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 #365 E L E P H A N T T A L K The Internet newsletter for Robert Fripp and King Crimson enthusiasts Number 365 Friday, 21 March 1997 Today's Topics: SPECIAL ISSUE Tony Levin answers questions from ET readers (Part 2 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 --------------------- ******* Tony Levin answers questions from ET readers ******* From: alk87476 at marauder dot millersv dot edu (Alexander L. Kaufman) Dear Tony, Hi, and thank you so much for taking time to talk with us all, I myself am really greatful. The other week I was going through my music collection for my radio show at school and I realized that each week I bring more or less the same artists down to my show at Millersville University. It's usually those artists connected with KC or the Velvet Underground in any remote way, plus 20th Century Classical and some jazz. I also realized that since getting _World Diary_ in the mail after the KC show in Philly in June 1995 it plays very well on the air, and I got several calls to the station saying "what is this wonderful music you are playing?" It is hands down one of my favoite albums. And now the questions: 1) I bought a pair of funk fingers for my sister; she loves them, plays at all hours with them in her punk band. What has been the reaction of other bass musicians to the sound and concept of funk fingers? Also, would it be possible to construct funk fingers to play The Stick? (I would assume they would be rather narrow). 2) What was your impression of HORDE? You looked rather hot in Hersey with the spots coat. How about a Discipline Records "HORDE"? 3) It seems, and I could be really over analysing this, that in the music of Crimson from the '80s and today there are intrinsic leit motifs that weave in and out of the music, almost, dare I say, Wagnerian in nature. An that these motifs are played either by the bass, the Stick, Warr guitar, or by a combination as in the present group. Am I imagining this, or are these leit motifs written specifically in the bass/stick to add ambiguity, tension, and beauty to the music? Well, I've asked more than my share and taken up far too much space. The Lancaster area at Millersville is a KC haven, I have found, and is eagerly awaiting more jaw dropping music. Take care and many thanks, Alex Kaufman ** Tony replies... Hey, thanks for the compliments about World Diary, I'm glad you like it, and pleased people respond to it on the air. (I made no attempt to get any radio play for it - too much of a promo job for me!) As for Funk Fingers, I get quite a few e-mails from excited users (theyr'e mostly sold from the web page about them, and it includes users' comments) It's quite a thrill for me to think of other players using a technique that started with me. As with my cd's, I don't try to sell large numbers, (I spend too much getting them made, and anyway, that wouldn't be fun anymore) so in a way I feel like there will be a little community of Funk Finger users. I've played the Stick with them, one note at a time, and it's pretty neat, but very hard to control, and the output overwhelms the pickup. Only useful in rare situations. HORDE was fun, and a break for me from touring by plane - I drove to most of the shows on my own. I like outdoor shows the best for Crimson because we always run into problems with accoustics indoors, even in good places - just too many notes bouncing around, I think. So outdoors the echo is swallowed up, and I sense people can actually HEAR what we're doing. Now, at the HORDE shows, not many were there to see us - that's what we expected - so it must have been an interesting experience for, say, the Blues Traveller fan. There is some talk of a Discipline artists tour - I'm not up on the latest, though. We'll see. As for leitmotifs, I think I'll leave that alone - I went into Wagner in an earlier rant. ******* Tony Levin answers questions from ET readers ******* From: twd at valhalla dot rutgers dot edu (Chelle) Hello Tony, My first question originates in the summer of 1996, just towards the last performance in Philadelphia. A local radio program featured as its special guest Trey Gunn. During the interview, Trey commented that King Crimson would be enlisting three additional members for its latest endeavor. Since that interview, I have heard absolutely nothing in regards to this, leaving me bewildered about the comment. I am hoping you can discuss what Trey may have been referring to. Was it an idea at the time that was subsequently aborted, or is it very much true? Thank you very much for this opportunity. John Toothman twd at eden dot rutgers dot edu ** Tony replies... I think I answered this question earlier. Or am I getting psychic? Let's see... I'm getting a vibration that the next question will be from someone named Joe ******* Tony Levin answers questions from ET readers ******* From: basilej at 199 dot 234 dot 146 dot 11 (Joe Basile) HI, So happy you take the time for us fans.Enjoyed World Diary and many other works. Also recognized you in a Paul Simon movie.Loved you work with Gabriel,KC ,ect. Especially liked your team work with Bill(Diemeoala, Torn,KC). On those lines can you tell us anything interesting about the AWBH(&L) record and tour? I saw the Pittsburgh show and though it was magical. Also any fond memories of the DOUBLE FANTASY recordings. Happy you and KC are back...It's the best KC to date! (If my first posting got through please disregard it.) Warmly, Joe Joseph S. Basile ** Tony replies... Thank you Joe. ******* Tony Levin answers questions from ET readers ******* From: Uno dot Karlsson at svt dot se (Uno Karlsson) Hello Tony! When you go into the studio to work for an artist, are the notes ready for you, or do you listen to the songs and then improvise? For instance (if you remember) on Frida's album "Shine" and when you work with Peter Gabriel. I'm amazed how your bass-playing can lift up a song! Uno Karlsson Sweden ** Tony replies... What bass parts are given to me varies a lot. Sometimes they're all written out - hopefully they will let me interpret the part and change some notes... (sometimes I'm not even allowed to do that!) More often the whole part is left up to me. My recollection is that I had free reign on Frida's album. On Peter Gabriels music, he sometimes has the bass line (i.e. I go Swimming, Come Talk to Me) sometimes it's up to me (Sledge, Secret World) and often it's a collaboration. On one song, Don't Give Up, Peter had a drum machine part with tuned toms that sounded to me like a bass part, so I picked the pitches I thought his part already had for my part. ******* Tony Levin answers questions from ET readers ******* From: Krosser414 at aol dot com (Ken) My questions for Tony - 1) I've heard that you're a big opera fan - what are some of your favorite operas and/or performers? 2) I've heard many rumors over the years about your involvement in the early stages of John McLaughlin's Mahavishnu Orchestra (pre-Rick Laird). Were you involved or approached? 3) One of my favorites of your session gigs are the recordings you did with John & Yoko. How much time did you spend working with them? How were those sessions structured, i.e., did he have a lot of specific arrangement ideas or did he give everyone a pretty wide berth, were they done mostly live or one or two guys at a time? Any standout memories? The whole band on these tracks sounds so great, very simpatico and it sounds like everyone had fun making them. ( As well as some of my favorite bass playing ever...) Thanks, Ken ** Tony replies... I've long been a fan of Italian opera, but don't get to go anymore. For a few years I had tickets to the met, and saw many performances - my favorite then was Pavoratti, and I guess Tosca was the opera I liked him best in. In 1992, touring Italy extensively with Claudio Baglioni, I went to some operas on my nights off - was amazed to find American tenors singing there in Italy. I was called to join the inception of the Mahavishnu Orch. In fact, I vividly remember that my mother-in-law at that time took the message, and told me the next day that I had been called by "Murray Vishnu and his orchestra." The Lennon/Ono sessions were about 3 weeks long - live tracking which was quite simple, at least John's songs, since he played and sang with such authority that the parts seemed to already be there. Yoko's songs were more problematic since she didn't play any instrument, and had to tell an arranger what she wanted - things are much harder to translate with language than with music - sometimes those arrangements didn't come together easily. But that whole project was a pleasure for me, both musically and personally. ******* Tony Levin answers questions from ET readers ******* From: WINKLER at ing750 dot ingrm dot it (A. Winkler) Hi, I would like to submit two question to Tony Levin; I'm an Italian fan, I would like to know: (a) When is scheduled the new Tony's project with Marotta on drums? Is there any possibility to see Tony performing live in the next future here in Italy? (b) In which albums did Tony played fretless bass? Thank you very much and a greeting to Tony A. Winkler e-mail winkler at ing750 dot ingrm dot it ** Tony replies... Ciao, and I hope you have heard the Ivano Fossati cd I played on - it's one of my favorite records, (and my father's favorite of all time) and it's a shame that nobody outside of Italy can get it. The project I've done with Jerry Marotta was an instrumental trio, recorded inside a local cave! Jerry plays his Taos Drums, I play Stick and bass, and Steve Gorn plays an Indian flute called the bansuri. To make it even more unusual, we recorded it binaurally, so when listened to with headphones, it seems like you're there in the cave. I'll have that cd ready for release in the U.S. by May, and it should be out in Europe sometime this Summer. In Italy, it may be on SonyItaly as was World Diary, or it might be DGM who distribute it. As for touring to Italy, I sure would like to since it's my favorite place - my Summer tour with Andy Summers and Stuart Copeland has been cancelled, Terry Bozzio's manager is looking into a small tour to promote a trio album we've done with guitarist Steve Stevens. If that doesn't happen, I may even tour with Jerry and Steve Gorn, playing the music from the cave (!) But I doubt if that would take us to Europe. I've played frettless bass on many albums - I can't remember many names, but certainly Crimson's (pieces like Vrooom Vrooom and Sex, Sleep...) and on Peter Gabriel's Sledgehammer, and others. In Italy, I played on Raf's last cd. Sorry my memory's not better about more. Lately I've been more into playing the electric upright than the fretless bass. ******* Tony Levin answers questions from ET readers ******* From: kphi7731 at stu dot oru dot edu (Keven A. Phillips) Hello Tony, I appreciate the continuing efforts of King Crimson (yourself, Robert, and Adrian especially) to further enhance the relationship between artist and listener. 1.) What (if any) ethical considerations do you take into the creative process? 2.) What (if any) ethical considerations do you hold concerning the business end of the process. 3.) how do the two (creative and business) relate, in your mind, to King Crimson (and any other primarally creative situation) as opposed to session work? I understand that there will be some grey area, however, your opinion is of value to me. 4.) Tell me about your experience at Eastman School of Music. Why did you leave classical music behind? Will you ever return to it? Thanks, Dylan Turner ** Tony replies... Whew, it's late at night and this is a touchy question - I hope my answer's not drivel. I don't take any thoughts about ethics into playing music - the two seem very distant. In my business practices, if you can call them that, I maintain the values that I think are important. I try to fulfill my commitments to bands and singers, even if better work comes along. I try to be fair in asking my price as a sideman. And other things like that. In my own recording, with me as head of my record company, I'm very particular to be as generous as I can to the others involved in the recording - in a way it's my revenge on the record biz, which often insists to us musicians that you can't do that. Crimson is pretty much run by Robert, so I don't need to make business decisions - he consults us about changes, but his sense of both business and creativity is so good, that it's very rare that I disagree. Crimson is, of course, vastly more satisfying than session work (as is, to me, almost any live playing) and Crimson has been the most challenging musical situation for me - that's just part of why I like being part of it. Just as the band isn't afraid to try new musical directions, some of the standards of running a band have been turned on their head too - we've yet to see what the long term results will be, but it's a fun ride! Eastman (music school) was a long time ago for me. I always loved classical music, but I learned by my late teens that it wasn't as much fun playing it as playing some other styles. I did some time in an orchestra, and fortunately for me, I left that field at an early age. I still listen mostly to Classical (and find myself playing with a bow again, albeit with a fuzztone) but I don't envision going back, especially to orchestral music. ******* Tony Levin answers questions from ET readers ******* From: bertpe at bluewin dot ch (pierre-emile bertona) Hi Tony, Knowing you personnaly for more than 10 years now has given me the opportunity to ask you a ton of questions, even with my bad english and my awful swiss accent ! Here are some more questions that are maybe in a larger context than only about the KC maniacs web site. 1- Playing with different excellent drummers of different styles, how is your "strategy" to find the best way to "sound" and groove with every one of them. I mean, how is your view to find what and how you have to play, when -for instance- you have to play with Bill Bruford this week, Manu katch=E9 next week and Jerry Marotta the week after. Do you sometimes alter your sound, your style etc.. 2- At your level of skill, experience and musical satisfactions, are still some artists, composers, etc.. you'd dream to work with (except me, of course !) Thanks for all, see you next October in Milano. PE Bertona ** Tony replies... Hello Pierre. As usual, you're way ahead of me: you say I'll be in Milano next October, when I just answered a question that I have no plans to tour there! And, you're probably right! anyway, I don't enter into music with different drummers, having a plan about how to play. I react to the music, including of course, what and how the drummer plays. I'll choose an instrument based on some internal reaction to the piece I hear (If they have nothing to play me, I don't have a clue what bass to pick up.) Even though I know the styles of those drummers you mention, I may react in different ways at different times. For example, Bill will be very creative, changing his part each chorus, and likely using a lot of dynamics. I might go with him, creating a team of unidirected rhythm players, or I might reach for the 5 string, and just play simple, low, and hold things down so that his flights can be featured. Likewise with Manu, his uniqueness is more featured if I hold back on the time, playing like a laid back rock player, and he strains against it, than if, as in Secret World live, I go steaming with him and we're a high energy team. What makes that decision, and others, I don't know, but I do like to be free to react as my internal sense tells me. There are lots of musicians I'd love to play with - famous ones that most of us know and admire, and also the many unknown players and writers of great talent that nobody knows yet. I've been very lucky so far, to be around so many great players - I hope my good fortune continues. ******* Tony Levin answers questions from ET readers ******* From: clap129 at ccsun dot strath dot ac dot uk (d.j.mcallister) Hi, Thanks for agreeing to answer questions - I'll keep this brief and I apologise for lack of originality I wonder if you could talk a little about how you interact musically with Trey in King Crimson. Who decides who takes the bass groove when, for example. Do you consider tone colours? In the live video, I find it difficult to hear Trey's playing compared to you - is this a deliberate mixing policy (maybe that one should have gone to Adrian!). What moves you to choose to play stick / bass guitar / double bass on a particular piece? Now that King Crimson has reformed, will you still work and tour with Peter Gabriel - what are your commitments? Whats your favourite flavour of ice cream? Looking forward to reading your replies, David McAllister ** Tony replies... I don't like ice cream very much, but my favorite flavor would definitely be coffee. Not so simple to explain is how Trey and I divide parts, tones, and approaches. It's done, surprisingly, mostly without discussion- we're both good listeners. I know I'm usually aware of what he's playing, especially when we're developing a piece - if I hear something good, I'll either try to double it, lay out or go to a different register so it can be featured, or try to find something to compliment it. Sometimes we're both floundering, and one or the other requests something from the other player - a true duo part. there are lots of examples of all of that on the last albums. As for the mix, that's not in my hands, I'm happy to say! I hope to tour again with Peter (we've recorded the tracks for his next album) and I hope very much that it doesn't conflict with Crimson's future touring plans. If it does, my commitment is to Crimson. (but, oooh, I want to do BOTH.) ******* Tony Levin answers questions from ET readers ******* From: T269 at ACADEMIC dot TRUMAN dot EDU (Dean, Walter Andrew) Hi Tony, I have 2 questions for you. First of all, how do you decide whether you'll play Stick or upright or bass guitar, etc., on a particular song? And secondly, what is your favorite Crimson song to play live (if you have one)? Thank you for your time--can't wait for your "Cave" album! Sincerely, Andy Dean ** Tony replies... I think I've already covered the ground of what instrument I choose. I'd say that lately Thraak is my favorite piece, because I don't know where it's going to go. When we start doing very new material in the live shows, I'll probably prefer the excitement of that material. ******* Tony Levin answers questions from ET readers ******* From: trylle at gvn dot net (Tommy Kochel) Greetings Mr. Levin, First of all, World Diary is wonderful, thank you for my recent Funk Fingers (I'm attempting to use them on a custom-made acoustic bass guitar - definitely a challenge), and I anxiously await the release of Tales from the Iron Mountain (my wife plays a Native American flute, I have played "natural" percussion [an Irish bodhrE1n] for quite some time, and I just purchased my first Stick [a teak Grand in 6+6 standard tuning] . . . so we both can't wait to hear your latest recording!). Thank you for this opportunity to ask questions of you. This kind of forum provides a way for the music world to function at least in part the way I think it should - with some more or less direct contact between musicians and audients. Here are three questions from _this_ audient: 1) Could you briefly compare a few aspects (of your choosing) of performing live with the "Anderson, Bruford, Wakeman, Howe" Yes line-up, as compared to performing live with King Crimson. Feel free to avoid "favorites", it's not my intent to elicit a list of reasons why you like one or the other best. And I realize that you are a larger part of KC than you were of ABWH. But I'm interested in performance aspects. [I saw you with ABWH in Drammen, Norway, just outside of Oslo, in November of 1989 - in what seemed to be a high school gymnasium. For a second encore, Bill began a "Sheltering Sky" melody/rhythm on slit drum and everyone filtered into a more or less unplugged version of "Sweet Dreams" in a very slow and mellow time signature. I must say that it was a HUGE disappointment to me to find that you, Tony, were not playing on the night they decided to record the concert for the "ABWH: An Evening of Yes Music" release!] 2) Have you ever considered recording an entire album with Bill Bruford (as a duo)? You seem to work so well together, and the material you have recorded together [i.e, Evensong, Etude in the Key of Guildford, Jewels] is delightful. As one audient, I think it's worth consideration. I think the two of you would have a lot of possibilities! 3) Regarding your arsenal of Chapman Sticks=3DAE, as a new Stick player, I would be very interested to know how many Sticks you own, what kind they are [10-string, Grand, Bass, Tenor, etc.], what material they are each made of [polycarbonate or what kind of wood], what tunings you use (not that I would copy, I'm interested in many players' techniques and tunings), and which are your favorite Sticks and for what reasons. I realize this is a "tall order" - feel free to take your time with this one and even reply only to me in person if you deem that other folks won't really be as interested in this answer as I would be. Finally, I would like to thank you for your music over the years [it was 1986 when I first heard any recording with you - the 80's Krimstuff]. To my ears, your unique sounds [both on Sticks and basses] put a magical spark into anything recorded with you as a musician. [I really enjoy what you do to the two pieces with Jon Anderson on "Requiem for the Americas" - 'Within the Lost World' and 'Far, Far Cry'; you make them especially tantilizing, for example] And I'm glad you've decided to take up stand up bass again - what a great sound! You are a joy to watch. Your sound and your exuberance have made of me a definite fan. - - Tommy Kochel "Entertainment is about telling everybody that everything's alright but music is on the side of the upsetters and that's where I'm at." - - Bill Bruford, Sounds, April 10, 1976 "English teachers do it real good" - - the licence plate frame on my car ** Tony replies... I enjoyed the live show with ABWH a lot, even though as you said, I had more of a background part in the band. It's hard to compare it to Crimson, where the music is always changing, and the direction is to assure still more change. There was a big challenge for me, learning the Chris Squire parts of Yes, and I chose that time to develop the Funk Finger playing too. But even after a while on the road, I still enjoyed playing most of those pieces, I guess because they're well written. I'm also sad that because I got very ill, I missed the end of the tour, and the video. Bill and I did a wonderful, very spontaneous, duo every night - would have been very special on video. 2) yes, I have considered a duo album with Bill - in fact we've just started work on that very thing, but it will include other guest musicians, and it won't be done for about a year. So let's all stay healthy, and be around for the far distant release of that in 1998! 3) Regarding Sticks, I used to have quite a few, including a fretted/frettless one. But now I have only two, quite similar, though one has baritone tuning and 7 bass strings 5 melody, the other is 6/6. I'm not sure what type of wood they are, but I like all the wood ones. Re you compliments, I thank you for your kindness, and let me take this opportunity to thank all the writers for the nice things they've mentioned in their questions - I've been ignoring them to concentrate on the facts, but I do appreciate it. ******* Tony Levin answers questions from ET readers ******* From: spike at connectnet dot com (spike) Hi there Tony, I love your work with Bill Bruford on World Diary and you mentioned that you did a session with Bruford, will we get to hear this latest work? What's your favorite KC song to play? Thanks for rattling my cupboards, spike Life's a blast, let's explode! ** Tony replies... Hello Spike. I think I've answered both questions already, but I'll try to keep 'rattling cupboards' (though not with mere volume!) ******* Tony Levin answers questions from ET readers ******* From: dwasser at ngsc dot com (Dan Wasser) Tony, I really enjoy reading the updates of your life on your web page. It's very cool and kind of you to keep us posted. The pictures are great, too... 1. I've heard your story about John Lennon asking you to "not play too many notes" when you were recording Double Fantasy. Can you give us another anecdote? 2. I had heard that Jerry Morotta was going to be the drummer for the latest incarnation of Crimson but it turned out to be Bill and Pat. Why didn't JM work out? 3. I understand that Adrian gave a copy of his Op Zop Too Wah to you. If you've listened to it, what did you think of it? 4. After a Crimson gig, what do you do? Do you hang with the other guys in the band? Go to dinner? Or what? 5. Do ya' feel like telling us your ten "Desert Island Discs"? 6. What did you have for breakfast today? 7. In the Barbershop King Crimson, I can't figure out a couple of the words. Can you fill in the "somethings"? [second verse] Oh we're the King Crimson band (something something) records And you know we think that's grand .... E..... We don't do (something) [is that "encores"? If so, you DO do encores. Why did you say that?] The King Crimson band No (something) please [is that "kronos" meaning "timekeeping"?] By the way, I laughed my ass off when I first heard this. What a great song. I've noticed that there's been a kind of humor in the '80s and '90s version of KC as evidenced in some of Adrian's lyrics or his doing the drill "shtick" on stage or the song above or what's seems to be a bit of playfullness/laughter between you and Bruford when on stage as if you're dueling with each other during the songs. Care to comment on that? Thanks, Tony, for all the music. Dan ** Tony replies... Wow, an epic! Well, here goes: 1) not much left in anecdotes from the Lennon sessions. But I did, of course, take my camera - I'm always shooting shots where ever I play - and I got a bit of a cautious vibe from John, so I asked him if it was o.k. to take a shot or two. He nicely said he'd rather I didn't - too many people did it and sold them. I said o.k, then noticed OTHER guys in the band taking shots without asking. I consider myself a good photographer, but I guess I'll never be a real pro until I can take the shot first, and ask later! (I do wish I had a photo from those weeks.) 2) Yes, Jerry was going to be the drummer - then he wasn't! Like many things about the band, I'm not sure about the reason for that - you'd have to ask Robert. 3) Yes, you're right again; Adrian did give me Op Zop Too Wah and I liked it a lot! I drove myself to much of that tour (the HORDE shows) and had a great time listening in the car. 4) Crimson's not a 'hang out' kind of band, and in fact, I don't usually hang out even with a band like Peter Gabriels where the guys do go out after the show. I used to go out some, but now (in my advancing years!!) I like to meet up with friends, or just relax - read, write, draw, or more likely, get online! 5) On a desert island there are many things I'd like to have more than a cd player. I've got enough music coming out of my head to keep me occupied in that department. 6) What did I have for breakfast? This morning, since I wasnt going to the gym, I didn't have to wait until hours later to have my favorite thing - not just a mere breakfast, but a great event in my day: a perfect, homemade, hot, cup of espresso - not too big, just half of the espresso cup; a few sips, frothing with crema - that brownish foam that comes when it's made perfectly - very strong; my favorite blend of dark, oil rich beans, ground freshly at the time, of course, and sipped from a thick pre-heated espresso cup which holds the warmth and even looks lovely after the drink is gone, traces of the crema still clinging to it's inside. Thank you for asking. 7) most of these are references to the quirks of the band at that time. "Oh we're the King Crimson band on E.G. records.." (not the case anymore!) "we don't do encores" (in the first tours I did with the band, that was the case. "no photos, please" (likewise - we've eased things up a bit lately, and just no flash please!) ******* Tony Levin answers questions from ET readers ******* From: FAID2BLACK at aol dot com What are some similarities between playing the stick and bass? Will there ever be a tour in the east coast of the U.S. for World Diary? ** Tony replies... The Stick and bass are quite different as instuments, but because I'm essentially a bass player, I tend to play any instrument as a bass! The appeal of the Stick to me has been mainly it's unusual sound as a bass, it's extreme attack, and the different tuning, which ispires me to come up with different bass parts. I must say that lately I'm trying to get more advanced on the top / guitar / part of the Stick, but I'll still always be playing the bass half too. I don't envision any touring for World Diary for a few reasons: I'm too busy, and I could never get many of the other players to show up at the same time! ******* Tony Levin answers questions from ET readers ******* From: DanKirkd at aol dot com (Daniel A. Kirkdorffer) Tony, Before we're done, I have a few questions I'd like to ask you: 1) You briefly touched on the "disintegration" of the 80's KC in Anil Prasad's interview in ET #360. Many people feel that the 80's band only had a 3 album commitment anyway. Could you elaborate on how Fripp's oft-termed "Decline to 1984" affected that band? It would seem that it was almost preordained that the 80's band would not exist after 1984. 2) With the core band members in their 50's, how do you feel you and the band are able to use your maturity to your advantage? Do you believe that there is an age when a rock musician is just too old? 3) You've said that your web site is a means for you to sell your CD and Funk Fingers. You also use it to keep a public diary of your activities. In contrast, Fripp seems to be slow to embrace the Internet, doing so only through Elephant Talk, Adrian Belew sometimes appears threatened by the medium, and Bill Bruford has spoken rather negatively about it. What are your thoughts about publishing your activities to the public the way you do? Why do you do so? Do you have any words of wisdom for your fellow bandmates about the Internet? I want to once again thank you for so graciously participating in this questions and answers "event". On behalf of all of us at ET I wish you all the best, and hope we have the pleasure of many future encounters online, offline and off stage. Cheers! Dan ET Web ** Tony replies... As I've said, I don't read what Robert writes, so I didn't know anything about the 'decline to 1984.' I wasn't aware of a plan to finish the band at three albums, but it is possible that I wasn't listening carefully when it came up. I do know that it was becoming uncomfortable, and I thought that taking a long hiatus would have been a good idea - it turned out that way. I haven't thought about any advantages we have from our age - there was a great deal of practical rock band experience when I joined the band - in 1980! I will say that the physical travelling gets a bit harder as one ages, and sitting in planes and busses is mostly what you do when you're out on the road. But this is quite a fit band, and I'm sure we'll be kicking around, individually and as a group, for some time yet. About the web, and computing in general, yes I'm more involved in it than some of the other guys - but that's just because I like computing, and I like communicating. Always have! In the early '80's I had my model 100 on the road with me, and was immersed in writing a rock'n roll game (in Basic) as we toured. And I was on a system then, called Dialcom, I think. I managed to get both Crimson and Gabriel's managers on that system so we could communicate from the road. Now that it's very popular, I'm just enjoying it all, like all of you who are reading this, and I have no advice or comment for anyone in the band, or outside it, who isn't into it. I have no doubt they're using their time in constructive ways, (more constuctive, in fact, than some of the chat rooms I've found myself in!) and they probably could give me some 'words of wisdom' too. I do enjoy having a site which can break down some of the barrier between artist and listener - I'm looking forward to better chat software that will enable a trouble free regular chat room meeting at the site, also eventually, quick downloading of music onto recordable cd - new cuts and extensive artwork available immediately , and I'm hoping that even with the onslaught of commercial tv-style junk filling up the web, (it's coming, bigtime) there will continue to be a sizeable community of people who prefer meaningful, not sales based, content and that by linking, we can have our own web within a web. I'll end by saying that I appreciate the interest, the passion, and the intelligence of all of you - it's my theory that bands like King Crimson DESERVE an intellingent, discriminating audience because they're playing demanding music, but, deserving something doesn't always mean that you'll have it, and whenever we're playing some difficult, new music, I always take a moment to appreciate the people who not only tolerate us, but support us and join us in the challenge. ------------------------------ End of Elephant-Talk Digest #365 ********************************