Trevor Rabin
Can't Look Away

The all-American cover of this "Can't Look Away" from 1989 diverts memory from the historical moment Trevor Rabin is going through. He is the new deus ex machina of Yes, with due humility, regenerated by the mighty '90125' and 'Big Generator'.

The bank accounts of the band see many zeros thanks also to his new-prog flair which has brought indispensable novelties to the sound. It will be a creative catapult up to today. Certainly more merits than demerits.

Rabin is at his 4th solo work, the 3 previous ones had little visibility except in South Africa with his old band, The Rabbitt. The penultimate one from 1981 even has Simon Phillips on drums. A son of classical musicians, a pianist since a young age, and subsequently a classical guitarist. Rock later captures him, and prog in particular. He is a complete musician now and a top Hollywood soundtrack composer. Pure talent with crystalline class. Desired by Portnoy for Liquid Tension in 1997, Rabin declines. The work in question is of good quality. Rabin's style comes to light; it's the peak of production with a touch of Bob Ezrin, co-producer of "The Wall", who contributes financially. Cameo by Alan White on two tracks. Here you can understand what he has and has not given to Yes of the period. The tracks are progressive but blended with '80s pop. Everything is extremely pleasant, tending towards commercial but without reservations.

"Can't Look Away" is of excellent craftsmanship, but is it... 90125? It would fit well. Powerful and fast guitar riffs. The most successful piece. It also leads to 'Endless Dream' from 1994. "Something to Hold on To" was the launch single with a Grammy-awarded megavideo. A commercial piece in the style of "Love Will Find a Way" but more aggressive. "Sorrow" is a South African ballad with accompanying rock-style percussion. Energetic but futile. "Cover up" with Alan White on the skins is a classic 4/4 like Journey. USA Rock with arm out the window. Pleasant if you also like Toto. Here comes "Promises". Interesting melody but still very '80s and simplistic. "Etoile Noir" is a 60-sec. interlude of overdubbed guitar leading to "Eyes of Love" where it finally returns to higher levels like the first piece. It starts well but then slightly betrays expectations with the repetitive chorus.

"I didn't think it would last" always travels without surprises but encourages with the positivity of the riff. "Hold on to me" offers nothing new. For those who absolutely want a breath of progressive glory, here's "Sludge". Instrumental and irreverent. Very fast with only sequential breaks. Guitar and drum course. On "Miss You Now", the good White returns; it is very Yes and for this among the best. A beautiful, full-bodied piece with many successful ingredients. "The cape" closes with soundtrack atmospheres as in "Armageddon". His current bread and butter.

Overall it's an interesting album with a clear commercial intent, but it doesn't disappoint some expectations that the name brings. Perhaps too '80s, Americanized, with pop that wasn't needed. But here there is only him with his possibilities. He plays everything except the drums. At that point, Rabin was in Yes, leather jacket, handsome... he can take some liberties. Or not?

Three stars... full full.