“Big Mistakes,” the opening track from Trevor Rabin’s album Rio, seems at first to be caught in a time capsule. In many ways, that’s not a bad thing.
Rabin’s guitar prowess is unparalleled. He’s proven his acumen time and again as a film composer, composer and producer. Rio marks the former Yes hitmaker‘s return to AOR music. This is his first non-soundtrack work since 2013’s adventurous Jacaranda and his first vocal album since 1989’s Can’t Look Away.
Rio is mostly a solo affair, with Rabin handling the bulk of its instrumental heavy lifting. The result is an album that is hard-charging, inspiring and familiar. For instance, “Big Mistakes” harkens back to 1994’s Talk, Rabin’s final album with Yes.
Lou Molino from the subsequent Yes Featuring Anderson Rabin Wakeman group provides a prominent backbeat on “Big Mistakes,” while Rabin delivers his trademark power chords. The lyrics are delivered with the help of backing vocalists Dante Marchi and Liz Constantine. Trevor Rabin doesn’t attempt to mimic Jon Anderson’s wordplay, but nevertheless gets Rio moving in fine fashion.
“Push” offers sparkling keyboards, emotive mandolin and soaring vocals, creating something equally powerful. Guest drummer Vinnie Colaiuta adds a little extra spark while navigating Rabin’s tricky time signature changes. This song would have made a worthy addition to an ARW studio album, if it had ever materialized.
The finger-picked acoustic guitar intro, dobro and electric leads on “Oklahoma” add a wonderful nuance to the album. Rabin delivers his best vocal on Rio too, making the song a triumph. He then blends a touch of funk and prog with the hard-charging “Thandi.” Lyrically, the song is socially conscious and potent. Trevor Rabin’s incendiary guitar matches the passion of his lyrics.
“Tumbleweed” finds an overdubbed vocal passage from Rabin which recalls the Yes classic “Leave It.” However, the acoustic guitars and treble bass parts add a colorful, atmospheric feel. Touches of organ and electronic percussion only enhance the song’s beauty, which is capped off by a melodic guitar coda.
“Egoli” demonstrates Rabin’s world music and pop sensibilities, while the album-closing “Toxic” turns up the heat with Rabin’s powerful tapping and string-bending guitar attack. Rabin creates a Yes-like vocal choir to further support this hook-laden prog rocker.
Years of making soundtracks haven’t dulled Trevor Rabin’s rock sensibilities. Hopefully, he’ll take these songs on the road and then return for another rock effort this decade.
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