WEBVTT
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Hi, I'm Tony Levin, and we're making sound.
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Yes, we are.
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Hello, everybody, and hello Tony Levin.
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How are you doing?
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I'm very well, thank you.
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I'm on the road, which is what I love to do, playing music uh every night.
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Pleasure to talk to you.
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Ditto.
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Uh hey everybody, it's Making Sound with Jan Close, uh, episode 152.
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And I've got Tony Levin here.
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It's October 27th, 2026.
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And um so what happened is a couple of days ago, my publicist, Keith James, who's amazing, um, at Glass Onion, um emailed me and said, Oh, you know, I've got uh Tony Levin.
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I'm I'm I'm publicizing his the Book of Beat, Photographs, Chronicles of the Beat Tours at Tony Levin um just released.
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And uh and I said, Yeah, can he come on my podcast?
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Yes, please.
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So so he was like, he's available xx, and I gave him, you know, the he gave gave me a couple of uh dates, and the only one I could do was today.
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This morning, a day later, he was like, Yep, he's good.
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So here we are.
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This was like very impromptu.
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So thank you so much for yeah, thank you for time.
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A pleasure, and it worked out good for me.
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Most mornings, this kind of tour, I'm doing I'm on tour with Beat, and we take a bus trip after the show every night.
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So I can't really get online in the morning.
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I don't know where I'm gonna be.
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I'm gonna be the venue or loading in.
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Yeah.
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Today's a day off, so it's one of the the only days this week that I could do an interview, and we were very lucky we connected.
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I'm I'm so happy about this.
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And uh, you know, you're a pro, you've got your headset going on, and you you can do interviews at any time from any place in any hotel.
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I've been there.
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Frankly, I just like I like uh headsets because I hear better than uh holding up a phone or or the computer.
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There can be noise in the room.
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So it's not for interviews.
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I just like having a headset uh to talk into the computer.
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It sounds great, you look great, and um you're on the road with some really some some cool people.
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Like so this tell us about tell me about this this um this group that you who put this together because it's Adrian Bellou, right?
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Of K Crimson, Steve Vai.
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Indeed.
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Terry Bozio, who was in the mothers of invention with Zappa, correct?
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Uh I know he played with Zappa.
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I'm not sure the name of the band at that time.
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Yeah, I think it was so, and then you have Danny Carey, and like you guys switch are there is it two drummers or is it like I'll explain.
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Okay, this is go ahead.
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Yeah, Adrian Bellew and I were in uh King Crimson in 1981, the discipline era, where we did three albums together.
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We were in it subsequently, but uh Adrian had the idea about five years ago, roughly, to uh revisit that music of the 80s, the three albums that King Crimson did, but with different people.
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He happened to choose me, uh kind of an easy choice because I was around and we play a lot together anyway.
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Uh and he'd he he particularly didn't want to get Crimson guys and re-try to reform Crimson.
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Uh so he got Steve Vai, which is an amazing uh Steve's an amazing guitar player, to play the very difficult parts of Robert Fripp, but not just to play them, but to do his version of them.
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We don't we don't want to it's not a cover band, so we want Steve to be Steve, which is uh pretty uh spectacular.
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Cool.
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And and indeed it's that way.
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And he got Danny Carey, the drummer, famous, well-known drummer of Tool, uh to do many tours.
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We did about a hundred and um 110, 120 shows starting in uh 2024.
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Wow.
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Okay, and then uh this year, well, this month, October, it's still October, uh, Danny couldn't do it.
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Tool is is dragging him back to the to on the road and things like that.
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Yes, and and so we're very lucky to get uh Terry Bozio.
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We all have connections in the past with Terry Bozio, especially me.
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We've been in a few bands together, so it's a different lineup uh in the drums.
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Uh we're also going to talk about my book, The Book of Beat, of my photos.
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I take photos, you could say obsessively, and those 110 shows I was taking photos.
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And uh I I want to speak about that because it's uh fun after a year of collating uh the photos and getting it together to have a good book.
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It's fine, it's good to finally have that book out.
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Just out this last few weeks, even though it's a different, slightly different lineup than we're touring with.
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Yeah.
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I mean, that's wild, and you've had this online blog, like you're very techie, which is so cool, since 1996, where you talk about the tour and people can follow your your experiences, but it's in writing.
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You're not just like posting a bunch of images on on Instagram.
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You're you're you're tying it together with with uh your other passion, which is photography.
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Um, a lot of musicians like photography.
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Why do you think that is?
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That's a good question.
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Uh I could dig deep into it.
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I haven't thought about it much, but uh is it the visual part of music?
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Uh of course there's going to be a different reason for each musician.
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We're not all we don't always follow this, all follow the same paths.
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But there is a thing about music.
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I've been doing it a long time, and there's uh a wonderful but odd thing about music that it's the the real music, not rec recording, but it's there and it's gone.
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It's just there in the moment, right?
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So after years of doing that, some of us, at least me, it'd be nice to have a little something to show someone and say, here's what I did.
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Because with my music, there is no here's what it did.
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You gotta come to the show, you hear it, it's gone, it's off in the air, it's an experience.
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So there's a satisfaction of creating a little statue or or or something, and above those arts, I've tried painting and I've tried sculpting.
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Photography is by far the easiest for someone not gifted uh visually.
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And uh in my case, I started photography really early in my career and gradually got better at it.
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And I take so many photos that I get lucky once in a while and I don't show anybody the bad ones.
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So if I take uh I would say on average, I take 90 to 120 pictures every day, backstage, traveling in the show, audience shots, and if ten of them are good, that's pretty good.
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Then I get 10 good shots.
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What do you use for for a camera?
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Uh generally Nikons.
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I have uh a few and and I like the new Z.
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However, I've just been experimenting with the Fujifilm um XT50.
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Okay, that's all digital, right?
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I mean, but then back in the day you probably have a lot of film as well.
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Oh yeah.
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I I come from back in the day and it was filming.
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And then did you develop yourself?
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Did you develop uh but on the road, road photography was really difficult.
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I have I have books I put out before with my road photography in the 70s and in the 80s, and one would take a picture, I'd be out with Peter Gabriel and take pictures of him jumping in the show.
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I'd have to find I'd have to be two days in one place, which is unusual, and find a 24-hour photo developing.
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Older people will remember those places, get it developed, look at the picture, find a good one, uh uh FedExit to Florida, where my webmaster would then digitize it and put it uh 220 pixels wide.
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This is in the 90s where some people didn't have a wide screen, you know.
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So much easier now.
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Oh, goodness gracious, it's easy.
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Wow.
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Okay, so I mean you brought up Peter Gabriel, who I love.
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I'm a huge fan.
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So, you know, sorry.
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Warning.
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He's probably one of my favorite artists of all time.
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Nothing wrong about that.
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Nothing wrong with that, you know.
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So um I I I want to talk to you a little bit about Peter as well.
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I mean, there's tons to talk about, and we have a limited time, but um first of all, where are you right now?
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You're on the road.
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Like you're literally are between shows.
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Like you were in Columbus, Columbus, Ohio.
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I had to think a minute.
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You know, last night, very late, I was in Cincinnati, Ohio, and uh we had an overnight bus trip.
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And you're playing in Cleveland, I think, which is you're playing in a few days in Cleveland.
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So Cleveland, Ohio, folks, go, go, go, go, go, go.
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See this show, see this show.
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At the Agora, I played there years ago at the Agora.
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Well, I think there's uh there's uh the I'm not expert, there's the Agora Club, which I know very well, and there's a bigger uh Agora Theater, maybe there's the Agora Theater and the Club, I think, and they're I think they are uh still the same place.
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Well, I I will uh investigate when I get there because I spent I spent a month at the Agora Club filming the Paul Simon uh uh movie.
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Um was it One Trick Pony?
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Yeah, One Trick Pony.
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Yeah, there's a yes, one trick pony.
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Yeah, there's another one of my we're a month on location and uh I got to know that club really well.
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Oh wow.
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Yeah, I mean I played there back in oh my god, like when I've when when I was starting out, I was a student.
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I was an exchange student from Germany.
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Really?
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Yes, from Germany.
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And uh we I I was in Cleveland, Ohio.
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They put they sent me there.
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That's like where I ended up.
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Great Great Rock Town.
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Great Rock Town, yeah.
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I mean, it's like has so much history when it comes to music.
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And uh uh I was just like you know, I was just like a little singer-songwriter dude with my guitar, and uh I opened up for somebody at the gorgeous since like 25 years ago.
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Well when I was like first came here, I was a teen.
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And um good times, good times in Cleveland for sure.
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Yes.
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Uh so cool.
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So let me let me let's let's bring up um Peter, who you've been who you in you've been in the Hill band since 1977, correct?
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77?
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That's correct.
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You got the right year, you did some homework.
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I did.
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I didn't have a lot of time, but no, you didn't.
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No, I can fill in the blanks.
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I can fill in the blanks because I was there.
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Fill in the blanks.
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You were there.
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So I want to talk about I.O.
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just quickly, you know, because it's his newest release.
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Now it's OI, the second one.
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After 20 some years of not making a single album, which like that's next for me.
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I'm done.
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I'm taking a break.
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I've made like I've like have 10 records out.
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I'm done.
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I need a 20-year break, too.
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Um, so he comes back with this album.
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Um, and I think you did the tour.
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You were in that, you you played on the record as well.
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Yeah.
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So IO is just really, really it's it's a brilliant.
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It's a brilliant album, you know.
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I mean, the songs, it's so good.
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I mean, there were two albums that I really like got sucked in to last year when they came out, which was I.O.
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and Michelle Negocello's album.
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You know, you know Michelle too, I'm sure it's a big one.
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I know her playing, but I don't know the album.
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Yeah, she's anyway.
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Um, she made a great record uh about James using James Baldwin's um poetry.
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So, but yeah, so Io is is fantastic, it's one of my favorites.
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Can you talk a little bit about um uh because you you were you were a studio musician in the 70s.
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You're from Boston originally, and you were hanging out in New York.
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How do you get that kind of how did you get that gig?
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How did that even how did that happen?
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Um I'm kind of my memory's not great, but I'm pretty familiar with the details.
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Why?
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Because I've been working on my memoirs for a few years and checking back with people and with uh the internet to make sure of dates and stuff.
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So in 1976, I was a studio player, but playing rock uh quote studio players in New York in those days didn't they did wr uh easy rock records, but uh the bands and stuff weren't weren't con didn't consist of studio players.
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However, one producer, Bob Ezrin, is still a wonderful producer.
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Bob Ezrin, wow.
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Yeah, yeah, yeah.
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He used me on a few things like uh Alice Cooper records, a couple of them, and a Lou Reed record, and he asked me to go to Toronto uh in July of 1976 to play play a record that of a guy I didn't heard of, Peter Gabriel, who had been playing in a band called Genesis, which I hadn't heard of.
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So I was not an expert at progressive rock or Genesis and what they're about when I very luckily fell into that uh situation.
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Love Peter, he then asked me to tour on that first album.
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One of the guitar players was named Robert Fripp, who subsequently asked me to form a new band called Discipline, which became King Crimson.
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And uh so lucky that I showed up for that session.
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It was certainly a pivotal uh uh month in my life.
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I'll say.
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I'll say.
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Wow.
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So if if you if you think about all of this time that you've spent on the road and you've documented everything, um is there a book?
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Is there another book coming?
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Uh I'm getting confused about books.
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So I'm writing memoirs.
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Yeah.
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That's taking me years, and I hope to have it next out next year, but one learns in rock not to predict what's going to happen next year until it happens.
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So let's forget that.
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Uh but it's sharpened my memory about things.
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Uh I I've put out a number of photo books and uh one book of stories of the road called uh Beyond the Base Cleft, and uh even a poetry book.
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I put I put up books mostly published myself, and uh through the years I've done that.
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It's love of music and a little bit of free time on the road to do these things, especially on a bus tour.
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You got your bus bunk.
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In my case, it's it's covered with uh journals and books, and and it's your chance to to work on something creative for the future.
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So that's a good that does that create a balance for you to to write and and release in between?
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I mean that's uh I haven't really thought of it, and it wasn't that wasn't my intention in doing things, but uh if I'm home, not on the road, uh I'm gonna play some music up in my studio and or or work on my photography or work on something, because that's what I do.
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We like to be we not only like to be creative, all the good the folks that I play music with, but uh I think we're blessed and really lucky to have a chance to do it.
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Yes, indeed.
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I mean, and it's a it's a really tough uh business to to create longevity longevity in, you know.
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So it um uh you you you have to step away at times and take breaks.
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So when you do that, or do you not do that?
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Do you just do you just go for the next thing?
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Did you ever have a phase where you thought, okay, I need I need a pause and I want to do something different?
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And if if you did, if you didn't then cut me off.
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But if you did, then w was it something like photography or or or writing?
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Uh it's been a long time since I wanted to take a break from music.
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Um I mean I was a kid.
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I think I I studied bass uh when I was a kid, uh upright bass, co acoustic bass, we can call it.
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And after a few years with a teacher who wasn't really good, who wasn't inspiring, I wanted to take a break, and I took a six-month break.
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And I'm talking about twelve years old or thirteen years old, and then went back to it with a better teacher, and I haven't taken a break.
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However, lockdown year, there was COVID, and then there was no touring for us, uh all of us, uh and nothing.
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And that was an extraordinary year, because uh not a make or break year, but what do you do with yourself?
00:15:13.840 --> 00:15:32.000
And uh I did my best, uh, not as well as some people, but I tried to not just stagnate and and and dwell on the fact that I couldn't do what I'd really love to do, and then I come came up with a moderate amount of creative stuff, including a a a photo album called uh images from a life on the road.
00:15:32.080 --> 00:15:34.240
I went through all those all those negatives.
00:15:34.320 --> 00:15:39.120
We talked about the film and and black and white things that I hadn't been through before.
00:15:39.200 --> 00:15:46.480
It was not fun going through them, but it was good that I did them, and I would never have had the chance to do that had it not been for that year of unable to tour.
00:15:47.039 --> 00:15:49.759
Yeah, that was uh an extremely weird time.
00:15:50.000 --> 00:15:51.360
So very weird.
00:15:51.919 --> 00:15:53.840
Still resonating with all of us, really.
00:15:54.159 --> 00:15:54.320
Totally.
00:15:54.559 --> 00:15:56.480
I mean, culturally it's still resonating.
00:15:56.639 --> 00:15:56.879
Yeah.
00:15:57.120 --> 00:16:02.480
That's that's the part where I'm still thinking this is not over.
00:16:03.440 --> 00:16:11.600
You know, like the repercussions of this are kind of now like slowly working their way through society.
00:16:11.919 --> 00:16:16.399
You know, and I think that's also it it it shows up in music, of course.
00:16:17.039 --> 00:16:18.879
Everything always shows up in art, you know.
00:16:19.120 --> 00:16:21.279
Sometimes faster, sometimes slower.
00:16:21.440 --> 00:16:23.840
Um again, 20 years to make an album, you know.
00:16:23.919 --> 00:16:26.559
Peter took that, like I was like, yeah, great, you know.
00:16:26.799 --> 00:16:28.240
And uh but it was worth the wait.
00:16:28.399 --> 00:16:29.039
It was worth the wait.
00:16:29.120 --> 00:16:29.840
And now he's got two.
00:16:29.919 --> 00:16:31.039
Now he's got another one coming up.
00:16:31.360 --> 00:16:31.440
Right.
00:16:31.519 --> 00:16:33.200
We didn't go back to Peter Gabriel's stuff.
00:16:34.320 --> 00:16:35.440
IO is fantastic.
00:16:35.519 --> 00:16:40.720
And and you talked about the album, but the tour, touring with that very meaningful music.
00:16:40.879 --> 00:16:56.559
Peter's music has always been meaningful, but somehow uh just you know, because you do concerts, sharing with audiences the magic of that music was even more special than the previous tours of Peter that I've done, which were very special.
00:16:56.799 --> 00:16:59.519
So it's a magical time touring with IO.
00:17:00.000 --> 00:17:00.639
What was different?
00:17:00.799 --> 00:17:03.759
The music or how what was the stage show like?
00:17:05.200 --> 00:17:15.680
Oh, because he's done some really extensive stage shows, you know, where the whole thing is like turning with the I mean I forget the name of that or what that tour was, but that was extraordinary.
00:17:15.759 --> 00:17:17.200
It looked expensive.
00:17:17.839 --> 00:17:21.279
Uh turning stages and hang Peter hanging upside down, lots of stuff.
00:17:21.519 --> 00:17:22.880
Yeah, so there was plenty in this.
00:17:22.960 --> 00:17:31.599
It wasn't uh it was a static stage, but there were there was plenty of uh interesting technology at use because Peter's great at that.
00:17:31.839 --> 00:17:41.359
Uh but what I'm talking about is not that, but the the feel behind the music, which is uh w uh what's the basis of that?
00:17:41.519 --> 00:17:48.160
Peter being Peter and the new material and uh Peter being back on the road after people seeing him after they hadn't seen him.
00:17:48.640 --> 00:17:49.119
You know what?
00:17:49.680 --> 00:18:00.480
Slightly different subject in in uh 2016, Peter did a joint tour with Sting, the kind of tour where they you trade a couple songs each and then you do some songs together.
00:18:00.640 --> 00:18:01.839
Wonderful, fantastic.
00:18:02.000 --> 00:18:02.799
Too short a tour.
00:18:02.880 --> 00:18:04.079
I wish it had been longer.
00:18:04.559 --> 00:18:12.240
But uh again, the feel talking I'm talking now again about the feeling on stage, different than the feeling in the audience.
00:18:12.480 --> 00:18:15.680
Uh the majority were Sting fans.
00:18:15.759 --> 00:18:19.039
There were plenty of Peter fans, but look especially in front, was Sting fans.
00:18:19.200 --> 00:18:22.000
And near the end, we they had been doing songs people knew.
00:18:22.079 --> 00:18:28.799
Near the end, Peter just stepped outside of the norm and did a piece called Love Can Heal that nobody had ever heard.
00:18:28.960 --> 00:18:31.279
You don't do that near the end of a stadium show.
00:18:31.519 --> 00:18:36.480
You bring out your hits, everybody's partying and yelling and dancing, and they want to have a good time.
00:18:36.640 --> 00:18:51.440
And he stopped it all, not only to do the song, but with a very poignant introduction, people were talking louder than he was, and it was I could feel that the people who weren't already Peter fans got it.
00:18:52.960 --> 00:19:10.240
You know, as we repeated the the chorus, Love Can Heal, Love Can Heal, they s they started to feel okay, I understand this guy's different than anybody else, and and I'm I'm experiencing what's special about him, and maybe it's more special than the party and the dancing that I was gonna do if he did Sledgehammer.
00:19:10.400 --> 00:19:11.920
Yeah, I'll do Sledgehammer next.
00:19:12.319 --> 00:19:24.559
Uh but so so that's that's the kind of I'm what I'm sharing here is the kind of experience that we have on stage being in Peter's band, which is equal to to the special feeling people get in the audience of hearing him.
00:19:24.960 --> 00:19:27.920
Uh that's a great song, and that isn't that ended up on I.O.
00:19:28.319 --> 00:19:29.119
Didn't it?
00:19:29.279 --> 00:19:32.160
Uh I'm not an expert at what's what's on what.
00:19:32.640 --> 00:19:33.599
Um I'm trying to remember.
00:19:33.680 --> 00:19:37.119
Um, someone's gonna get send me an angry email about this, I'm sure.
00:19:37.279 --> 00:19:38.240
So it's okay.
00:19:38.640 --> 00:19:39.440
It's been released for sure.
00:19:39.519 --> 00:19:40.559
This is a great token.
00:19:40.880 --> 00:19:41.599
It's a great song.
00:19:41.839 --> 00:19:49.839
And um you know what you're saying about how you want to surprise an audience, that takes a lot of risk.
00:19:50.000 --> 00:19:53.519
That takes you know, because you're not doing what is expected of you.
00:19:53.599 --> 00:19:56.480
And I but I think that's exactly what we should be doing.
00:19:57.279 --> 00:20:00.400
You know, don't I mean yeah.
00:20:00.640 --> 00:20:09.599
I mean, people want to hear they want to hear the the even your agents want to hear the same song that you had the hit with, right?
00:20:10.799 --> 00:20:10.960
Okay.
00:20:11.440 --> 00:20:13.279
So I think every band is different.
00:20:13.440 --> 00:20:17.279
I I never had a hit, so I don't have that problem, and I don't have an agent.
00:20:18.160 --> 00:20:21.200
But but but uh every band decides for itself what it's gonna do.
00:20:21.359 --> 00:20:25.680
King Crimson always uh I've been in King Crimson a long time, challenges the audience.
00:20:25.839 --> 00:20:32.160
The audience would like to hear uh King Crimson music, which is already challenging, uh, but they'd like to hear the classics.
00:20:32.240 --> 00:20:36.000
And for a long time, especially when I joined the band, Robert said, nope, I'm not gonna do that.
00:20:36.160 --> 00:20:38.640
We're gonna do new music that's different than that.
00:20:38.880 --> 00:20:46.480
And uh if you're lucky and successful in your way, then a band I feel gets the audience it deserves.
00:20:46.640 --> 00:20:57.359
So if you've challenged your audience only, then you get an audience that is uh a following, not our audience, a following that is ready to be challenged and willing to be challenged.
00:20:57.680 --> 00:21:06.720
If you give in to the the obvious uh the record label and things and do give them what they want and pop and and easy to digest music, that's fine.
00:21:06.799 --> 00:21:08.160
There's nothing wrong with that at all.
00:21:08.319 --> 00:21:19.759
Then you'll get that kind of audience, and uh you don't want to turn left on the that audience because they want to hear what they expected from you or a different way they expected from you what they want to hear.
00:21:20.079 --> 00:21:20.720
Yeah.
00:21:21.119 --> 00:21:22.079
Uh that's it.
00:21:22.240 --> 00:21:25.200
That's you know, for better or for worse, that's what you got to do.
00:21:25.279 --> 00:21:27.920
I think it's it's wonderful that there's different bands.
00:21:28.480 --> 00:21:35.200
There are different bands that approach it different ways, and hopefully, all honestly and genuinely from the way they feel about music.
00:21:35.279 --> 00:21:44.559
There's nothing wrong with being a utter uh utterly pop popular pop band and giving audiences what they what they love to hear, what they heard on the radio.
00:21:44.880 --> 00:21:46.640
There's room for everybody.
00:21:47.279 --> 00:22:01.519
Um yeah, so let me let me bring up uh your brother, uh Pete, who I met years ago when he was doing a show at the cutting room, where I think I played the same night or something happened, like we were on the Same b uh we played the same evening.
00:22:01.920 --> 00:22:02.720
We like the cutting room.
00:22:03.039 --> 00:22:03.839
Yeah, it's a nice venue.
00:22:04.160 --> 00:22:04.960
Downtown in New York.
00:22:05.279 --> 00:22:12.400
And uh Steve Walter, the owner, he um he f he had heard that I had played with Annie Haslum from Renaissance.
00:22:12.559 --> 00:22:22.880
And so he was like, you know, he I we started, we became friends friendly, and I brought Annie over there to to perform and seen other good shows there as well.
00:22:23.119 --> 00:22:31.680
And uh there's some, you know, lately we've been hitting the bitter end, which is you you know about that venue in New York, I'm sure, and uh some other places.
00:22:31.839 --> 00:22:38.319
So but I but Pete was, you know, I met uh I met your brother and and uh and I was like, oh I didn't even know Tony Levin had a brother.
00:22:38.720 --> 00:22:40.720
So, you know, I I was like, hey man, how are you?
00:22:40.799 --> 00:22:49.680
You know, we had a nice little chat, and uh and I wanted to to bring up um the stick men as well, which is your your original group.
00:22:49.920 --> 00:23:07.200
And I think it started by making an you you made an album called Stick Man, and this has to do with the the the bass that you play, which you should talk about just at least a little bit, because it's the way you play is not exactly conventional, to put it honestly.
00:23:08.160 --> 00:23:08.799
A lot there.
00:23:08.960 --> 00:23:15.200
First of all, my brother Pete is a is a wonderful keyboard player, he plays jazz and rock.
00:23:15.519 --> 00:23:19.359
I like to put it that way, and I play rock and jazz.
00:23:19.599 --> 00:23:29.119
In other words, for me, uh mostly I play rock, and when I play jazz, I'm trying, I'm kind of I'm talking the talk, but I don't walk the walk.
00:23:29.279 --> 00:23:38.319
I I hear the difference when I hear a lifelong jazz player, I hear the way they play it for, and I I envy that, and I aspire to that, but I don't anyway.
00:23:38.480 --> 00:23:41.759
Pete plays rock very well, but primarily he's a jazz player.
00:23:41.920 --> 00:23:49.200
We have a band together called uh Levin Brothers, and we tour whenever we're not on the road with something else, we'll tour next May.
00:23:49.279 --> 00:23:51.279
We'll play tour the East Coast and up into Canada.
00:23:51.359 --> 00:23:55.279
We played Chakou to me in can in Quebec uh last May.
00:23:55.519 --> 00:24:00.640
Um yeah, uh and Pete and I, of course, have been in bands together for our whole lives.
00:24:00.799 --> 00:24:19.200
He's three, two, two and a half years older than me, and I very much followed in his direction, becoming a musician and learning from him to things like take all gigs and and see where it goes, and and the the satisfaction that can come from just just having a lot of a lot of options uh as a player.
00:24:19.440 --> 00:24:21.920
So that's about Pete and uh Stickman.
00:24:22.000 --> 00:24:32.559
Yes, a years ago I did an album called Stick Man, which featured this instrument, the Chapman Stick that I play, but I did overdubs of multi-stick parts, so I could not play it live.
00:24:32.720 --> 00:24:39.279
And then sometimes the music kind of calls for a life of its own and to be played live, sometimes not.
00:24:39.440 --> 00:24:41.920
I've done albums of both kinds, solo albums.
00:24:42.079 --> 00:24:54.240
Uh and this one I really wanted to play it live, so I enlisted another stick player, and we had two stick players, Michael Bernier was his name, and Pat Massaloto, my good buddy drummer in King Crimson, and it was a trio.
00:24:54.319 --> 00:25:04.079
And then after a year or so, Mike couldn't do it anymore, and we got uh Marcus Reuter, a touch guitar player, which is a similar instrument to the stick played in the same way.
00:25:04.240 --> 00:25:08.319
And we've been touring ever since, I don't know what it is, 15 years or something at least.
00:25:08.480 --> 00:25:09.839
Uh and it's a pleasure.
00:25:10.000 --> 00:25:16.480
We get to do the music we want and the music we write, and it's uh somewhat in the progressive rock vein, I think.
00:25:16.559 --> 00:25:19.599
But two of us being Crimson alumni would be that.
00:25:19.759 --> 00:25:24.000
And Marcus also was a student at one time of Robert Tripps.
00:25:24.880 --> 00:25:26.880
Wow, there's a lot there, yes, indeed.
00:25:27.599 --> 00:25:41.039
Um so I uh uh I posted can't stand interrupting, but I forgot to say our new uh album, which I just was touring with in September, is called Let's Thrack Again.
00:25:41.759 --> 00:25:49.920
A uh hearkening back to an album of an album and a and a piece and a way of playing that we call Thracking in King Crimson Thrack.
00:25:50.160 --> 00:25:51.839
So uh Let's Thrack Again is yeah.
00:25:52.480 --> 00:25:53.440
T-H-R-A?
00:25:54.079 --> 00:25:55.200
Yes, only one A.
00:25:55.359 --> 00:26:00.400
I misspelled it when I presented the the song and the album title to the other guys in the band.
00:26:00.480 --> 00:26:03.119
They I put it with two A's, T-H-R-A-K.
00:26:03.519 --> 00:26:05.680
Uh was a Crimson album, and it's a piece now.
00:26:05.839 --> 00:26:07.200
Let's Thrack again.
00:26:07.279 --> 00:26:14.400
Uh is this a piece of ours on the on the new C D and elaborate packaging of that same name.
00:26:15.359 --> 00:26:17.440
I love that you do uh so much yourself.
00:26:17.599 --> 00:26:25.039
You know, you were mentioned earlier, I don't have an agent, I don't have so I mean this is like the new school way now, you know.
00:26:25.119 --> 00:26:37.359
Um artists basically are mostly self-managed, a lot of them, or they work with a small team of people and they let the the music do the talking and um they go out there and and do their thing.
00:26:37.680 --> 00:26:52.960
So this this really does keep you pretty occupied, it sounds like, you know, but you you're also like the hardest working man in show business, it seems, because on your days off, you know, you're talking to uh to the media or other musicians like myself.
00:26:53.200 --> 00:26:56.799
Uh so I I when do you what do you do to relax?
00:26:56.960 --> 00:27:00.880
Do you do you have something you you like to do to chill?
00:27:01.599 --> 00:27:06.079
Oh uh we've covered you've covered a lot of ground with that that stuff you were talking about.
00:27:06.480 --> 00:27:08.720
First of all, I don't know much about the music business.
00:27:08.880 --> 00:27:09.920
I I'm a bass player.
00:27:10.880 --> 00:27:14.880
I'm a bass player and I get called to play with people bass, and that's what I love to do.
00:27:15.039 --> 00:27:15.759
And that's great.
00:27:16.079 --> 00:27:23.440
Uh you know, I I'm not the best at understanding the business or managing or or being an agent and things like that.
00:27:23.680 --> 00:27:30.400
Uh and the other part of what you you said to relax, I I relax pretty well, and it is kind of relaxing being on the road.
00:27:30.480 --> 00:27:31.359
I'm used to it.
00:27:31.680 --> 00:27:39.599
And uh and and I'm you know, I have a few hours free after this, and uh I'll I'll sit down with my notes and work on a book.
00:27:39.839 --> 00:27:49.519
And and uh, we who are lucky enough to be able to work on creative things like writing and music, uh it's lucky and and I don't find it uh tiring at all to do that.
00:27:50.240 --> 00:27:52.000
And I am not the busiest guy.
00:27:52.160 --> 00:27:53.759
Even the guys I tour with are busy.
00:27:54.000 --> 00:27:58.640
Steve Vai is a maniac, he tours he would tour, he would play seven shows a night if they let him.
00:27:58.880 --> 00:27:59.200
Oh my god.
00:28:04.880 --> 00:28:12.960
So I know from my experience that yes, I tour a lot and I work hard, but I know guys who do more and more of each of those things.
00:28:13.119 --> 00:28:13.359
Yeah.
00:28:13.680 --> 00:28:16.079
Okay, so I don't I we don't have a lot of time left.
00:28:16.160 --> 00:28:17.519
I think you have to go in a couple of minutes.
00:28:17.599 --> 00:28:18.720
If I'm is that correct?
00:28:19.119 --> 00:28:21.680
Uh I can I can extend it a bit, but I don't have too long.
00:28:22.160 --> 00:28:28.160
So we'll so we'll do uh uh so I I I posted on my um social media.
00:28:28.319 --> 00:28:31.759
I said, you know, I've got Tony Levin on on my show.
00:28:31.839 --> 00:28:33.440
Uh you have any questions for him?
00:28:33.599 --> 00:28:36.240
And I got a bunch of very quick posts.
00:28:36.319 --> 00:28:37.680
I just did this this morning.
00:28:38.000 --> 00:28:44.960
And my buddy Fernando uh Perdomo, who's a guitarist, a friend of mine, who I just did a gig with in in Florida.
00:28:45.119 --> 00:28:50.240
Um we did uh where did we play at the Broward Center with uh Alston Torres in Fort Lauderdale?
00:28:50.319 --> 00:28:51.839
That was a fun, fun show.
00:28:52.079 --> 00:29:02.480
And uh he's played with a lot of people and uh he he said uh ask Tony uh how long does it take him to adjust to a new drummer?
00:29:02.799 --> 00:29:03.599
That was the question.
00:29:03.759 --> 00:29:15.039
And I thought it's actually a pretty good question because you know to to preface this, like someone like Peter, Gabriel, I think everything is to a click.
00:29:15.279 --> 00:29:16.960
Am I wrong or am I right?
00:29:18.319 --> 00:29:23.119
Um meaning the the pulse of the the the rhythm has been given.
00:29:23.359 --> 00:29:23.759
You don't know.
00:29:24.000 --> 00:29:27.119
Not just Peter, but most most things I do, most projects I click.
00:29:29.200 --> 00:29:34.480
But the other part of that, uh to adjust to a new drummer is an entirely different thing than the click to me.
00:29:35.119 --> 00:29:37.440
And uh it doesn't take long at all.
00:29:37.519 --> 00:29:39.200
I think uh minutes.
00:29:40.640 --> 00:29:46.400
I'm not saying it's always easy or it's always great, but the you hear what each hopefully you're listening to what each other is doing.
00:29:46.640 --> 00:29:50.480
You hear that and you you uh make music together.
00:29:50.640 --> 00:29:55.759
And uh I I can't think of an instance where it uh took a long time to gel or anything like that.
00:29:55.920 --> 00:30:04.160
Usually it's uh I'm lucky to usually be playing with very good players, and it's uh it's not always the same, the feel and the the pocket that you create.
00:30:04.400 --> 00:30:08.799
And uh that's all uh separate from whether there's a click or not.
00:30:08.960 --> 00:30:11.039
Sometimes there's not a click uh in beat.
00:30:11.119 --> 00:30:17.200
We've never used the click either with Danny or with Terry, and it's not a problem, but uh in some bands there's a click.
00:30:17.359 --> 00:30:21.119
There's still a lot of latitude of what drummers can do within a click.
00:30:21.759 --> 00:30:32.000
When there is a click, which means there is a pulse that's given for the tempo, when there is one, do you like having it in your ears as well?
00:30:32.240 --> 00:30:34.799
And me personally, I like just to have the drummer have it.
00:30:34.880 --> 00:30:36.079
I don't want to hear the click.
00:30:36.480 --> 00:30:37.920
I like to hear the click.
00:30:39.359 --> 00:30:40.079
There you go.
00:30:40.720 --> 00:30:41.920
Okay, Chick.
00:30:42.319 --> 00:30:49.200
Um because uh I I never thought about why, but I if the drummer is playing a little off of the click, that's fine.
00:30:49.279 --> 00:30:50.559
I can deal with hearing both.
00:30:50.799 --> 00:30:55.119
And if he's playing right with it, which usually is pretty pretty much with it, then that's fine too.
00:30:55.440 --> 00:30:59.519
And um I'm gonna play with the drummer, but I like to hear the click.
00:31:00.240 --> 00:31:16.559
Are you uh do you use um how when you when it comes to technology, do you um enjoy using new applications and systems when you like for photography or editing?
00:31:17.039 --> 00:31:19.759
Um do you are you adventurous there?
00:31:20.720 --> 00:31:21.759
Uh not too much.
00:31:21.920 --> 00:31:31.440
The bass player in me learned a long time ago that the the more natural the bass is, the the the better you're gonna feel about that bass sound ten years in the future.
00:31:31.759 --> 00:31:36.720
Uh I think there was a time in the 70s that I would get the pedal of the day, the pedal of the year.
00:31:36.880 --> 00:31:47.519
And then later when I heard those tracks, especially the Ottawa's the Mutron that goes, wow, wow, wow, it just sounds like that year, that six months, and I wish I hadn't used it.
00:31:47.680 --> 00:31:52.799
Uh the same with going digital, I didn't go digital for a long time, or I did, and I regretted it, and I went back.
00:31:52.960 --> 00:31:57.279
Uh, I'm talking about bass playing, uh, although similar in photography.
00:31:57.440 --> 00:31:59.680
I went digital too early in photography, too.
00:31:59.839 --> 00:32:07.920
Uh so I learned as I go, and and pretty much being I like uh natural or we could call it analog as much as I can.
00:32:09.680 --> 00:32:12.880
Okay, well, I'm I know you're busy, so I'm gonna let you go.
00:32:13.039 --> 00:32:18.559
And uh um I just want to mention that you're on the road with uh Beats.
00:32:19.359 --> 00:32:22.880
Beats and Yeah, you're on the road.
00:32:22.960 --> 00:32:24.640
You guys have a bunch of shows coming up.
00:32:24.720 --> 00:32:26.880
You're heading up and you're in the Midwest right now.
00:32:27.039 --> 00:32:33.839
You got Ohio, you got Michigan, and then you're heading up to Canada, and then you're coming back to to New York.
00:32:33.920 --> 00:32:42.240
Actually, you're at the Paramount in Huntington in New York on November 4th, and bunch of other shows, Prudential Hall here over.
00:32:42.480 --> 00:32:48.480
I'm just mentioning the shows that are close to close to me here, uh, in Newark um on November 9th.
00:32:48.720 --> 00:32:53.279
So you you've got a lot of stuff going on until the till the end of the year.
00:32:53.680 --> 00:32:57.920
And uh do you know if um you're gonna tour with Peter?
00:32:59.200 --> 00:33:15.200
I know, I think I know that we're not gonna tour this coming year because I I I don't know that for a fact, but I've been asking the management a long time because I need to book the year, and they said that uh they didn't know that that Peter had any plans for tour soon.
00:33:15.440 --> 00:33:17.680
In the future, after that, I certainly hope so.
00:33:17.839 --> 00:33:20.799
The fan and me and the bass player and me both hope so.
00:33:20.960 --> 00:33:27.359
And I wanted to mention uh yes, I'm on tour with Beat, and we talked earlier about the my new book, the Book of Beat.
00:33:27.519 --> 00:33:37.680
And what I didn't well I forgot to mention is that's available two places at our shows where I was able to sign them all, and they're for sale at the shows, and also on Tony Levin Music.com.
00:33:38.079 --> 00:33:40.319
Bring some extra cash uh for that.
00:33:40.559 --> 00:33:42.480
Now, yes, please, everybody.
00:33:42.640 --> 00:33:43.119
Hello.
00:33:43.440 --> 00:33:46.079
Uh so like it doesn't cost enough to go to a show.
00:33:46.240 --> 00:33:47.359
Oh my god, it's so expensive.
00:33:47.920 --> 00:33:50.240
It is, it's crazy, and getting there and everything.
00:33:50.319 --> 00:33:51.839
Like the fans are the best.
00:33:51.920 --> 00:33:54.319
I mean, I can't believe they it's awesome that they do this.
00:33:54.480 --> 00:33:58.799
So I just quickly, Beat is named after you did an album called Beat.
00:33:59.279 --> 00:33:59.519
Yes.
00:34:00.640 --> 00:34:02.160
Is that what the name comes from?
00:34:02.799 --> 00:34:03.519
Yeah, way back.
00:34:03.599 --> 00:34:17.280
I said Adrian had the idea and found the people, and then he went to Robert Fripp uh just to not to be sure Robert was okay with this idea, Robert being the founder, for those who don't know it, of King Crimson uh and in the led the band in the 80s.
00:34:17.440 --> 00:34:21.440
And Robert said loved the idea and suggested that we call it Beat.
00:34:21.519 --> 00:34:27.280
He Robert Fripp named the band Beat because uh that was the second of the three albums we did in the 80s.
00:34:27.360 --> 00:34:30.400
We did uh Discipline, Beat, and Three of a Perfect Pair.
00:34:31.360 --> 00:34:31.920
Lovely.
00:34:32.079 --> 00:34:34.079
Well, folks, I think you know what to do.
00:34:34.320 --> 00:34:38.719
And uh what have I got uh some some some stuff coming up as well.
00:34:38.880 --> 00:34:56.400
Um I'm gonna be doing that George Harrison tribute concert out at the space at Westbury next month, and then I'm in Germany for some shows in January, Hamburg, Berlin, and then I'm in LA at the end of the month in January for for a couple of shows in Ventura, um, LA, Anaheim.
00:34:56.719 --> 00:35:01.039
So uh yeah, and uh it's such a pleasure to talk to Tony Levin.
00:35:01.199 --> 00:35:02.079
I'm thank you.
00:35:02.239 --> 00:35:03.679
Nice having a conversation with you.
00:35:03.920 --> 00:35:06.880
Thanks for uh sparing me your time and and connecting.
00:35:07.039 --> 00:35:07.760
It wasn't easy.
00:35:08.079 --> 00:35:15.039
No, I mean it just happened quickly and we did it, and I'm glad, and thanks to um our publicist Keith James for setting it up.
00:35:15.519 --> 00:35:16.960
So that worked out great.
00:35:17.199 --> 00:35:19.280
And uh yeah, thanks, Tony.
00:35:19.360 --> 00:35:22.400
Thanks for tuning in, everybody, and uh we'll see you next time.
00:35:22.960 --> 00:35:23.280
Bye.
00:00:09.199 --> 00:00:12.160
Hi, I'm Tony Levin, and we're making sound.
00:00:12.640 --> 00:00:13.199
Yes, we are.
00:00:13.359 --> 00:00:15.199
Hello, everybody, and hello Tony Levin.
00:00:15.359 --> 00:00:15.919
How are you doing?
00:00:16.320 --> 00:00:17.440
I'm very well, thank you.
00:00:17.519 --> 00:00:21.839
I'm on the road, which is what I love to do, playing music uh every night.
00:00:23.039 --> 00:00:23.920
Pleasure to talk to you.
00:00:24.480 --> 00:00:24.800
Ditto.
00:00:25.120 --> 00:00:32.079
Uh hey everybody, it's Making Sound with Jan Close, uh, episode 152.
00:00:32.240 --> 00:00:33.840
And I've got Tony Levin here.
00:00:33.920 --> 00:00:37.280
It's October 27th, 2026.
00:00:37.600 --> 00:00:50.960
And um so what happened is a couple of days ago, my publicist, Keith James, who's amazing, um, at Glass Onion, um emailed me and said, Oh, you know, I've got uh Tony Levin.
00:00:51.119 --> 00:00:59.920
I'm I'm I'm publicizing his the Book of Beat, Photographs, Chronicles of the Beat Tours at Tony Levin um just released.
00:01:00.079 --> 00:01:03.359
And uh and I said, Yeah, can he come on my podcast?
00:01:03.439 --> 00:01:04.000
Yes, please.
00:01:04.879 --> 00:01:13.840
So so he was like, he's available xx, and I gave him, you know, the he gave gave me a couple of uh dates, and the only one I could do was today.
00:01:14.159 --> 00:01:17.840
This morning, a day later, he was like, Yep, he's good.
00:01:17.920 --> 00:01:18.640
So here we are.
00:01:18.799 --> 00:01:20.159
This was like very impromptu.
00:01:20.400 --> 00:01:22.879
So thank you so much for yeah, thank you for time.
00:01:23.200 --> 00:01:24.640
A pleasure, and it worked out good for me.
00:01:24.879 --> 00:01:30.959
Most mornings, this kind of tour, I'm doing I'm on tour with Beat, and we take a bus trip after the show every night.
00:01:31.120 --> 00:01:33.359
So I can't really get online in the morning.
00:01:33.439 --> 00:01:34.400
I don't know where I'm gonna be.
00:01:34.480 --> 00:01:36.319
I'm gonna be the venue or loading in.
00:01:36.480 --> 00:01:36.799
Yeah.
00:01:37.040 --> 00:01:42.959
Today's a day off, so it's one of the the only days this week that I could do an interview, and we were very lucky we connected.
00:01:43.200 --> 00:01:44.719
I'm I'm so happy about this.
00:01:44.879 --> 00:01:51.840
And uh, you know, you're a pro, you've got your headset going on, and you you can do interviews at any time from any place in any hotel.
00:01:52.400 --> 00:01:52.959
I've been there.
00:01:53.519 --> 00:01:59.519
Frankly, I just like I like uh headsets because I hear better than uh holding up a phone or or the computer.
00:01:59.599 --> 00:02:00.640
There can be noise in the room.
00:02:00.879 --> 00:02:02.000
So it's not for interviews.
00:02:02.079 --> 00:02:05.200
I just like having a headset uh to talk into the computer.
00:02:05.519 --> 00:02:12.400
It sounds great, you look great, and um you're on the road with some really some some cool people.
00:02:12.479 --> 00:02:20.479
Like so this tell us about tell me about this this um this group that you who put this together because it's Adrian Bellou, right?
00:02:20.800 --> 00:02:23.039
Of K Crimson, Steve Vai.
00:02:24.319 --> 00:02:24.800
Indeed.
00:02:25.039 --> 00:02:31.360
Terry Bozio, who was in the mothers of invention with Zappa, correct?
00:02:31.680 --> 00:02:33.120
Uh I know he played with Zappa.
00:02:33.199 --> 00:02:34.960
I'm not sure the name of the band at that time.
00:02:35.280 --> 00:02:43.360
Yeah, I think it was so, and then you have Danny Carey, and like you guys switch are there is it two drummers or is it like I'll explain.
00:02:43.840 --> 00:02:45.199
Okay, this is go ahead.
00:02:45.439 --> 00:02:52.719
Yeah, Adrian Bellew and I were in uh King Crimson in 1981, the discipline era, where we did three albums together.
00:02:52.879 --> 00:03:03.919
We were in it subsequently, but uh Adrian had the idea about five years ago, roughly, to uh revisit that music of the 80s, the three albums that King Crimson did, but with different people.
00:03:04.240 --> 00:03:09.919
He happened to choose me, uh kind of an easy choice because I was around and we play a lot together anyway.
00:03:10.080 --> 00:03:15.199
Uh and he'd he he particularly didn't want to get Crimson guys and re-try to reform Crimson.
00:03:15.280 --> 00:03:27.120
Uh so he got Steve Vai, which is an amazing uh Steve's an amazing guitar player, to play the very difficult parts of Robert Fripp, but not just to play them, but to do his version of them.
00:03:27.360 --> 00:03:33.520
We don't we don't want to it's not a cover band, so we want Steve to be Steve, which is uh pretty uh spectacular.
00:03:33.759 --> 00:03:33.919
Cool.
00:03:34.240 --> 00:03:35.599
And and indeed it's that way.
00:03:35.680 --> 00:03:41.439
And he got Danny Carey, the drummer, famous, well-known drummer of Tool, uh to do many tours.
00:03:41.520 --> 00:03:47.599
We did about a hundred and um 110, 120 shows starting in uh 2024.
00:03:47.919 --> 00:03:48.400
Wow.
00:03:48.639 --> 00:03:55.840
Okay, and then uh this year, well, this month, October, it's still October, uh, Danny couldn't do it.
00:03:56.080 --> 00:04:00.080
Tool is is dragging him back to the to on the road and things like that.
00:04:00.560 --> 00:04:04.319
Yes, and and so we're very lucky to get uh Terry Bozio.
00:04:04.479 --> 00:04:08.240
We all have connections in the past with Terry Bozio, especially me.
00:04:08.319 --> 00:04:12.800
We've been in a few bands together, so it's a different lineup uh in the drums.
00:04:13.120 --> 00:04:16.879
Uh we're also going to talk about my book, The Book of Beat, of my photos.
00:04:16.959 --> 00:04:22.240
I take photos, you could say obsessively, and those 110 shows I was taking photos.
00:04:22.319 --> 00:04:31.439
And uh I I want to speak about that because it's uh fun after a year of collating uh the photos and getting it together to have a good book.
00:04:31.519 --> 00:04:34.000
It's fine, it's good to finally have that book out.
00:04:34.959 --> 00:04:39.279
Just out this last few weeks, even though it's a different, slightly different lineup than we're touring with.
00:04:39.519 --> 00:04:39.920
Yeah.
00:04:40.160 --> 00:04:52.319
I mean, that's wild, and you've had this online blog, like you're very techie, which is so cool, since 1996, where you talk about the tour and people can follow your your experiences, but it's in writing.
00:04:52.399 --> 00:04:55.600
You're not just like posting a bunch of images on on Instagram.
00:04:55.680 --> 00:05:01.360
You're you're you're tying it together with with uh your other passion, which is photography.
00:05:01.519 --> 00:05:04.160
Um, a lot of musicians like photography.
00:05:04.319 --> 00:05:05.600
Why do you think that is?
00:05:06.000 --> 00:05:06.959
That's a good question.
00:05:07.040 --> 00:05:08.720
Uh I could dig deep into it.
00:05:08.800 --> 00:05:12.560
I haven't thought about it much, but uh is it the visual part of music?
00:05:12.959 --> 00:05:16.319
Uh of course there's going to be a different reason for each musician.
00:05:16.399 --> 00:05:20.079
We're not all we don't always follow this, all follow the same paths.
00:05:20.240 --> 00:05:22.079
But there is a thing about music.
00:05:22.319 --> 00:05:31.199
I've been doing it a long time, and there's uh a wonderful but odd thing about music that it's the the real music, not rec recording, but it's there and it's gone.
00:05:31.439 --> 00:05:33.360
It's just there in the moment, right?
00:05:33.759 --> 00:05:42.000
So after years of doing that, some of us, at least me, it'd be nice to have a little something to show someone and say, here's what I did.
00:05:42.240 --> 00:05:44.560
Because with my music, there is no here's what it did.
00:05:44.639 --> 00:05:49.040
You gotta come to the show, you hear it, it's gone, it's off in the air, it's an experience.
00:05:49.279 --> 00:05:58.319
So there's a satisfaction of creating a little statue or or or something, and above those arts, I've tried painting and I've tried sculpting.
00:05:58.560 --> 00:06:02.720
Photography is by far the easiest for someone not gifted uh visually.
00:06:03.199 --> 00:06:09.920
And uh in my case, I started photography really early in my career and gradually got better at it.
00:06:10.079 --> 00:06:14.720
And I take so many photos that I get lucky once in a while and I don't show anybody the bad ones.
00:06:14.800 --> 00:06:26.959
So if I take uh I would say on average, I take 90 to 120 pictures every day, backstage, traveling in the show, audience shots, and if ten of them are good, that's pretty good.
00:06:27.040 --> 00:06:28.240
Then I get 10 good shots.
00:06:28.560 --> 00:06:30.639
What do you use for for a camera?
00:06:31.120 --> 00:06:32.720
Uh generally Nikons.
00:06:32.800 --> 00:06:35.360
I have uh a few and and I like the new Z.
00:06:35.839 --> 00:06:41.199
However, I've just been experimenting with the Fujifilm um XT50.
00:06:41.600 --> 00:06:42.959
Okay, that's all digital, right?
00:06:43.040 --> 00:06:46.000
I mean, but then back in the day you probably have a lot of film as well.
00:06:46.319 --> 00:06:46.800
Oh yeah.
00:06:46.959 --> 00:06:48.879
I I come from back in the day and it was filming.
00:06:49.120 --> 00:06:50.399
And then did you develop yourself?
00:06:50.480 --> 00:06:57.040
Did you develop uh but on the road, road photography was really difficult.
00:06:57.279 --> 00:07:07.680
I have I have books I put out before with my road photography in the 70s and in the 80s, and one would take a picture, I'd be out with Peter Gabriel and take pictures of him jumping in the show.
00:07:07.920 --> 00:07:14.639
I'd have to find I'd have to be two days in one place, which is unusual, and find a 24-hour photo developing.
00:07:14.720 --> 00:07:28.879
Older people will remember those places, get it developed, look at the picture, find a good one, uh uh FedExit to Florida, where my webmaster would then digitize it and put it uh 220 pixels wide.
00:07:29.360 --> 00:07:32.800
This is in the 90s where some people didn't have a wide screen, you know.
00:07:32.879 --> 00:07:34.319
So much easier now.
00:07:34.560 --> 00:07:36.720
Oh, goodness gracious, it's easy.
00:07:36.959 --> 00:07:37.199
Wow.
00:07:37.279 --> 00:07:40.399
Okay, so I mean you brought up Peter Gabriel, who I love.
00:07:40.480 --> 00:07:41.600
I'm a huge fan.
00:07:41.759 --> 00:07:43.199
So, you know, sorry.
00:07:43.839 --> 00:07:44.560
Warning.
00:07:44.800 --> 00:07:47.600
He's probably one of my favorite artists of all time.
00:07:48.399 --> 00:07:49.279
Nothing wrong about that.
00:07:49.519 --> 00:07:50.879
Nothing wrong with that, you know.
00:07:51.040 --> 00:07:54.800
So um I I I want to talk to you a little bit about Peter as well.
00:07:54.959 --> 00:08:00.000
I mean, there's tons to talk about, and we have a limited time, but um first of all, where are you right now?
00:08:00.079 --> 00:08:00.720
You're on the road.
00:08:00.879 --> 00:08:02.480
Like you're literally are between shows.
00:08:02.560 --> 00:08:05.040
Like you were in Columbus, Columbus, Ohio.
00:08:05.360 --> 00:08:06.399
I had to think a minute.
00:08:06.560 --> 00:08:11.199
You know, last night, very late, I was in Cincinnati, Ohio, and uh we had an overnight bus trip.
00:08:11.519 --> 00:08:16.560
And you're playing in Cleveland, I think, which is you're playing in a few days in Cleveland.
00:08:16.639 --> 00:08:19.600
So Cleveland, Ohio, folks, go, go, go, go, go, go.
00:08:19.680 --> 00:08:20.959
See this show, see this show.
00:08:21.120 --> 00:08:24.480
At the Agora, I played there years ago at the Agora.
00:08:24.879 --> 00:08:38.159
Well, I think there's uh there's uh the I'm not expert, there's the Agora Club, which I know very well, and there's a bigger uh Agora Theater, maybe there's the Agora Theater and the Club, I think, and they're I think they are uh still the same place.
00:08:38.879 --> 00:08:48.639
Well, I I will uh investigate when I get there because I spent I spent a month at the Agora Club filming the Paul Simon uh uh movie.
00:08:48.879 --> 00:08:51.600
Um was it One Trick Pony?
00:08:51.919 --> 00:08:52.720
Yeah, One Trick Pony.
00:08:52.960 --> 00:08:54.240
Yeah, there's a yes, one trick pony.
00:08:54.320 --> 00:08:58.799
Yeah, there's another one of my we're a month on location and uh I got to know that club really well.
00:08:59.039 --> 00:08:59.440
Oh wow.
00:08:59.600 --> 00:09:04.639
Yeah, I mean I played there back in oh my god, like when I've when when I was starting out, I was a student.
00:09:04.720 --> 00:09:06.080
I was an exchange student from Germany.
00:09:06.320 --> 00:09:06.639
Really?
00:09:06.799 --> 00:09:07.759
Yes, from Germany.
00:09:07.840 --> 00:09:10.000
And uh we I I was in Cleveland, Ohio.
00:09:10.080 --> 00:09:11.200
They put they sent me there.
00:09:11.279 --> 00:09:12.639
That's like where I ended up.
00:09:12.960 --> 00:09:13.679
Great Great Rock Town.
00:09:14.240 --> 00:09:15.279
Great Rock Town, yeah.
00:09:15.360 --> 00:09:18.159
I mean, it's like has so much history when it comes to music.
00:09:18.320 --> 00:09:29.440
And uh uh I was just like you know, I was just like a little singer-songwriter dude with my guitar, and uh I opened up for somebody at the gorgeous since like 25 years ago.
00:09:29.519 --> 00:09:32.000
Well when I was like first came here, I was a teen.
00:09:32.320 --> 00:09:35.919
And um good times, good times in Cleveland for sure.
00:09:36.080 --> 00:09:36.720
Yes.
00:09:36.960 --> 00:09:37.759
Uh so cool.
00:09:37.840 --> 00:09:45.440
So let me let me let's let's bring up um Peter, who you've been who you in you've been in the Hill band since 1977, correct?
00:09:45.679 --> 00:09:46.159
77?
00:09:46.480 --> 00:09:46.960
That's correct.
00:09:47.039 --> 00:09:48.720
You got the right year, you did some homework.
00:09:49.600 --> 00:09:50.080
I did.
00:09:50.240 --> 00:09:54.080
I didn't have a lot of time, but no, you didn't.
00:09:54.159 --> 00:09:55.679
No, I can fill in the blanks.
00:09:56.720 --> 00:09:58.159
I can fill in the blanks because I was there.
00:09:58.639 --> 00:09:59.279
Fill in the blanks.
00:09:59.360 --> 00:09:59.840
You were there.
00:09:59.919 --> 00:10:01.440
So I want to talk about I.O.
00:10:01.840 --> 00:10:04.000
just quickly, you know, because it's his newest release.
00:10:04.080 --> 00:10:06.320
Now it's OI, the second one.
00:10:06.480 --> 00:10:11.759
After 20 some years of not making a single album, which like that's next for me.
00:10:11.840 --> 00:10:12.159
I'm done.
00:10:12.240 --> 00:10:12.960
I'm taking a break.
00:10:13.039 --> 00:10:15.279
I've made like I've like have 10 records out.
00:10:15.360 --> 00:10:16.000
I'm done.
00:10:16.720 --> 00:10:18.320
I need a 20-year break, too.
00:10:18.480 --> 00:10:20.799
Um, so he comes back with this album.
00:10:20.879 --> 00:10:22.559
Um, and I think you did the tour.
00:10:22.720 --> 00:10:25.200
You were in that, you you played on the record as well.
00:10:25.360 --> 00:10:25.679
Yeah.
00:10:25.919 --> 00:10:30.080
So IO is just really, really it's it's a brilliant.
00:10:30.240 --> 00:10:31.519
It's a brilliant album, you know.
00:10:31.679 --> 00:10:33.279
I mean, the songs, it's so good.
00:10:33.360 --> 00:10:40.559
I mean, there were two albums that I really like got sucked in to last year when they came out, which was I.O.
00:10:40.639 --> 00:10:42.639
and Michelle Negocello's album.
00:10:42.879 --> 00:10:44.799
You know, you know Michelle too, I'm sure it's a big one.
00:10:44.960 --> 00:10:47.200
I know her playing, but I don't know the album.
00:10:47.440 --> 00:10:48.480
Yeah, she's anyway.
00:10:48.559 --> 00:10:54.000
Um, she made a great record uh about James using James Baldwin's um poetry.
00:10:54.320 --> 00:10:58.799
So, but yeah, so Io is is fantastic, it's one of my favorites.
00:10:58.960 --> 00:11:04.639
Can you talk a little bit about um uh because you you were you were a studio musician in the 70s.
00:11:04.720 --> 00:11:07.759
You're from Boston originally, and you were hanging out in New York.
00:11:07.919 --> 00:11:10.399
How do you get that kind of how did you get that gig?
00:11:10.480 --> 00:11:12.480
How did that even how did that happen?
00:11:13.120 --> 00:11:17.919
Um I'm kind of my memory's not great, but I'm pretty familiar with the details.
00:11:18.000 --> 00:11:18.240
Why?
00:11:18.399 --> 00:11:26.879
Because I've been working on my memoirs for a few years and checking back with people and with uh the internet to make sure of dates and stuff.
00:11:27.039 --> 00:11:42.480
So in 1976, I was a studio player, but playing rock uh quote studio players in New York in those days didn't they did wr uh easy rock records, but uh the bands and stuff weren't weren't con didn't consist of studio players.
00:11:42.639 --> 00:11:45.200
However, one producer, Bob Ezrin, is still a wonderful producer.
00:11:45.519 --> 00:11:46.399
Bob Ezrin, wow.
00:11:46.639 --> 00:11:47.519
Yeah, yeah, yeah.
00:11:47.759 --> 00:12:04.480
He used me on a few things like uh Alice Cooper records, a couple of them, and a Lou Reed record, and he asked me to go to Toronto uh in July of 1976 to play play a record that of a guy I didn't heard of, Peter Gabriel, who had been playing in a band called Genesis, which I hadn't heard of.
00:12:04.799 --> 00:12:12.960
So I was not an expert at progressive rock or Genesis and what they're about when I very luckily fell into that uh situation.
00:12:13.200 --> 00:12:16.720
Love Peter, he then asked me to tour on that first album.
00:12:16.799 --> 00:12:24.240
One of the guitar players was named Robert Fripp, who subsequently asked me to form a new band called Discipline, which became King Crimson.
00:12:24.399 --> 00:12:26.960
And uh so lucky that I showed up for that session.
00:12:27.120 --> 00:12:30.480
It was certainly a pivotal uh uh month in my life.
00:12:30.720 --> 00:12:31.279
I'll say.
00:12:31.440 --> 00:12:31.919
I'll say.
00:12:32.080 --> 00:12:32.639
Wow.
00:12:32.960 --> 00:12:41.039
So if if you if you think about all of this time that you've spent on the road and you've documented everything, um is there a book?
00:12:41.200 --> 00:12:42.879
Is there another book coming?
00:12:44.000 --> 00:12:46.960
Uh I'm getting confused about books.
00:12:47.120 --> 00:12:48.399
So I'm writing memoirs.
00:12:48.480 --> 00:12:48.559
Yeah.
00:12:48.879 --> 00:12:56.559
That's taking me years, and I hope to have it next out next year, but one learns in rock not to predict what's going to happen next year until it happens.
00:12:56.720 --> 00:12:57.759
So let's forget that.
00:12:57.919 --> 00:13:00.399
Uh but it's sharpened my memory about things.
00:13:00.480 --> 00:13:09.840
Uh I I've put out a number of photo books and uh one book of stories of the road called uh Beyond the Base Cleft, and uh even a poetry book.
00:13:10.000 --> 00:13:14.159
I put I put up books mostly published myself, and uh through the years I've done that.
00:13:14.480 --> 00:13:19.759
It's love of music and a little bit of free time on the road to do these things, especially on a bus tour.
00:13:20.000 --> 00:13:21.200
You got your bus bunk.
00:13:21.360 --> 00:13:29.279
In my case, it's it's covered with uh journals and books, and and it's your chance to to work on something creative for the future.
00:13:30.399 --> 00:13:36.399
So that's a good that does that create a balance for you to to write and and release in between?
00:13:36.559 --> 00:13:52.399
I mean that's uh I haven't really thought of it, and it wasn't that wasn't my intention in doing things, but uh if I'm home, not on the road, uh I'm gonna play some music up in my studio and or or work on my photography or work on something, because that's what I do.
00:13:52.559 --> 00:14:01.120
We like to be we not only like to be creative, all the good the folks that I play music with, but uh I think we're blessed and really lucky to have a chance to do it.
00:14:01.440 --> 00:14:02.399
Yes, indeed.
00:14:02.639 --> 00:14:09.279
I mean, and it's a it's a really tough uh business to to create longevity longevity in, you know.
00:14:09.519 --> 00:14:14.799
So it um uh you you you have to step away at times and take breaks.
00:14:14.960 --> 00:14:17.519
So when you do that, or do you not do that?
00:14:17.600 --> 00:14:20.000
Do you just do you just go for the next thing?
00:14:20.159 --> 00:14:25.200
Did you ever have a phase where you thought, okay, I need I need a pause and I want to do something different?
00:14:25.360 --> 00:14:28.639
And if if you did, if you didn't then cut me off.
00:14:28.799 --> 00:14:33.600
But if you did, then w was it something like photography or or or writing?
00:14:33.919 --> 00:14:38.000
Uh it's been a long time since I wanted to take a break from music.
00:14:38.080 --> 00:14:39.440
Um I mean I was a kid.
00:14:39.600 --> 00:14:46.399
I think I I studied bass uh when I was a kid, uh upright bass, co acoustic bass, we can call it.
00:14:46.559 --> 00:14:52.879
And after a few years with a teacher who wasn't really good, who wasn't inspiring, I wanted to take a break, and I took a six-month break.
00:14:52.960 --> 00:15:00.000
And I'm talking about twelve years old or thirteen years old, and then went back to it with a better teacher, and I haven't taken a break.
00:15:00.240 --> 00:15:07.360
However, lockdown year, there was COVID, and then there was no touring for us, uh all of us, uh and nothing.
00:15:07.519 --> 00:15:13.600
And that was an extraordinary year, because uh not a make or break year, but what do you do with yourself?
00:15:13.840 --> 00:15:32.000
And uh I did my best, uh, not as well as some people, but I tried to not just stagnate and and and dwell on the fact that I couldn't do what I'd really love to do, and then I come came up with a moderate amount of creative stuff, including a a a photo album called uh images from a life on the road.
00:15:32.080 --> 00:15:34.240
I went through all those all those negatives.
00:15:34.320 --> 00:15:39.120
We talked about the film and and black and white things that I hadn't been through before.
00:15:39.200 --> 00:15:46.480
It was not fun going through them, but it was good that I did them, and I would never have had the chance to do that had it not been for that year of unable to tour.
00:15:47.039 --> 00:15:49.759
Yeah, that was uh an extremely weird time.
00:15:50.000 --> 00:15:51.360
So very weird.
00:15:51.919 --> 00:15:53.840
Still resonating with all of us, really.
00:15:54.159 --> 00:15:54.320
Totally.
00:15:54.559 --> 00:15:56.480
I mean, culturally it's still resonating.
00:15:56.639 --> 00:15:56.879
Yeah.
00:15:57.120 --> 00:16:02.480
That's that's the part where I'm still thinking this is not over.
00:16:03.440 --> 00:16:11.600
You know, like the repercussions of this are kind of now like slowly working their way through society.
00:16:11.919 --> 00:16:16.399
You know, and I think that's also it it it shows up in music, of course.
00:16:17.039 --> 00:16:18.879
Everything always shows up in art, you know.
00:16:19.120 --> 00:16:21.279
Sometimes faster, sometimes slower.
00:16:21.440 --> 00:16:23.840
Um again, 20 years to make an album, you know.
00:16:23.919 --> 00:16:26.559
Peter took that, like I was like, yeah, great, you know.
00:16:26.799 --> 00:16:28.240
And uh but it was worth the wait.
00:16:28.399 --> 00:16:29.039
It was worth the wait.
00:16:29.120 --> 00:16:29.840
And now he's got two.
00:16:29.919 --> 00:16:31.039
Now he's got another one coming up.
00:16:31.360 --> 00:16:31.440
Right.
00:16:31.519 --> 00:16:33.200
We didn't go back to Peter Gabriel's stuff.
00:16:34.320 --> 00:16:35.440
IO is fantastic.
00:16:35.519 --> 00:16:40.720
And and you talked about the album, but the tour, touring with that very meaningful music.
00:16:40.879 --> 00:16:56.559
Peter's music has always been meaningful, but somehow uh just you know, because you do concerts, sharing with audiences the magic of that music was even more special than the previous tours of Peter that I've done, which were very special.
00:16:56.799 --> 00:16:59.519
So it's a magical time touring with IO.
00:17:00.000 --> 00:17:00.639
What was different?
00:17:00.799 --> 00:17:03.759
The music or how what was the stage show like?
00:17:05.200 --> 00:17:15.680
Oh, because he's done some really extensive stage shows, you know, where the whole thing is like turning with the I mean I forget the name of that or what that tour was, but that was extraordinary.
00:17:15.759 --> 00:17:17.200
It looked expensive.
00:17:17.839 --> 00:17:21.279
Uh turning stages and hang Peter hanging upside down, lots of stuff.
00:17:21.519 --> 00:17:22.880
Yeah, so there was plenty in this.
00:17:22.960 --> 00:17:31.599
It wasn't uh it was a static stage, but there were there was plenty of uh interesting technology at use because Peter's great at that.
00:17:31.839 --> 00:17:41.359
Uh but what I'm talking about is not that, but the the feel behind the music, which is uh w uh what's the basis of that?
00:17:41.519 --> 00:17:48.160
Peter being Peter and the new material and uh Peter being back on the road after people seeing him after they hadn't seen him.
00:17:48.640 --> 00:17:49.119
You know what?
00:17:49.680 --> 00:18:00.480
Slightly different subject in in uh 2016, Peter did a joint tour with Sting, the kind of tour where they you trade a couple songs each and then you do some songs together.
00:18:00.640 --> 00:18:01.839
Wonderful, fantastic.
00:18:02.000 --> 00:18:02.799
Too short a tour.
00:18:02.880 --> 00:18:04.079
I wish it had been longer.
00:18:04.559 --> 00:18:12.240
But uh again, the feel talking I'm talking now again about the feeling on stage, different than the feeling in the audience.
00:18:12.480 --> 00:18:15.680
Uh the majority were Sting fans.
00:18:15.759 --> 00:18:19.039
There were plenty of Peter fans, but look especially in front, was Sting fans.
00:18:19.200 --> 00:18:22.000
And near the end, we they had been doing songs people knew.
00:18:22.079 --> 00:18:28.799
Near the end, Peter just stepped outside of the norm and did a piece called Love Can Heal that nobody had ever heard.
00:18:28.960 --> 00:18:31.279
You don't do that near the end of a stadium show.
00:18:31.519 --> 00:18:36.480
You bring out your hits, everybody's partying and yelling and dancing, and they want to have a good time.
00:18:36.640 --> 00:18:51.440
And he stopped it all, not only to do the song, but with a very poignant introduction, people were talking louder than he was, and it was I could feel that the people who weren't already Peter fans got it.
00:18:52.960 --> 00:19:10.240
You know, as we repeated the the chorus, Love Can Heal, Love Can Heal, they s they started to feel okay, I understand this guy's different than anybody else, and and I'm I'm experiencing what's special about him, and maybe it's more special than the party and the dancing that I was gonna do if he did Sledgehammer.
00:19:10.400 --> 00:19:11.920
Yeah, I'll do Sledgehammer next.
00:19:12.319 --> 00:19:24.559
Uh but so so that's that's the kind of I'm what I'm sharing here is the kind of experience that we have on stage being in Peter's band, which is equal to to the special feeling people get in the audience of hearing him.
00:19:24.960 --> 00:19:27.920
Uh that's a great song, and that isn't that ended up on I.O.
00:19:28.319 --> 00:19:29.119
Didn't it?
00:19:29.279 --> 00:19:32.160
Uh I'm not an expert at what's what's on what.
00:19:32.640 --> 00:19:33.599
Um I'm trying to remember.
00:19:33.680 --> 00:19:37.119
Um, someone's gonna get send me an angry email about this, I'm sure.
00:19:37.279 --> 00:19:38.240
So it's okay.
00:19:38.640 --> 00:19:39.440
It's been released for sure.
00:19:39.519 --> 00:19:40.559
This is a great token.
00:19:40.880 --> 00:19:41.599
It's a great song.
00:19:41.839 --> 00:19:49.839
And um you know what you're saying about how you want to surprise an audience, that takes a lot of risk.
00:19:50.000 --> 00:19:53.519
That takes you know, because you're not doing what is expected of you.
00:19:53.599 --> 00:19:56.480
And I but I think that's exactly what we should be doing.
00:19:57.279 --> 00:20:00.400
You know, don't I mean yeah.
00:20:00.640 --> 00:20:09.599
I mean, people want to hear they want to hear the the even your agents want to hear the same song that you had the hit with, right?
00:20:10.799 --> 00:20:10.960
Okay.
00:20:11.440 --> 00:20:13.279
So I think every band is different.
00:20:13.440 --> 00:20:17.279
I I never had a hit, so I don't have that problem, and I don't have an agent.
00:20:18.160 --> 00:20:21.200
But but but uh every band decides for itself what it's gonna do.
00:20:21.359 --> 00:20:25.680
King Crimson always uh I've been in King Crimson a long time, challenges the audience.
00:20:25.839 --> 00:20:32.160
The audience would like to hear uh King Crimson music, which is already challenging, uh, but they'd like to hear the classics.
00:20:32.240 --> 00:20:36.000
And for a long time, especially when I joined the band, Robert said, nope, I'm not gonna do that.
00:20:36.160 --> 00:20:38.640
We're gonna do new music that's different than that.
00:20:38.880 --> 00:20:46.480
And uh if you're lucky and successful in your way, then a band I feel gets the audience it deserves.
00:20:46.640 --> 00:20:57.359
So if you've challenged your audience only, then you get an audience that is uh a following, not our audience, a following that is ready to be challenged and willing to be challenged.
00:20:57.680 --> 00:21:06.720
If you give in to the the obvious uh the record label and things and do give them what they want and pop and and easy to digest music, that's fine.
00:21:06.799 --> 00:21:08.160
There's nothing wrong with that at all.
00:21:08.319 --> 00:21:19.759
Then you'll get that kind of audience, and uh you don't want to turn left on the that audience because they want to hear what they expected from you or a different way they expected from you what they want to hear.
00:21:20.079 --> 00:21:20.720
Yeah.
00:21:21.119 --> 00:21:22.079
Uh that's it.
00:21:22.240 --> 00:21:25.200
That's you know, for better or for worse, that's what you got to do.
00:21:25.279 --> 00:21:27.920
I think it's it's wonderful that there's different bands.
00:21:28.480 --> 00:21:35.200
There are different bands that approach it different ways, and hopefully, all honestly and genuinely from the way they feel about music.
00:21:35.279 --> 00:21:44.559
There's nothing wrong with being a utter uh utterly pop popular pop band and giving audiences what they what they love to hear, what they heard on the radio.
00:21:44.880 --> 00:21:46.640
There's room for everybody.
00:21:47.279 --> 00:22:01.519
Um yeah, so let me let me bring up uh your brother, uh Pete, who I met years ago when he was doing a show at the cutting room, where I think I played the same night or something happened, like we were on the Same b uh we played the same evening.
00:22:01.920 --> 00:22:02.720
We like the cutting room.
00:22:03.039 --> 00:22:03.839
Yeah, it's a nice venue.
00:22:04.160 --> 00:22:04.960
Downtown in New York.
00:22:05.279 --> 00:22:12.400
And uh Steve Walter, the owner, he um he f he had heard that I had played with Annie Haslum from Renaissance.
00:22:12.559 --> 00:22:22.880
And so he was like, you know, he I we started, we became friends friendly, and I brought Annie over there to to perform and seen other good shows there as well.
00:22:23.119 --> 00:22:31.680
And uh there's some, you know, lately we've been hitting the bitter end, which is you you know about that venue in New York, I'm sure, and uh some other places.
00:22:31.839 --> 00:22:38.319
So but I but Pete was, you know, I met uh I met your brother and and uh and I was like, oh I didn't even know Tony Levin had a brother.
00:22:38.720 --> 00:22:40.720
So, you know, I I was like, hey man, how are you?
00:22:40.799 --> 00:22:49.680
You know, we had a nice little chat, and uh and I wanted to to bring up um the stick men as well, which is your your original group.
00:22:49.920 --> 00:23:07.200
And I think it started by making an you you made an album called Stick Man, and this has to do with the the the bass that you play, which you should talk about just at least a little bit, because it's the way you play is not exactly conventional, to put it honestly.
00:23:08.160 --> 00:23:08.799
A lot there.
00:23:08.960 --> 00:23:15.200
First of all, my brother Pete is a is a wonderful keyboard player, he plays jazz and rock.
00:23:15.519 --> 00:23:19.359
I like to put it that way, and I play rock and jazz.
00:23:19.599 --> 00:23:29.119
In other words, for me, uh mostly I play rock, and when I play jazz, I'm trying, I'm kind of I'm talking the talk, but I don't walk the walk.
00:23:29.279 --> 00:23:38.319
I I hear the difference when I hear a lifelong jazz player, I hear the way they play it for, and I I envy that, and I aspire to that, but I don't anyway.
00:23:38.480 --> 00:23:41.759
Pete plays rock very well, but primarily he's a jazz player.
00:23:41.920 --> 00:23:49.200
We have a band together called uh Levin Brothers, and we tour whenever we're not on the road with something else, we'll tour next May.
00:23:49.279 --> 00:23:51.279
We'll play tour the East Coast and up into Canada.
00:23:51.359 --> 00:23:55.279
We played Chakou to me in can in Quebec uh last May.
00:23:55.519 --> 00:24:00.640
Um yeah, uh and Pete and I, of course, have been in bands together for our whole lives.
00:24:00.799 --> 00:24:19.200
He's three, two, two and a half years older than me, and I very much followed in his direction, becoming a musician and learning from him to things like take all gigs and and see where it goes, and and the the satisfaction that can come from just just having a lot of a lot of options uh as a player.
00:24:19.440 --> 00:24:21.920
So that's about Pete and uh Stickman.
00:24:22.000 --> 00:24:32.559
Yes, a years ago I did an album called Stick Man, which featured this instrument, the Chapman Stick that I play, but I did overdubs of multi-stick parts, so I could not play it live.
00:24:32.720 --> 00:24:39.279
And then sometimes the music kind of calls for a life of its own and to be played live, sometimes not.
00:24:39.440 --> 00:24:41.920
I've done albums of both kinds, solo albums.
00:24:42.079 --> 00:24:54.240
Uh and this one I really wanted to play it live, so I enlisted another stick player, and we had two stick players, Michael Bernier was his name, and Pat Massaloto, my good buddy drummer in King Crimson, and it was a trio.
00:24:54.319 --> 00:25:04.079
And then after a year or so, Mike couldn't do it anymore, and we got uh Marcus Reuter, a touch guitar player, which is a similar instrument to the stick played in the same way.
00:25:04.240 --> 00:25:08.319
And we've been touring ever since, I don't know what it is, 15 years or something at least.
00:25:08.480 --> 00:25:09.839
Uh and it's a pleasure.
00:25:10.000 --> 00:25:16.480
We get to do the music we want and the music we write, and it's uh somewhat in the progressive rock vein, I think.
00:25:16.559 --> 00:25:19.599
But two of us being Crimson alumni would be that.
00:25:19.759 --> 00:25:24.000
And Marcus also was a student at one time of Robert Tripps.
00:25:24.880 --> 00:25:26.880
Wow, there's a lot there, yes, indeed.
00:25:27.599 --> 00:25:41.039
Um so I uh uh I posted can't stand interrupting, but I forgot to say our new uh album, which I just was touring with in September, is called Let's Thrack Again.
00:25:41.759 --> 00:25:49.920
A uh hearkening back to an album of an album and a and a piece and a way of playing that we call Thracking in King Crimson Thrack.
00:25:50.160 --> 00:25:51.839
So uh Let's Thrack Again is yeah.
00:25:52.480 --> 00:25:53.440
T-H-R-A?
00:25:54.079 --> 00:25:55.200
Yes, only one A.
00:25:55.359 --> 00:26:00.400
I misspelled it when I presented the the song and the album title to the other guys in the band.
00:26:00.480 --> 00:26:03.119
They I put it with two A's, T-H-R-A-K.
00:26:03.519 --> 00:26:05.680
Uh was a Crimson album, and it's a piece now.
00:26:05.839 --> 00:26:07.200
Let's Thrack again.
00:26:07.279 --> 00:26:14.400
Uh is this a piece of ours on the on the new C D and elaborate packaging of that same name.
00:26:15.359 --> 00:26:17.440
I love that you do uh so much yourself.
00:26:17.599 --> 00:26:25.039
You know, you were mentioned earlier, I don't have an agent, I don't have so I mean this is like the new school way now, you know.
00:26:25.119 --> 00:26:37.359
Um artists basically are mostly self-managed, a lot of them, or they work with a small team of people and they let the the music do the talking and um they go out there and and do their thing.
00:26:37.680 --> 00:26:52.960
So this this really does keep you pretty occupied, it sounds like, you know, but you you're also like the hardest working man in show business, it seems, because on your days off, you know, you're talking to uh to the media or other musicians like myself.
00:26:53.200 --> 00:26:56.799
Uh so I I when do you what do you do to relax?
00:26:56.960 --> 00:27:00.880
Do you do you have something you you like to do to chill?
00:27:01.599 --> 00:27:06.079
Oh uh we've covered you've covered a lot of ground with that that stuff you were talking about.
00:27:06.480 --> 00:27:08.720
First of all, I don't know much about the music business.
00:27:08.880 --> 00:27:09.920
I I'm a bass player.
00:27:10.880 --> 00:27:14.880
I'm a bass player and I get called to play with people bass, and that's what I love to do.
00:27:15.039 --> 00:27:15.759
And that's great.
00:27:16.079 --> 00:27:23.440
Uh you know, I I'm not the best at understanding the business or managing or or being an agent and things like that.
00:27:23.680 --> 00:27:30.400
Uh and the other part of what you you said to relax, I I relax pretty well, and it is kind of relaxing being on the road.
00:27:30.480 --> 00:27:31.359
I'm used to it.
00:27:31.680 --> 00:27:39.599
And uh and and I'm you know, I have a few hours free after this, and uh I'll I'll sit down with my notes and work on a book.
00:27:39.839 --> 00:27:49.519
And and uh, we who are lucky enough to be able to work on creative things like writing and music, uh it's lucky and and I don't find it uh tiring at all to do that.
00:27:50.240 --> 00:27:52.000
And I am not the busiest guy.
00:27:52.160 --> 00:27:53.759
Even the guys I tour with are busy.
00:27:54.000 --> 00:27:58.640
Steve Vai is a maniac, he tours he would tour, he would play seven shows a night if they let him.
00:27:58.880 --> 00:27:59.200
Oh my god.
00:28:04.880 --> 00:28:12.960
So I know from my experience that yes, I tour a lot and I work hard, but I know guys who do more and more of each of those things.
00:28:13.119 --> 00:28:13.359
Yeah.
00:28:13.680 --> 00:28:16.079
Okay, so I don't I we don't have a lot of time left.
00:28:16.160 --> 00:28:17.519
I think you have to go in a couple of minutes.
00:28:17.599 --> 00:28:18.720
If I'm is that correct?
00:28:19.119 --> 00:28:21.680
Uh I can I can extend it a bit, but I don't have too long.
00:28:22.160 --> 00:28:28.160
So we'll so we'll do uh uh so I I I posted on my um social media.
00:28:28.319 --> 00:28:31.759
I said, you know, I've got Tony Levin on on my show.
00:28:31.839 --> 00:28:33.440
Uh you have any questions for him?
00:28:33.599 --> 00:28:36.240
And I got a bunch of very quick posts.
00:28:36.319 --> 00:28:37.680
I just did this this morning.
00:28:38.000 --> 00:28:44.960
And my buddy Fernando uh Perdomo, who's a guitarist, a friend of mine, who I just did a gig with in in Florida.
00:28:45.119 --> 00:28:50.240
Um we did uh where did we play at the Broward Center with uh Alston Torres in Fort Lauderdale?
00:28:50.319 --> 00:28:51.839
That was a fun, fun show.
00:28:52.079 --> 00:29:02.480
And uh he's played with a lot of people and uh he he said uh ask Tony uh how long does it take him to adjust to a new drummer?
00:29:02.799 --> 00:29:03.599
That was the question.
00:29:03.759 --> 00:29:15.039
And I thought it's actually a pretty good question because you know to to preface this, like someone like Peter, Gabriel, I think everything is to a click.
00:29:15.279 --> 00:29:16.960
Am I wrong or am I right?
00:29:18.319 --> 00:29:23.119
Um meaning the the pulse of the the the rhythm has been given.
00:29:23.359 --> 00:29:23.759
You don't know.
00:29:24.000 --> 00:29:27.119
Not just Peter, but most most things I do, most projects I click.
00:29:29.200 --> 00:29:34.480
But the other part of that, uh to adjust to a new drummer is an entirely different thing than the click to me.
00:29:35.119 --> 00:29:37.440
And uh it doesn't take long at all.
00:29:37.519 --> 00:29:39.200
I think uh minutes.
00:29:40.640 --> 00:29:46.400
I'm not saying it's always easy or it's always great, but the you hear what each hopefully you're listening to what each other is doing.
00:29:46.640 --> 00:29:50.480
You hear that and you you uh make music together.
00:29:50.640 --> 00:29:55.759
And uh I I can't think of an instance where it uh took a long time to gel or anything like that.
00:29:55.920 --> 00:30:04.160
Usually it's uh I'm lucky to usually be playing with very good players, and it's uh it's not always the same, the feel and the the pocket that you create.
00:30:04.400 --> 00:30:08.799
And uh that's all uh separate from whether there's a click or not.
00:30:08.960 --> 00:30:11.039
Sometimes there's not a click uh in beat.
00:30:11.119 --> 00:30:17.200
We've never used the click either with Danny or with Terry, and it's not a problem, but uh in some bands there's a click.
00:30:17.359 --> 00:30:21.119
There's still a lot of latitude of what drummers can do within a click.
00:30:21.759 --> 00:30:32.000
When there is a click, which means there is a pulse that's given for the tempo, when there is one, do you like having it in your ears as well?
00:30:32.240 --> 00:30:34.799
And me personally, I like just to have the drummer have it.
00:30:34.880 --> 00:30:36.079
I don't want to hear the click.
00:30:36.480 --> 00:30:37.920
I like to hear the click.
00:30:39.359 --> 00:30:40.079
There you go.
00:30:40.720 --> 00:30:41.920
Okay, Chick.
00:30:42.319 --> 00:30:49.200
Um because uh I I never thought about why, but I if the drummer is playing a little off of the click, that's fine.
00:30:49.279 --> 00:30:50.559
I can deal with hearing both.
00:30:50.799 --> 00:30:55.119
And if he's playing right with it, which usually is pretty pretty much with it, then that's fine too.
00:30:55.440 --> 00:30:59.519
And um I'm gonna play with the drummer, but I like to hear the click.
00:31:00.240 --> 00:31:16.559
Are you uh do you use um how when you when it comes to technology, do you um enjoy using new applications and systems when you like for photography or editing?
00:31:17.039 --> 00:31:19.759
Um do you are you adventurous there?
00:31:20.720 --> 00:31:21.759
Uh not too much.
00:31:21.920 --> 00:31:31.440
The bass player in me learned a long time ago that the the more natural the bass is, the the the better you're gonna feel about that bass sound ten years in the future.
00:31:31.759 --> 00:31:36.720
Uh I think there was a time in the 70s that I would get the pedal of the day, the pedal of the year.
00:31:36.880 --> 00:31:47.519
And then later when I heard those tracks, especially the Ottawa's the Mutron that goes, wow, wow, wow, it just sounds like that year, that six months, and I wish I hadn't used it.
00:31:47.680 --> 00:31:52.799
Uh the same with going digital, I didn't go digital for a long time, or I did, and I regretted it, and I went back.
00:31:52.960 --> 00:31:57.279
Uh, I'm talking about bass playing, uh, although similar in photography.
00:31:57.440 --> 00:31:59.680
I went digital too early in photography, too.
00:31:59.839 --> 00:32:07.920
Uh so I learned as I go, and and pretty much being I like uh natural or we could call it analog as much as I can.
00:32:09.680 --> 00:32:12.880
Okay, well, I'm I know you're busy, so I'm gonna let you go.
00:32:13.039 --> 00:32:18.559
And uh um I just want to mention that you're on the road with uh Beats.
00:32:19.359 --> 00:32:22.880
Beats and Yeah, you're on the road.
00:32:22.960 --> 00:32:24.640
You guys have a bunch of shows coming up.
00:32:24.720 --> 00:32:26.880
You're heading up and you're in the Midwest right now.
00:32:27.039 --> 00:32:33.839
You got Ohio, you got Michigan, and then you're heading up to Canada, and then you're coming back to to New York.
00:32:33.920 --> 00:32:42.240
Actually, you're at the Paramount in Huntington in New York on November 4th, and bunch of other shows, Prudential Hall here over.
00:32:42.480 --> 00:32:48.480
I'm just mentioning the shows that are close to close to me here, uh, in Newark um on November 9th.
00:32:48.720 --> 00:32:53.279
So you you've got a lot of stuff going on until the till the end of the year.
00:32:53.680 --> 00:32:57.920
And uh do you know if um you're gonna tour with Peter?
00:32:59.200 --> 00:33:15.200
I know, I think I know that we're not gonna tour this coming year because I I I don't know that for a fact, but I've been asking the management a long time because I need to book the year, and they said that uh they didn't know that that Peter had any plans for tour soon.
00:33:15.440 --> 00:33:17.680
In the future, after that, I certainly hope so.
00:33:17.839 --> 00:33:20.799
The fan and me and the bass player and me both hope so.
00:33:20.960 --> 00:33:27.359
And I wanted to mention uh yes, I'm on tour with Beat, and we talked earlier about the my new book, the Book of Beat.
00:33:27.519 --> 00:33:37.680
And what I didn't well I forgot to mention is that's available two places at our shows where I was able to sign them all, and they're for sale at the shows, and also on Tony Levin Music.com.
00:33:38.079 --> 00:33:40.319
Bring some extra cash uh for that.
00:33:40.559 --> 00:33:42.480
Now, yes, please, everybody.
00:33:42.640 --> 00:33:43.119
Hello.
00:33:43.440 --> 00:33:46.079
Uh so like it doesn't cost enough to go to a show.
00:33:46.240 --> 00:33:47.359
Oh my god, it's so expensive.
00:33:47.920 --> 00:33:50.240
It is, it's crazy, and getting there and everything.
00:33:50.319 --> 00:33:51.839
Like the fans are the best.
00:33:51.920 --> 00:33:54.319
I mean, I can't believe they it's awesome that they do this.
00:33:54.480 --> 00:33:58.799
So I just quickly, Beat is named after you did an album called Beat.
00:33:59.279 --> 00:33:59.519
Yes.
00:34:00.640 --> 00:34:02.160
Is that what the name comes from?
00:34:02.799 --> 00:34:03.519
Yeah, way back.
00:34:03.599 --> 00:34:17.280
I said Adrian had the idea and found the people, and then he went to Robert Fripp uh just to not to be sure Robert was okay with this idea, Robert being the founder, for those who don't know it, of King Crimson uh and in the led the band in the 80s.
00:34:17.440 --> 00:34:21.440
And Robert said loved the idea and suggested that we call it Beat.
00:34:21.519 --> 00:34:27.280
He Robert Fripp named the band Beat because uh that was the second of the three albums we did in the 80s.
00:34:27.360 --> 00:34:30.400
We did uh Discipline, Beat, and Three of a Perfect Pair.
00:34:31.360 --> 00:34:31.920
Lovely.
00:34:32.079 --> 00:34:34.079
Well, folks, I think you know what to do.
00:34:34.320 --> 00:34:38.719
And uh what have I got uh some some some stuff coming up as well.
00:34:38.880 --> 00:34:56.400
Um I'm gonna be doing that George Harrison tribute concert out at the space at Westbury next month, and then I'm in Germany for some shows in January, Hamburg, Berlin, and then I'm in LA at the end of the month in January for for a couple of shows in Ventura, um, LA, Anaheim.
00:34:56.719 --> 00:35:01.039
So uh yeah, and uh it's such a pleasure to talk to Tony Levin.
00:35:01.199 --> 00:35:02.079
I'm thank you.
00:35:02.239 --> 00:35:03.679
Nice having a conversation with you.
00:35:03.920 --> 00:35:06.880
Thanks for uh sparing me your time and and connecting.
00:35:07.039 --> 00:35:07.760
It wasn't easy.
00:35:08.079 --> 00:35:15.039
No, I mean it just happened quickly and we did it, and I'm glad, and thanks to um our publicist Keith James for setting it up.
00:35:15.519 --> 00:35:16.960
So that worked out great.
00:35:17.199 --> 00:35:19.280
And uh yeah, thanks, Tony.
00:35:19.360 --> 00:35:22.400
Thanks for tuning in, everybody, and uh we'll see you next time.
00:35:22.960 --> 00:35:23.280
Bye.
