In the Court of Tony Levin FGPO: How much influence do your Crimson predecessors have on the way you approach the material? Levin: John Wetton had a wonderful ability to dig in harder and harder and make the bass sound change just by the way he played it, with the way he touched it. That’s great, but I can’t do that so well. It could be the basses that I play—if I dig in harder and louder, it doesn’t really sound like I’m getting louder. I’m stressing out the bass amp and stuff like that. I don’t know exactly how he did it. Actually, frankly, I’ve watched it—I’ve watched him as a fan, and it’s just in his hands and his bass. And it’s wonderful. So now I’m confronted with something that’s an integral part of the piece and I want to do it, but I actually can’t. I’ve tried different ways to actually overcome that, with pedals and different basses, I’ll pull out a different bass that maybe has a little crunch in it, and it starts to go on a little musical adventure that is my own. That’s one example of how I’m chasing the classic part but I’m also being myself.