Faith Kekana, and Marilyn Nokwe form the larger supporting group.

“I Can’t Look Away” surges through fast riffs, recedes into a sparse passage under processed distant singing, then returns through South African-derived figures and heavier sections. “Something to Hold on To” bursts through a fiery opening sequence before dropping into a spare main passage. “Sorrow (Your Heart)” skips across upbeat opening figures, then expands through denser returns and a later acoustic passage.

“Cover Up” strides through firm 4/4, adds a springier undercurrent, then opens into an instrumental turn. “Promises” drops from a changeable introduction into spare passages, then swells beneath broad harmonies and keyboards.

“Etoile Noir” glides through overdubbed guitar lines across a compact instrumental interlude. “Eyes of Love” alternates subdued passages with harder surges before a fading final section. “I Didn’t Think It Would Last” bounces on a buoyant riff and broad chorus response. “Sludge” careens through rapid sequential breaks and fast instrumental runs. “I Miss You Now” turns through several sections before later instrumental work broadens its closing stretch. “The Cape” sweeps through cinematic instrumental atmosphere.

A1. “I Can’t Look Away” (7:21) – Rabin, Ezrin, A. Moore
A2. “Something to Hold On To” (5:07)
A3. “Sorrow (Your Heart)” (4:29)
A4. “Cover Up” (5:16) – Rabin, Moore
A5. “Promises” (5:55)

B1. “Etoile Noir” (1:03)
B2. “Eyes of Love” (6:24) – Rabin, Ezrin
B3. “I Didn’t Think It Would Last” (4:08) – Rabin, Ezrin
B4. “Hold On to Me” (4:44) – Rabin, Patric van Blerk
B5. “Sludge” (2:26)
B6. “I Miss You Now” (5:38)
B7. “The Cape” (2:56)

Sessions occurred at A&M Studios, where Rabin co-produced Can’t Look Away with Bob Ezrin, then fresh from 1987/88 albums by Pink Floyd album (A Momentary Lapse of Reason) and Kansas (In the Spirit of Things), both engineered by Stan Katayama.

Can’t Look Away appeared in a sleeve designed by Elektra art director Carol Bobolts with photography by Lisa Powers, who captured Rabin’s portrait behind a shattered-glass overlay. Bobolts also directed 1988/89 sleeves for Tracy Chapman (Tracy Chapman), Anita Baker (Giving You the Best That I Got), and George Duke (Night After Night).

Elektra issued “Something to Hold On To” in October 1989 (b/w “I Miss You Now”). The single reached No. 3 on the Billboard Mainstream Rock Tracks chart. Its video received a Grammy nomination for Best Music Video, Short Form. Can’t Look Away reached No. 111 on the Billboard 200 album chart.

Voiceprint reissued the album on CD in 2011. The 2020 ten-disc Changes box paired the album with single edits, promotional material, and a previously unreleased Boston concert from the supporting tour.

1990–2011 Side Credits and Film Scores

Rabin returned to Yes for the 1991 album Union and its eight-member tour. The 90125 lineup regrouped for the 1994 album Talk, which Rabin produced and largely composed. He left Yes following the supporting tour.

Between 1991 and 1996, Rabin played guitar on the debut Seal album and titles by Paul Rodgers (Muddy Water Blues: A Tribute to Muddy Waters), Michael Jackson (HIStory), and Tina Turner (Wildest Dreams).

In 1999, Rabin sang “Never Is a Long, Long Time” for the Rick Wakeman album Return to the Centre of the Earth. He also played and sang on “The More I Look” from the 2000 album Open the Door by ex-Supertramp co-leader (and Talk collaborator) Roger Hodgson.

Post-Yes, Rabin focused on film scores, including The Glimmer Man, Con Air, and Armageddon. He later scored Remember the Titans, National Treasure, and further cues for producer Jerry Bruckheimer.

Voiceprint issued the 2003 concert album Live in LA from a December 1989 performance at the Roxy Theatre. The label also released 90124, which collected demos connected to the Rabin period of Yes.

Later Solo Work

Rabin released the mostly instrumental album Jacaranda in May 2012 on Varèse Sarabande. He recorded the material at the Jacaranda Room in Hollywood with drummers Vinnie Colaiuta, Lou Molino III, and Ryan Rabin. Bassist Tal Wilkenfeld appears on “Anerley Road,” while singer Liz Constantine joins “Rescue.”

Touring resumed in 2016 with Jon Anderson and Rick Wakeman under the name Anderson, Rabin and Wakeman. Yes entered the Rock and Roll Hall of Fame the following year with Rabin among the inducted members.

The 2020 box Changes compiled the four early solo albums with concert recordings, demos, soundtrack selections, and archival material.

Rabin released the album Rio in October 2023 on Inside Out Music. The record marked his first solo release built around new sung material since Can’t Look Away. Rabin also painted the cover.

Discography: