I'd be interested to see a citation for that. It's not that I don't believe Fripp wrote some of the King Crimson basslines -- I know for a fact he wrote most of the lines that Boz Burrell played in the 1972 version of Crimson, and I would bet that he wrote most of Tony's lines on the Discipline album since the music on that is all based on a very specific concept -- but there are also some basslines in King Cimson tunes that just reek of Tony's aesthetic; it would be very surprising to learn that Tony didn't come up with the basslines to, for example, "People" or "Sartori In Tangiers" or "The Howling" or "One Time" or "Sleepless" etc.
Enjoy the benefits of a premium membership!
Upgrade Account
-
TalkBass has been independent since 1998. Add your voice.
Create a free account to reply to discussions, view embedded media, and browse with fewer display ads.
Join free Log in
Want zero display ads or expanded classifieds tools? Compare plans.
Tony Levin
- Thread starter Leftybass12
- Start date
I'd be interested to see a citation for that. It's not that I don't believe Fripp wrote some of the King Crimson basslines -- I know for a fact he wrote most of the lines that Boz Burrell played in the 1972 version of Crimson, and I would bet that he wrote most of Tony's lines on the Discipline album since the music on that is all based on a very specific concept -- but there are also some basslines in King Cimson tunes that just reek of Tony's aesthetic; it would be very surprising to learn that Tony didn't come up with the basslines to, for example, "People" or "Sartori In Tangiers" or "The Howling" or "One Time" or "Sleepless" etc.
Different style of music then some of the aforementioned groups/artists but all the while still a groovin' Tony Levin on a few albums by Herbie Mann (be warned that those albums are quite discoey) and on a chill eccentric cut called "Black Widow" on the album "Very Together" by Deodato (he's using some type of filter or phaser effect on this cut) and I was surprised to find out that he laid down the groove on a happenin' album by organist Brother Jack McDuff from 1971 called "Who Knows What Tomorrow's Gonna To Bring?". The title cut has a cool trippy beginning and then let's loose with a breezy 70s funk/ souljazz groove, but check out his playing on the whole album.
Best,
Tan
Best,
Tan
Mr. Levin also played the bass in the song "I Would Have Waited Forever" on Yes' Union album. It rocks!
Not related to his amazing music/bass playing, but for those fans of Levin that don't know, Tony Levin recently got a twitter account, it's not verified, but it seems to be legit. It's @tonylevin
Didn't see it mentioned earlier in the thread, but my favorite Levin work, behind Gabriel's So, is John Lennon's Double Fantasy. Also nice to see Welcome to my Nightmare in here, that usually gets left out, although it's hard not to miss something with all the stuff he's played on!
Didn't see it mentioned earlier in the thread, but my favorite Levin work, behind Gabriel's So, is John Lennon's Double Fantasy. Also nice to see Welcome to my Nightmare in here, that usually gets left out, although it's hard not to miss something with all the stuff he's played on!
Ivan lins "Awa Yio"
Paula Cole "Amen"
Buddy Rich "The Roar of '74"
are amongst my favorites outside of peter gabriel an dKing Crimson.
I also really like T.L's first solo album- "World Diary" and a couple pieces from Steps ahead "N.Y.C".
"Outside" by David Bowie...a very interesting and worthwhile album has levin as well. so does "Heathen",which is fun as well.
Saw Tony last night with PG! They played the So album front to back, as well as other choice tracks! He tore it up on various MM's, Berger Upright, and one song on Stick! Very enjoyable show and the band was awesome! Everyone had a good time!
J!
J!
Check out John Lennon's "Double Fantasy" album.
John told Tony "dont play too busy".
It's some very solid and straight forward playing from Mr. Levin..
John told Tony "dont play too busy".
It's some very solid and straight forward playing from Mr. Levin..
Yeah, kind of inclined to agree. For proof, listen to the difference in lines between the different bassists in Crim (from Wetton to Levin to Gunn, for example). All *very* different, and they *very* clearly reflect the particular players' styles (if you, for example, cross-reference them with other records on which they appear).
Here's my Tony Levin story.
I took a bus from Maine to New Haven Connecticut to see Bruford and Levin's Upper Extremities live at Toads Place. I got down there plenty early got a hotel room etc. I went to the in store appearance and bought the CD and got it signed along with the issue of Bass Player with Tony on the cover. When I was getting the autograph I mentioned that when I was in High School someone played me "Discipline" and it changed my life as a musician.
Tony snickered a little and said to Bruford did you hear that? Recounted what I had said. Bruford just looked at me and said "I hope that's a good thing."
A good rhythm section is like a good comedy team.
Stay Brown,
Rev J
I took a bus from Maine to New Haven Connecticut to see Bruford and Levin's Upper Extremities live at Toads Place. I got down there plenty early got a hotel room etc. I went to the in store appearance and bought the CD and got it signed along with the issue of Bass Player with Tony on the cover. When I was getting the autograph I mentioned that when I was in High School someone played me "Discipline" and it changed my life as a musician.
Tony snickered a little and said to Bruford did you hear that? Recounted what I had said. Bruford just looked at me and said "I hope that's a good thing."
A good rhythm section is like a good comedy team.
Stay Brown,
Rev J
