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Topic: Trevor Rabin


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Yes

In the News (Mon 17 Jun 19)

  
  Filmtracks: Armageddon (Trevor Rabin)   (Site not responding. Last check: 2007-11-02)
Armageddon: (Trevor Rabin) One of the composers to rise out of Hans Zimmer's shadow is Trevor Rabin, whose work previously reviewed at Filmtracks was limited to Con Air, a score that received about the lowest marks possible.
Rabin's main theme is extremely identifiable, and is heroically pleasant to the ear.
Rabin's theme saves two key scenes in the film from becoming completely ridiculous (although traditional orchestral fans might believe that the fact that Rabin's electronic music is patriotically synthesized only adds to Michael Bay's MTV-like direction and imagery).
www.filmtracks.com /titles/armageddon.html   (889 words)

  
 Filmtracks: Gone in 60 Seconds (Trevor Rabin)
As a sign of the times, perhaps, the scary side of this eventuality is the fact that the majority of mainstream audiences simply accepted this moment-to-moment blasting of loud, unorganized rock music as a new staple of summer blockbuster films.
Rabin also seemed to be reluctant to choose between a sensitive sound, highlighted by female vocals, heard in contemplate tracks and the driving, electric guitar explosions.
Rabin would prove in The One that the heavy guitar sequences can work if the film allows two or three minute intervals during which he can continuously perform those guitar ideas into a substantial motif that can define the score.
www.filmtracks.com /titles/gone_60_seconds.html   (904 words)

  
 The 6th Day by Trevor Rabin
Trevor Rabin’s third submission for 2000 is somewhat of a surprise.
Rabin's scores may depart from the tried-and-true, and some would interject, “more acceptable” style of film music, but, more often than not, his work provides a few truly enjoyable themes.
While there exist a number of similarities to many of Rabin’s earlier works, there are a few elements that help set this score apart from its 2000 predecessors.
www.tracksounds.com /reviews/6thday.htm   (492 words)

  
 Trevor Rabin, MP3 Music Download at eMusic   (Site not responding. Last check: 2007-11-02)
Trevor Rabinwas born in South Africa in 1954.
Rabin stayed with Yes until 1995, releasing four studio albums during that time (the aforementioned 90125, Big Generator, Union, and Talk).
Rabin also found time to release another solo album, Can't Look Away, while still in the group.
www.emusic.com /artist/11572/11572465.html   (404 words)

  
 Trevor Rabin: Capturing adrenaline
I mentioned this to Alex Scott [Rabin’s manager] and he had been in touch with Voiceprint and Robin Ayling [the label’s president] was quite keen.
Trevor put on a guitar and I was a little big indignant, thinking “Well, what do we need that for?” And even from a vocal standpoint, I was a little confused.
I would have hated for people to say “When Trevor came into the band, he fit right in and it sounded just like it used to.” When I’m on my last breath, I’d rather be seen as something a little more catalytic in terms of what I brought to the band.
www.innerviews.org /inner/rabin.html   (8190 words)

  
 Trevor Rabin Family Tree
Trevor Rabin was born in Johannesburg, South Africa on the 13th January 1954.
TREVOR RABIN 2002-2003: YES (2002-3) Tour, 'YesSpeak' documentary DVD Recorded a version of 'Don't Let Me Be ------------------------------------------- Misunderstood' which appeared on 'The
TREVOR RABIN 2004: Soundtracks: 'Torque', 'The Great Raid', 'Exorcist: The Beginning', 'White On White'.
www.rock.co.za /files/trevor_rabin_tree.html   (903 words)

  
 Yes
Trevor's initial "heaven-and-hell"ish solo is somewhat generic in construction, but it still pulls off the requisite purpose (building the tension, giving a slight foreshadowing of the future) just fine.
Rabin mostly uses his guitar for atmospheric effect, not as a competitor of Steve, Tony provides low-key ballast for Rick's parts (though with some of the solos handed to him), and Bill and Alan give a subtle boost in the activity of the percussion without making the piece turn cacophonous.
Trevor has been unjustly and rudely bashed for being responsible of it, while in fact he had the cleverness of taking entire direction of the proceedings, instead of going on with the disastrous and directionless compromise approach of the last ten years.
www.johnmcferrinmusicreviews.org /yes2.htm   (21268 words)

  
 The Power To Learn - Music In Our Schools
Rabin was born in Johannesburg, South Africa, where he studied classical piano and was trained as a conductor and arranger.
Rabin is part of a new group of film composers who hail from the world of rock music.
Album producer, musician, and film composer, Trevor Rabin is a man of extraordinary talent and experience.
www.powertolearn.com /themes_music/askexpert.html   (791 words)

  
 Rabbitt - Wikipedia, the free encyclopedia
The group's members (Trevor Rabin, Duncan Faure, Ronnie Robot, and Neil Cloud) were arguably the first real pop stars South Africa had ever had, unless one counts ex-pat Manfred Mann.
Rabin would later become a member of Yes, and Faure went on to join the Bay City Rollers.
Trevor Rabin (born 13 January 1954): Vocals, lead guitar, keyboards
en.wikipedia.org /wiki/Rabbitt   (1142 words)

  
 Trevor Rabin | Story   (Site not responding. Last check: 2007-11-02)
Trevor is discharged from the army and, armed with his Strat, a Fender Jazz Bass and a Marshall twin-stack bass rig, begins session work.
Taking a break from session work, Trevor is tapped by producer Patric Van Blerk to join some local musicians and record a version of the Jethro Tull classic “Locomotive Breath” under the name “Rabbitt”;.
Trevor leaves South Africa for London and is signed to Chrysalis Records.
www.nfte.org /Trevor.Rabin/tr_prior/story   (1264 words)

  
 Rock Ahead Review - CD album - Trevor Rabin - Live In The USA   (Site not responding. Last check: 2007-11-02)
Live In LA Live In LA was recorded on the solo tour of l989 when Trevor Rabin decided despite advice to the contrary from his management and record company not to do it to go out and play a mixture of songs from his recently released solo album Can't Look Away and some Yes songs.
This show proved more than anything that Trevor could cut it away from the confines of Yes and that should the time come when he would take his leave of Yes he could still put together a live band and show outside of the Yes organisation.
In fact the Yes material aside this is how I remember Trevor Rabin when I saw him live supporting Steve Hillage in the seventies and whilst the inclusion of three Yes songs may attract some Yes fans I feel this is a true representation of Trevor Rabin solo artist rather than Trevor Rabin of Yes.
www.themusicindex.com /rockahead/reviews/trevor_rabin4.htm   (356 words)

  
 Armageddon by Trevor Rabin (Cinemusic Online)   (Site not responding. Last check: 2007-11-02)
What Trevor Rabin has done here is a masterful stroke of well defined themes that capture the spirit of the summer blockbuster, matching its patriotism, spirit, honour, and above all else, its romantic overtures.
The score smacks you in the face from the very first track, then softens you up with a beautiful love theme that is carried by piano and violins, then socks you again with a heroic theme that captures the very essence of Harry Stamper and his rag tag team of misfits.
This is Rabin's finest work to date and considering that he is just getting started in the scoring business, I cannot wait for more.
www.cinemusic.net /reviews/1998/armageddon.html   (413 words)

  
 All Good People - The Family of Yes! - If Trevor was never in Yes...
Trevor had the talent to bring that processed 80's sound into Yes and make it work.
What I guess I'm trying to say is that if Trevor was in a band like Foreigner instead of Yes, I would probably really view him as a glam rock poser but because he had the talent to play with a band like Yes and make it work, he's ok with me.
Trevor's style is great for rocking out straightforward, but in this Yes fan's view of the music, Steve still lays claim to the soundscape that keeps me drawn to the music and the dream that is Yes.
www.allgoodpeople.net /showthread.php?t=212   (909 words)

  
 SoundtrackNet : Interview - Trevor Rabin   (Site not responding. Last check: 2007-11-02)
Let me preface these interviews by saying that the score that Rabin wrote for Jack Frost is completely different from anything else he's scored in the past.
Trevor is on par with Eric Clapton, who has done live music as well as composed for films.
Trevor Rabin's first feature film was Glimmer Man.
www.soundtrack.net /features/article?id=11   (2823 words)

  
 Amazon.com: Can't Look Away: Music: Trevor Rabin   (Site not responding. Last check: 2007-11-02)
Born in South Africa, Rabin's stance on Apartheid was cemented in his childhood, long before SUN CITY and other artists joined the campaign trail.
Rabin was its principal songwriter, and by 1989, his talent and composition skills had truly matured, and are at their most effective here.
I am sure RABIN is a very good guitarist, but apart from a couple of sterling moments, he seems throttled by the need to be obtuse and clever.
www.amazon.com /exec/obidos/tg/detail/-/B000002H5O?v=glance   (1481 words)

  
 Deep Blue Sea - Music by Trevor Rabin - music reviews   (Site not responding. Last check: 2007-11-02)
Trevor Rabin has made a big jump from Armageddon (which sounded too much like The Rock) to this film about intelligent Mako sharks.
Rabin's score has quiet moments "Aftermath," "Susan Softens," "Experiment," "Shark Side," "Doctor's Orders" to go along with the massive terror music "Journey," "Hunting in Packs," "Jim Returns" and the "Anarchy." The "Main Title" is actually catchy and works well for the film.
Rabin has not only aimed for orchestrating terror but also a touch of heroism.
www.fearsmag.com /REVIEWS/music/deepbluesee/deepblusea.html   (179 words)

  
 Trevor Rabin
Another musical child prodigy, Trevor Rabin first achieved popularity in his native South Africa as a teenybopper heartthrob through the band Rabbitt, which he founded when only 14.
Much to Rabin's consternation, at least initially, the band soon transformed into a reincarnation of Yes; the first record from this new version, 1983's 90125, became the most successful in the band's history (which no doubt helped to relieve the aforementioned consternation).
In his post-Yes career, Trevor Rabin has gone full-bore as a film composer, creating numerous scores for Hollywood throughout the late 90s and the 00s.
www.nndb.com /people/971/000043842   (256 words)

  
 TALK   (Site not responding. Last check: 2007-11-02)
Had this been a Trevor Rabin solo album, I might well be pouring effusive prose into this review, but as a Yes album it fails on a number of levels.
The main problem is the disc’s cartoonish excess: layering the vocals of Jon Anderson, Chris Squire and Rabin simply creates confusion, listeners are pummeled with massive guitar riffs and drum beats, and poor Tony Kaye might as well have stayed home.
Perhaps Rabin’s mistake is the total concession that Yes’ original aesthetic had no place in the ‘90s, reinventing the band as a vehicle for his own vision.
www.connollyco.com /discography/yes/talk.html   (332 words)

  
 Where are they now? - Yes members
Produced by Trevor Horn is a celebration of Horn's career on the 25th anniversary of The Buggles' The Age of Plastic, his first major release, encompassing a charity concert recorded for DVD and a compilation album.
Rabin did the score for "Exorcist: The Beginning", although no score release is planned.
Rabin joined Squire, Howe and White for a one-off Yes performance at Produced by Trevor Horn, a charity show in celebration of Trevor Horn's career in Nov at Wembley Arena, London.
www.bondegezou.demon.co.uk /wnalum.htm   (10009 words)

  
 Yes in the Press: Meeting Trevor Rabin - MusicPlayer.com   (Site not responding. Last check: 2007-11-02)
Trevor told me that 80% of recording 90125 was the two of them in the studio, Rabin playing guitar and keyboard parts and Horn smoking and opining on the progress.
Assuming that Steve was a conservatory-trained musician, Rabin offered to write out the part so he could learn it in the hotel room later, Steve replied, “That’s not going to help me.” Chris Squire, Alan White and Jon Anderson can’t read a note of music either, I can’t remember about Tony Kaye.
Trevor mentioned that his ability to read and write music started to wane while in Yes.
yesinthepress.com /2003/dec/dec10_4_03.html   (1905 words)

  
 Wedgeworld-yes
Solo release from Trevor Rabin featuring Demos and evolution of tracks from 90125 to the present.
Tony Kaye returns on keys and YES is joined by Trevor Rabin on guitar and rocks the 80's.
Rabin Plays a different style than Howe but brings in a whole new audience for YES.
www.wedgeworld.com /music/yes/rabin.htm   (213 words)

  
 Rabbitt
Trevor went on to greater heights both with his burgeoning solo career and as a superstar member of supergroup “Yes”.
In 1977, Patric van Blerk contacted Allan Faull (later of Falling Mirror) with the news that Trevor Rabin was leaving Rabbitt and Allan was the unanimous choice as his replacement in the super-successful and wildly idolized teen pop band.
The album was produced by Trevor Rabin and Patric van Blerk, and finds Mike performing his own interpretations of three of the ex-Beatle's solo numbers - 'Mind Games', 'Mother', and 'Imagine' - accompanied by Trevor Rabin, Ronnie Robot, and Neil Cloud from Rabbitt.
www.new.co.za /~currin/rabbitt_index.html   (1251 words)

  
 Rock Ahead Review - CD album - Trevor Rabin - Wolf   (Site not responding. Last check: 2007-11-02)
For this Trevor Rabin's final album for Chrysalis he changed his outlook quite radically in terms of recording.
This album as Trevor admits himself in the sleeve notes is probably the best album he recorded for Chrysalis and indeed stands up very well against later work such as his late eighties solo album Can't Look Away.
Wolf however stands as as good as anything Trevor was subsequently involved in and in that light comes highly recommended.
www.themusicindex.com /rockahead/reviews/trevor_rabin1.htm   (316 words)

  
 Deep Blue Sea - Trevor Rabin   (Site not responding. Last check: 2007-11-02)
I suspect he was obliged to by the respective companies, but it does make one consider the role of synthetic aids (not to mention orchestrators who seem to do more and more work in actually fleshing out the music than they ever used to) for writing scores these days.
I find it somewhat surprising that some people were beside themselves with happiness when they discovered Trevor Rabin was scoring Rennie Harlin's enjoyable, scary and often very amusing shark thriller.
That particular scene in the film was actually fairly shocking on its own, but Rabin actually seems to have captured the terror for that fleeting moment.
www.soundtrack-express.com /osts/deepbluesea.htm   (624 words)

  
 Music   (Site not responding. Last check: 2007-11-02)
AMG EXPERT REVIEW: A stunning self-reinvention by a band that many had given up for dead, 90125 is the album that introduced a whole new generation of listeners to Yes.
Begun as Cinema, a new band by Squire and White, the project grew to include the slick production of Trevor Horn, the new blood (and distinctly '80s guitar sound) of Trevor Rabin, and eventually the trademark vocals of returning founder Jon Anderson.
His late entry insured that Rabin and Horn had a heavy influence on the sound.
home.tiscali.nl /~t160267/details/1232.html   (168 words)

  
 Trevor Rabin : Can't Look Away - Listen, Review and Buy at ARTISTdirect
After almost single-handedly rescuing Yes from obscurity in the 1980s, South African guitarist Trevor Rabin recorded the solo album Can't Look Away.
On this album, Rabin demonstrates all the qualities that helped bring Yes back to commercial success -- a great sense of melody and layered guitars to create an arena rock sound.
The title track opens the album with epic grandeur, as Rabin tackles the then-hot topic of apartheid with passionate vocals and fiery guitar playing.
www.artistdirect.com /nad/store/artist/album/0,,150606,00.html   (235 words)

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