Errors-To: et-admin at blackcat dot demon dot co dot uk Reply-To: et at cs dot man dot ac dot uk Sender: et at cs dot man dot ac dot uk Precedence: bulk From: et at cs dot man dot ac dot uk To: et at cs dot man dot ac dot uk Subject: Elephant Talk Digest #363 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 363 Wednesday, 19 March 1997 Today's Topics: SPECIAL ISSUE Tony Levin answers questions from ET readers (Part 1 of 2) ------------------ A D M I N I S T R I V I A --------------------- POSTS: Please send all posts to et at cs dot man dot ac dot uk To UNSUBSCRIBE, or to CHANGE ADDRESS: Send a message with a body of HELP to et-admin at blackcat dot demon dot co dot uk, or use the DIY list machine at http://www.cs.man.ac.uk/aig/staff/toby/et/list/ to ASK FOR HELP about your ET subscription: Send a message to: et-help at blackcat dot demon dot co dot uk ETWEB: http://www.cs.man.ac.uk/aig/staff/toby/et/ (partial mirror at http://members.aol.com/etmirror/) You can read the most recent seven editions of ET at http://www.cs.man.ac.uk/aig-bin/newslet.pl THE ET TEAM: Toby Howard (Moderator), Dan Kirkdorffer (Webmeister) Mike Dickson (List Admin), and a cast of thousands. The views expressed herein are those of the individual authors. ET is produced using John Relph's Digest 3.0 package. ------------------ A I V I R T S I N I M D A --------------------- Date: Mon, 17 Mar 1997 23:59:53 -0500 (EST) From: DanKirkd at aol dot com Subject: Questions to Tony (Part 1 of 2) Dear ETers, Here is the first of two "Questions for Tony Levin" special issues of ET. The second will follow in a week or so. I hope that with Anil Prasad's interview and your questions that you find we've covered a lot of interesting ground here. For those of you who haven't yet done so I recommend you hurl your URL to http://papabear.com/ and check out Tony's web site to stay up to date with his activities. Meanwhile, I'll stop yapping and let you get on with the reading. Over to you Tony (and thanks!)... Dan ET Web ******* Tony Levin answers questions from ET readers ******* From: Hocow at aol dot com (Brad Wilmot) Dear Tony, First off, thanks for taking these questions and thanks for all the great music over the years. 1. In a recent interview you mentioned some KC songs began as bass lines. Could you be more specific which ones? 2. How do you feel about the 6 piece format? I personnally have high hopes for it but I don't think the band has hit its stride. I often feel the rythm section is trying too hard to stay out of each other's way. 3. Have you been involved or heard any of the rough drafts of new material that Robert and Adrian have mentioned in ET? If so, how is it? 4. I really enjoy World Diary. Is the direct marketing successful for you? Is there another solo album in the wings? Thanks again, Brad Wilmot ** Tony replies... First of all, let me say hi to all the readers. I haven't been keeping up with E.T. lately - too busy, but I'm glad you're there, and pleased you're interested in the group, and in me! Of the band, I'm probably the most into the Internet, but don't always have time to look around, let alone visit known sites. Oddly, there's more time for that when I'm touring -- if I can just get logged on! As to the questions, forgive me if I've answered some before in interviews that you've seen here, and double forgive me if the same question gets a different answer! 1: The one recent track that comes to mind is "Walking on Air" which started when Ned Steinberger stopped by the studio we were rehearsing in, with a new bass for me to try. The riff I began playing was joined in on ... Bill taped it with his trusty blaster, and later Ade took a liking to the result, and wrote the song over it. (and added other chords, of course.) 2: re the 6 man format, I agree; we haven't reached full potential yet, but ... who said it'd be easy! It's been a challenge adapting, and there's still the feeling that some of the most adventurous Crim stuff lies ahead with the larger ensemble. Part of Crimson's ethic is, I think, trying out directions that aren't easy and aren't popular. 3: I haven't heard any new material - Trey and I have a germ or two to lay on the others though. In late April I'll know much more. 4: Glad you like World Diary. Is the marketing successful -- that depends a lot on your definition! Sales are quite small, which happens to be o.k. with me (because I make my living elsewhere, playing with others. The real success for me is that I can present the music, and the package exactly as per my vision, without having to compromise with a company about artwork, packaging costs, royalty and publishing costs, commercial content, radio viability, touring promoting availability ... or anything else. Also, I like dealing directly with the people who want the music - no middle men to give bad service. With Laurie, my very efficient employee, sending out the mail orders within a day or two, and inspecting them to make sure they're in perfect condition, I feel I'm giving the buyer what he deserves. ******* Tony Levin answers questions from ET readers ******* From: maccoun at violet dot berkeley dot edu (Rob MacCoun) Dear Tony: I hope other readers will forgive me for asking a non-musical question. In Robert Fripp's diary in Musician magazine circa 1981, he noted that you and Adrian were studying t'ai chi ch'uan at the time. If I may ask, what style did you learn, and from whom? Do either of you still practice? Does it (or did it) influence your musicianship in any way? Thank you, Rob MacCoun Grad School of Pub Policy, Univ. of Calif. at Berkeley 2607 Hearst, Berkeley CA 94720, t/510-642-7518, f/510-643-9657 ** Tony replies... I only studied Tai Chi for a year. The teacher, an old man called Dr Woo, lived in a hotel on the upper West side. I remember learning more about the discipline, and it's religion, from his manner, than I did from the form itself. I really liked it, but haven't kept up with it. For instance, in his broken English, "inhale" was pronounced "Yin hale." Very appropriate. He also confused the words "power" "chi" and "electricity" with each other. ******* Tony Levin answers questions from ET readers ******* From: dbzemel at execpc dot com (Dean Zemel) Tony, Listening to Robert and King Crimson, one gets the distinct impression that much of KC's music comes from one type of spirtuality or another, or perhaps a collage of different spritualities. Is your approach to playing your instruments essentially derived from musical training or is there an integration of whatever personal spirituality that you bring to your music and, if so, to what extent? Also, you have performed in some diverse bands (e.g., King Crimson and Peter Gabriel). How would you compare your involvement and level of enjoyment from one experience to another (and not necessarily limited to the two bands mentioned)? I enjoy watching you perform immensely. Thank you. Dean Zemel (Milwaukee, Wisconsin) ** Tony replies... Good question. I'm not one who analyzes much about my playing, where it comes from or how I do it. Not that I couldn't, just that I prefer to just go about DOING it. I will say that, as with most players, my playing and my musical reaction to the situations I'm in has to do with all the music I've played, and heard, as well as, I suppose, my own inner nature. One thing I know about my nature: I really like playing the bass - always have and probably always will. Re enjoying different situations, I always TRY to enjoy what I'm doing. Sometimes I have to remind myself that I'm playing because I like it - otherwise, some less than ideal music situations can conspire to make me forget that! Playing w. Peter Gabriel is entirely different than with Crimson, of course. I'm very lucky to have been invited to both. Peter's music is more set (what isn't!) and leaves more room for entertainment (dancing, joking, belching...) but Crimson's has more room for constantly challenging myself as a player, and for changing the parts. I really love both, and a very bad year for me is a year when I have to choose to tour with either one over the other. ******* Tony Levin answers questions from ET readers ******* From: Bennymosh at msn dot com (Ben Moscia) Well, first a statement, then a question.....I think that Tony is probably one of the most influential musicians out there that the mass audiences have never really heard of. I hope that there are kids out there that are smart enough to say, listen to a Peter Gabriel record and say,"wow, who the hell is that playing bass?", and to follow it up by learning more about Tony, the consummate bass player. My question is, Do you find yourself inundated by requests by artists that want you to play on their recordings? Do you ever wish that you had more time to do so? Thank you for your time. Ben Moscia ** Tony replies... I don't get as many calls to accompany as you might think. Having said that, lately I've been very busy playing on albums, and good ones at that. But the year previous I only did a handful of albums. It has to do with chance, and of course, whether I'm out touring. I find I don't play as well if I participate in too many projects, and when I'm toured out, I turn down most things. But I'm always hopeful to find new musical experiences, so when I can handle it, I take quite a few projects with people I don't know. ******* Tony Levin answers questions from ET readers ******* From: ericeric at math dot lsa dot umich dot edu (Eric Jonathan Hall) I. What do you think of... (A) Benji movies? (B) Bald women? (C) Devo? II. Some people think that Adrian's tremendous Beatles influence is sometimes detectable in the music of King Crimson. Are there some particular ways in which your classical training and/or love of classical music may be detected in the music of King Crimson? III. Suppose you died suddenly and learned that you would soon be reincarnated as a son or daughter of a surviving member of King Crimson. Which one would you pick to be the father (assuming you are required to choose)? Thanks for lots of stuff. Eric Hall ** Tony replies... First of all, there's a clear Beatles influence in some of Ade's lines, (as in many writers') and sometimes I join in with the reference and play a "Beatle-like" bass line. I play them sometimes in other bands, mostly because it's such a nice, clean way for a bass to present a foundation. With John Lennon, I did it a LOT! As for Classical influence, I haven't thought much about that - of course, a lot of the harmonic devices we use in rock came from the classical tradition. Crimson, using many linear features, not so based on chords, owes a bit to Wagner and Strauss in that regard (as did Genesis) As to my Classical training, I don't really think about that in regard to my music, but I'm sure it colors much of what I play. Let me mention that, harmonically at least, just about all the music we listen to is taking most of it's elements from something previous - that's nothing to be ashamed of - if we were to hear a group playing totally original harmonies - no major or minor chords, no 7ths, no 4th based Wagnerian harmonies, we would probably have a very hard time enjoying it. I haven't heard any rock music that's advanced as far as the Schoenberg atonal music of the early 20th century (though we're trying, we're trying!) But it's possible, and important, to combine elements in ways that haven't been done - to marry small new elements to familiar old ones - to couch familiar harmonies in new timbres (or, again as in Crimson, play a Wagnerian line with a Hendrix sound) See, you mention Classical, and I wax verbose! Next question: if I were to die suddenly, I would choose to come back as my own son. Not being a surviving member, I guess I wouldn't qualify as my father, but maybe that's just as well, since I wouldn't let myself borrow the family car anyway. ******* Tony Levin answers questions from ET readers ******* From: garcia at data dot net dot mx (Julio Garcia) What will you consider your main influences? Is it very difficult to play the stick? ** Tony replies... Technically the Stick isn't very hard - the problems come for some people because it's quite a different technique than guitar, bass or keyboard. If you can approach it fresh, it's really easier than those. ******* Tony Levin answers questions from ET readers ******* From: jeller at osprey dot unf dot edu (Psychic Zero) Hi Tony, My question actually has nothing to do with King Crimson (gasp!). It concerns the Stick and guitar parts on David Torn's "Cloud About Mercury" album, specifically the opening bit of 'Previous Man'. Is that Stick or some tapping action on guitar? Other than the bass parts, where else on the CD should we hearing Stickage? Incidentally, "Cloud About Mercury" stands as one of my all-time faves, and everyone's playing is sublime. Much thanks, and eagerly awaiting "Harley Road Diary", Jason Ellerbee ----- jeller at unf dot edu Computing Services, University of North Florida Listen to DREAMS WIDE AWAKE http://www.unf.edu/~jeller/dreams.html Sunday nights from 8 to 12-ish Hosted by Jason Ellerbee Airing on Digital Cable Radio channel 33 from the University of North Florida, Jacksonville ** Tony replies... Well, I hadn't heard the cd in years, and of course, don't remember every track, but in trying to please, I've just had my girlfriend Andi put her copy in the player (her cd player works, mine doesn't!) .... here it comes ... It's David, finger tapping the guitar while he plays other chords, not Stick. ******* Tony Levin answers questions from ET readers ******* From: mcgrac at master dot tds-az dot lmco dot com (Chris McGrath) Tony, 1. What formal musical training have you had, and what was your practice regimine when you first began playing the bass (and consequently the Stick)? Could you also comment on the respective background of your fellow bandmates? (Adrian mentioned that he never had guitar lessons.) 2. Do you have any regrets, musically, personally, or otherwise, about choosing your career in the arduous music industry? 3. Are there any albums that you have played on that never really caught the public's attention, but you have been particulary proud of the the final product (your playing or the record as a whole)? 4. Where do you guys get your stage clothes? The name of Bill's taylor would be magnificent. Thank you for your time and music. Your (and your bandmates) repore with your fans is a refreshing departure from the norm that has not gone unappreciated. Cheers, Chris -- ________________________________________ | Chris McGrath | | email: mcgrac at master dot tds-az dot lmco dot com | |----------------------------------------| | "What poor gods we do make." | | -Naked Raygun | |________________________________________| ** Tony replies... I played many kinds of music as a kid - studied classical, but played jazz and folk (anybody remember folk?) then later moved into rock. I don't know the training of the others in the band. I've found that my music reading ability really isn't too important any more in the kind of bands I play with. Regarding practicing, I practiced the upright bass a lot as a kid - up to my '20's. By the time I took up the Stick, I was way tired of practicing - and I never have really practiced it much. In Crimson, I admire the way some of the others still practice dilligently, even on the road, but I can't say I'm keeping up. (except last years tour, where I was woodshedding with my funk fingers to be able to play 21'st Cent. Schitz.) I've had a disconnection, and lost the rest of your question. sorry. I remember something about stage clothes -- we wear whatever is around when we get to the first show of the tour! ******* Tony Levin answers questions from ET readers ******* From: bcormier at global2000 dot net (Bill Cormier/Carol Henry) Tony, Thanks for this opportunity , It means a lot to be able to talk bassist to bassist to you ! Here goes! Question 1). Talking with you after the first Atlanta GA. ROXY show in 1995,and knowing you live in close proximity to me in upstate N.Y.(Woodstock. I live near Albany), and being a bassist myself I asked you if you gave lessons. I was surprised when you replied that you did not give, but took lessons from a teacher in Woodstock. You told me his name and in my excitement,and lacking a pen and paper, I forgot it. Who is this bass teacher and what do you feel the advantages are to taking lessons so far along in your amazing carreer? Question 2). During the 1982 Crimson tour the band played an unamed instrumental to open some shows , two I know of were The LANDMARK Theatre in Syracuse, N.Y., and at Stoneybrook College ,N.Y.. It began with wonderful mid-tempo swirling guitars from Robert and Adrian and you playing a beautiful melody line over them. This continued for a time until the band came to a full stop, suddenly Robert tore into a rapid ,staccato assault with the band quickly joining him. This part of the piece reminded me of a wild ride on an out of control rollercoaster, until it came to a manic ending among jubulant cheers from the audience. I assumed this tune would end up on the follow-up to BEAT, but was surprised to find it missing from THREE OF A PERFECT PAIR. My question is what was this great tune? did it have a name? what became of it? . Are there any other Crimson songs written during your tenure in the band that were performed live but never recorded/released ? ( good candidates for a Crimson rarities collection maybe!) Thanks so much for the years of bass inspiration you have given me and for taking the time to respond. sincerely, Bill Cormier ** Tony replies... I do take occasional lessons from a guy named Rob Leon, who lives in Saugerties NY. Don't give lessons because of time considerations, and the fact that I haven't analyzed my playing enough to have a good sense what to teach. Take lessons because there are lots of techniques I've yet to learn. Second question has stumped me. Maybe we made the piece up as we went? There have been many ideas and pieces dropped along the Crimson path to finished recordings. some of them very good. ******* Tony Levin answers questions from ET readers ******* From: marcdep at pacbell dot net (Marc Deprey) Tony, a question I've had after many years of playing. What do you do to protect your ears from damage? ** Tony replies... I've had plenty of hearing loss already, even though I've always tried to protect my ears. Have been wearing earplugs for years, but now I also insist on either standing far from drums, or a plexiglas shield (to the displeasure of the drummers, of course. ) ******* Tony Levin answers questions from ET readers ******* From: asepulvedan at spin dot com dot mx (Alicia Sepulveda) Dear Mr. Levin: I want to thank you very much for your time and attention. Anyway, here goes: 1.- Is it true you don't listen to other rock or pop groups? I find it mind-boggling that rock's meanest bassman doesn't even listen to the stuff. What was the last rock record you bought or gig you attended? (that you didn't play on, of course). 2.- We're all familiar with Robert Fripp's opinion on the issue, but what do you think would be appropiate and inappropiate behaviour from an enthusiast towards the musician, should a meeting occur away from the stage? 3.- And how do you feel the audience should behave during a concert for the event to be considered succesful? For example, judging from your and Trey's road diaries, you seem to consider the Mexican public one of your rowdiest (I though they were merely OK, but this is coming from a teen who left most of his baby teeth scattered in mosh pits throughout the city). Do you prefer an audience who sits motionlessly and in silence or a sweaty, slamming gig? (My bassist told me to ask you the following q's, so don't blame me) 4.- What is the perfect bassline? 5.- How do you adapt to having another bass player in the band? 6.- Had you been in other 2-bass situations? If so, how did they differ from your current partnership with Trey? OK, sorry for hogging so much space and thanks in advance Pablo Cordero, Mexico City ** Tony replies... Regarding listening to groups, I don't mean to say that I AVOID it, just that I don't buy a bunch of cd's every month. I hear a bit of what going on on the radio, but compared to most people, I'd say I'm not in touch with the current music scene. When I do hear something that appeals to me, I try to figure out what's going on with it, and what it is I like about it. Sometimes just the sound of the guitars, or the power of the group gets my attention, even if I don't care about what they're singing about. Your second question - in fact, I'm not aware of Roberts views about music listeners (you know I don't often read E.T.) so I can't speak about that. I don't have much to say to any enthusiasts or anyone else about what I think their behavior should be. In my experience, everyone's different - I try to respect all people I meet, and if I don't have time for a conversation with someone, I try to let them know clearly (as people sometimes do with me) and I find that people usually respect that. I'd have to add that in my many years of touring, it's very rare that I've had a problem with anyone I've met. 3: same question, but about audiences .. again I don't think it's up to me how an audience should react - they should react how they do. For me, it's not one of the most important things about a show, but I'll admit, on a tired night, long into a tour, it is a help to have a lively audience. About the two bassist thing - it is a challenging situation always (I've done it on records, but never before in a band) I don't think the bassist would ever choose this situation, but I think, like Trey, I'm finding that it works if I'm up to the challenge. I have to leave more room, be more generous, pick and choose the important spots for lines, stay lower (in my case, that is - Trey often stays higher.) I went for the idea because I have a lot of respect for Robert's vision and taste - he thought it would work (I didn't know Trey's playing at that time) and that made it worth my trying it. What do you know, he was right! ******* Tony Levin answers questions from ET readers ******* From: fjesun at hs dot nki dot no (fjesun) How about a scandinavian concert in the nearest future? What about a gig in Norway soon? Has KC start working on a new record? Since when did you start playing the bass? ** Tony replies... Not much touring this year, in Scandinavia or elsewhere. There may be some in October, but I don't know where. (These things are often not up to the band) We will spend all year working on new material, to be recorded ... well, when we've got it right! I started playing the bass ages and ages ago, shortly after the earth cooled. I was about 10 years old. ******* Tony Levin answers questions from ET readers ******* From: JCORNI71 at MAINE dot MAINE dot EDU (Jayson Cornish) Dear Mr. Levin, I am a Jazz and Contemporary Music Student at the University of Maine at Augusta. I am a Bass Player. I'm playing "VROOOM" in an ensamble led by Chuck Winfield who used to be a Trumpeter with Blood Sweat and Tears. I was wondering your views on spirituslity in music. Thank You Jayson Cornish ** Tony replies... I think that the playing of music, when you're so used to your instrument that it's not there as an element - just as an extension of you, can and often does provide a somewhat spiritual experience; one where the consciousness goes on cruise control, and the player's hands and right brain do the driving, while the rest of him relaxes in the back seat with the glass partition open so he can yell directions to the driver if he wants, or reach up and knock the guy's hat off, or just settle back and enjoy the ride. (There is beer and wine available in the backseat fridge, but I never know if it costs extra.) ******* Tony Levin answers questions from ET readers ******* From: syd at intergate dot bc dot ca (Chris Trinidad) Hello Tony, As a bass player, I admire the musicality and melodic intuition you possess. You are truly THE bass god. Flattery aside, I would like to know how you started playing sessions... was it through word of mouth? Were you in a band beforehand, and someone spotted you and asked, "hey, wanna play some tracks for my upcoming recording?".. Did you sight read charts? or play the lines by ear? How much did you usually get paid (when you started)? (you don't have to answer the last one) Thank you very much for your time. In bass we trust, Chris Trinidad Richmond, BC, Canada ** Tony replies... I started doing sessions in NYC years ago, when there was more work to be had. Then, as now, I liked playing with a lot of good players, whatever it paid. Gradually, some of the other players I worked with would recommend me for sessions - low paying ones at first. It took years to get to the point where I made a living from recording - and I played clubs and whatever (as I still do sometimes.) ******* Tony Levin answers questions from ET readers ******* From: russell at anchorag dot demon dot co dot uk (Russell Whitworth) Please could you tell us how "The King Crimson Barbershop" came about? Whose idea was it, and how did it happen? When was it recorded, and why did it remain hidden until "The Essential King Crimson"? What were Bill and Robert's reactions to being asked to sing? (Unless I'm mistaken, this must be the only commercial recording of either of them singing!) Thanks for taking the time to take part in this bit of fun. -- Russell Whitworth ** Tony replies... The King Crimson Barbershop was an idea I had, for us all to sing in concert (a joke, to be sure, but one I hoped could really happen.) In a break of recording, I laid down the parts so the others could hear it - just one quick pass for each vocal. The band listened to the result, chuckled, and we never discussed it again. (typical with Crimson.) Many years later, Robert unearthed that tape - it's just my voice, 4 times, and decided to use it as is, on the compilation. ******* Tony Levin answers questions from ET readers ******* From: twd at valhalla dot rutgers dot edu (dbuono) Hello Tony, My first question dates back to the summer of 1996. It was within one month of King Crimson's final performance in Philadelphia that a local South Jersey radio program featured Trey Gunn as a guest. During the interview, Trey commented that King Crimson would enlist three additional members to the current lineup for the next album. This is something that I have since heard absolutely nothing about and I am hoping you can comment on Trey's statement. Was it an idea suggested at the time and subsequently aborted, or is it still a current issue? (you did say that Robert asked you opinion about a third stick player, correct)? Secondly, as a visual artist, I was intrigued by your dissatisfaction with King Crimson's recent album cover art. Likewise, I, from an artistic perspective, find latter 'Crimson Art', with the exception of "Thrak", to be uninteresting, having moved away from the subjective relationship between sound and vision, to a more alienating computer-generated objectivity (By alienating, I mean both to the viewer and to the music). I am, quite simply, curious to know what type of artwork you would like to see forthcoming from King Crimson, and have you discussed the matter, offering any suggestions, with the rest of the band? If so, what were their responses to your suggestions? If not, what are the reasons for witholding your suggestions? The opportunity for this correspondence with fans of King Crimson has been, indeed, been an honor and pleasure. Respectfully Yours, John Toothman twd at eden dot rutgers dot edu ** Tony replies... Well, I don't know anything about there having been a play for more players in the band. As for the recent artwork, I agree with the way you've described it - I don't really have much say in it - it's very hard to run a band with everyone getting input on every item. I'm happy to have total control of the art on my OWN cd's, and to let the band hire someone to handle it's artwork. But, gee, I do hope it starts having more relevance to the music. ******* Tony Levin answers questions from ET readers ******* From: MHeilbronner at kilstock dot com (Heilbronner, Michael) Thank you very much for this opportunity. Perhaps the most magical, or transformative (to borrow RF's term) musical moment that I've witnessed occurred during a "duet" between you and Bill Bruford during the 2d ABWH concert at Jones Beach, NY. In the recent interview with Anil Prasad, you suggest that similar collaborations may occur in the future. My impression from various live performances over the years is that, within King Crimson's successful group dynamic, you and Bill occasionally seem to work together, almost as a singular pair within the larger group. To the extent these observations are accurate and are not merely a distortion caused by my general fixation on rhythm sections, 1. What qualities, styles and aesthetic preferences do you and Bill share that allow you to work together so successfully? 2. On an unrelated note, have you or KC considered a piece that brings incredible capabilities of the _entire_ rhythm section to the forefront? It seems to me that a piece with (i) BB, PM and AB on drums; (ii) you and TG both playing low ends; and (iii) RF providing an undercurrent of beautiful soundscapes would raise African-influenced and "world" music to a new level. Arguably, B'Boom is a step in this direction, but I envision something that is much more than a drum piece. . . . still waiting for your stick parts on Vultures in the City to appear without the accompaniment that drowns them out on the Brother of Mine single (these stick parts are the only reason I haven't thrown away ABWH's "In the Big Dream" video) . . . . :)) Mike Heilbronner ** Tony replies... Well, as to the first question, I haven't intellectualized the musical relationship between Bill and me. It works, that's for sure, and we keep enjoying playing together, tour after tour. Your idea of a drum driven type of Crimson writing is a good one, and in fact, we may try that - the thing about 6 players is that there are many options of how to go about making new music - there isn't time to fully pursue them all, so we brush on a few, and try to take those that work to completion. I can't predict what's going to come out of our next sessions together, and I suppose that's a good thing. ******* Tony Levin answers questions from ET readers ******* From: liber at seguin dot neis dot net (Paul Dowling) Will Tony ever play in his hometown of Boston ? We miss him and think that a small club appearance would be appropriate. ** Tony replies... Thanks for your kind thought. I, of course love playing in Boston (though when my whole family comes to a show, I'm usually pretty distracted making sure they're o.k. - a common situation among touring bands: the guy who's in his home town is a wreck!) Crimson usually hits Boston with each U.S. tour, but as for my own music, I've got no plans (or time) to put a band together and tour with it. (Having said that, when the next PapaBear Records release comes out, this Spring, there's a chance that I'll rope the other two musicians, Jerry Marotta and flutist Steve Gorn, into playing some clubs this Summer.) (For info about that record, access my site: http://papabear.com/tlev.htm) ******* Tony Levin answers questions from ET readers ******* From: basilej at 199 dot 234 dot 146 dot 11 (Joe Basile) Tony, Appreciate your work through the years!Also think you and Bill are magical together,KC,Diemeola, Torn. On thoes lines what comes to mind when you think of the album and tour of AWBH(&L).Saw the Pittsburgh concert and thought it was the best I ever saw Yes. In main part because of you and Bill's team work.I am so happy you stayed a part of the Crimson team.In my mind, my favorite KC to date! Also love,"World Diary". Warmly, Joe Industry,PA Joseph S. Basile ** Tony replies... Well, thank you. ******* Tony Levin answers questions from ET readers ******* From: ganderso at notes dot cc dot bellcore dot com (Gordon Emory Anderson) Tony: 1. Among all the members of King Crimson, you may have been on the largest number of "hit" records, ie those played on radio. Do you have any idea why Crimson doesn't get more radio play? Payola? Let's face it, although some of Crimson is not super-acessible, in this era of "alternative" hard rock, I can't imagine something like Dinosaur wouldn't be more popular if heard. 2. Sometimes I think that some of the dramatic, powerful base lines you play sort of conflict with your easy-going, low-key public personna. Where does that playing come from? Where does the soul of Tony Levin meet with mystery? 3. Are their any recordings/artists/pieces (outside of Krimson, et al) you are currently listening to? Any favorites we may not have heard of? Thanx. -G Emory Anderson ** Tony replies... The issue of radio play, accessibility, and 'hits' is an interesting one in Crimson. As in other things, we have some different ideas and attitudes within the band about it (on some issues, 6 different opinions!) - I'll only speak for myself: I don't think we should try to have a single, a popular video, or even to appear on tv and play the closest we have to our 'single.' Of course, with Adrian's writing, we do have a strong popular influence in our music, and that's something I like, and something I respond to musically, but the natural tendency to please the record company and mainstream radio, is one that I believe works against a band like this in the long run. The complexity of what we are and what music we put out is what I like about the band - an effort to market a simple short version of the more accessible part of that will necessarily be an attempt to convince the record buying, or radio listening, or tv watching audience that we are, actually, less than what we really are. Sometimes good for sales, but not good if we can't challenge the listeners too, and let them know that this is something that nobody else does. When we played the Conan show, rather than the abbreviated Dinosaur, I wanted to play Thraak and blow a few minds. Another factor in having a single that's got potential, is that the record company takes notice of you - if they get excited, they start promoting it, more people will hear about the record, but inevitably, without meaning to, they will demean what the music is about, trying to convince the public we're something we're not, and sometimes also running up a large bill (whoever pays it.) Lately we haven't had that kind of situation - no more dance mixes - Virgin just letting us be, and I think that's good. As for radio play on stations that like unusual music, and promotion of the albums, of course those things are necessary for the band. Let me add again that these are Tony's thoughts, not Crimson's. ******* Tony Levin answers questions from ET readers ******* [ end of part one ] ------------------------------ End of Elephant-Talk Digest #363 ********************************