Customer Reviews

Croak & Grunt in the Night (Reis)

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This CD was mastered from a vinyl transfer. I understand the master tapes could have been lost somewhere along the line. It's a nice sounding needle drop, if a bit thin with a surprisingly bright top end, but most of the residual vinyl sound has been cleaned away leaving an adequate sounding CD.

Maybe someday the tapes will resurface but until then this CD is pleasant enough.

I hadn't listened to music from this CD in years (I used to have it on vinyl years ago when I listened to it), and was pleasantly surprised at how good the songs still are. The CD quality was great, and for any Trevor Rabin fan, this is a great CD to hear some of his earlier songs pre-Yes or from his very younger years. A very good, well rounded CD - it will be played alot by me.

If you are interested in the music of Trevor Rabin, South African rock or are partial to 70's glam rock with Beatlesque influences then this album is certainly worth a listen. Rabin fans like myself, will see this as a great milestone in his development as musician, composer and producer.

Some thirty odd years after its release, I again listen to "A Croak and a Grunt in the night". Back in '77 it was a huge musical happening for South African's of European descent. In cloistered, apartheid South Africa, this was the country's closest experience of rock mania, sold out concerts, teen girl hysteria and the fastest selling album in the history of South African rock music. On many a school bag or book the statement "Rabbitt rules okay" was adorned. It seems strange now to think that Rabbitt dominated the pop charts, the awards and entertainment news for that strange, sad South African period of 1976 to '79.

The title 'TC Rabin in D minor', the opening Brian May-like instrumental track, sounds pretentious but conveys the supreme confidence of Trevor and this band - and when you hear Rabin's powerful multi-layered guitar you realise this is indeed special as it segues into the ballad with strings and the plaintiff singing of "I sleep alone". Then the drums kick in and the title track punches in. You are aware of slick production and expressive guitar which ends with an extensive wah-wah inflected solo over Rabin's characteristic use of a full studio of strings.

Another emotional ballad begins, with big vocal harmonies, piano and catchy tune - the influence at best is Beatles but I did think of the Carpenters as well. The listener is then catapulted into a Neil Cloud drum extravaganza couched in another Rabin glam rock track. It must be remembered that this is Rabin in his early 20's playing in a heart-throb pretty-boy band and so tracks like 'Searching' do sound remarkably like poor Carpenter spin-offs with all the syrupy strings and gushing vocals. Yet in spite of this, there is an amazing musicality, world class guitaring plus subtle twists and rich harmonies that are up there by 1977 standards internationally let alone in the politically and culturally secluded South Africa of that time.

The heaviest track "Working for the people", the only all band composition, pounds away with bass, menacing strings, reverb extreme, multi-layered guitar interludes plus an oblique reference to what was happening with riot torn SA of 1976. If it was a statement, it was a subtle pushing the boundaries that had more in keeping with rebel boy rock and the risqué cover of Rabin naked behind a guitar than a political statement.

Although the CD does not refer to sides I refer to the original vinyl as this explains why we have the beautiful 'Schumann' multi-layered guitar instrumental introduction at the 'start of side 2'. (Listen to both the opening track and 'Schumann' as these are played in their entirety in the Amazon sampler.) "Hold on to love" is emotion drenched track that clearly Rabin thought stood the test of time as he included a different version on his solo album 'Can't look away'. This is then followed by the "Dingley's bookshop" that forever enshrines the name 'Pietmaritzburg' in a pop song. What is of interest is that this was written as a jingle for an SATV sitcom which does put the lyrics in context and the Beatles like ending.

For that time, what was indeed significant was having Margaret Singana forcefully singing 'Tribal fence' that pointed to a new South Africa in the distant future. By choosing her as the only guest artist on their long awaited album, Rabbitt were aligning themselves with more progressive elements in South Africa. Listen to the tone of Rabin's guitar in the short solo for glimpse of what was still to come on Yes's 90125.

Hints of fusion rock and instrumental prowess is on display in "Never Gonna Ruin my Life" and "Take it easy". This was certainly bold for South African pop in the 70's and I remember when first hearing this thinking perhaps Rabbitt could break into the international rock market. As we know this never happened but instead ultimately Rabin went on to join and influence the mighty progressive rock group, Yes; Neil Cloud toured with Peter Frampton and Duncan Faure joined the Bay City Rollers - all international recognition and huge achievement for four friends from Joburg.

Happily listening to this album again for the umpteenth time, I still enjoy and listen to all the tracks. What is abundantly clear is that the vast range of Rabin's musical skills clearly shaped this band and one can appreciate why Rabbitt ruled in '77.

(Review based on the 2006 Fresh music release. Produced by Patric van Blerk and Trevor Rabin. Arranged Trevor Rabin.)

My favorite Rabitt record. Been a Trevor Rabin fan since I first saw the live video of Yes during their 1984 tour. Searched for his solo work and any Rabitt records I could find. Found this one of vinyl years ago. Sounds great on CD. If you are a Trevor fan, get this one!!