BOZZIO - LEVIN - STEVENS


Black Light Syndrome

(1997)



1. The Sun Road 14'40
2. Dark Corners 8'34
3. Duende 7'27
4. Black Light Syndrome 8'46
5. Falling In Circles 9'09
6. Book Of Hours 9'44
7. Chaos / Control 8'49

Total Time: 67:09


  • Terry Bozzio - Drums
  • Tony Levin - Basses and Stick
  • Steve Stevens - All Guitars

    Produced by Terry Bozzio, Steve Stevens and Tony Levin
    Co-Produced by Terry Bozzio, Tony Levin, Steve Stevens and Wyn Davis
    Engineered and Mixed by Wyn Davis
    Except
    "Chaos / Control" Mixed with Todd Lanqner
    Band Photos by Robert Knight and Maryanne Bilham
    Album Title by Steve Stevens
    Other Song Titles and Liner Notes by Terry Bozzio

    All Compositions spontaneously Composed by Terry Bozzio, Steve Stevens and Tony Levin

    Recorded at CLEAR LAKE STUDIOS, North Hollywood, California
    January 27, 29 & 30th.
    Guitar overdubs at
    The PURPLE ROOM, West Hollywood, California
    February 5 - 9th
    Mixed at
    TOTAL ACCESS, Redondo Beach, California
    February 10, 12- 15th
    Except for
    "Chaos / Control" Mixed on the Euphonix Console at The EUPHONIX STUDIO CITY, California
    February 10, 16, 1997


    Black Light Syndrome. The Story ...

    Well ... How did this wonderful project happen anyway? Funnily enough it started off as a sort of business idea of my manager, Pete Morticelli, to enable me to make money over the winter {as my typical drum seminar seasons are spring and fall and I'm always running out of funds by late winter and summer). It was my dear wife, EV, who suggested Steve Stevens to me (as this was initially to be a sort of "name rock" instrumental collaboration and he certainly met that criteria). But aside from Billy Idol/Michael Jackson and The Atomic Playboys, I knew nothing about him personally. Steve and I first met at a solo drum performance I did for Drum Workshop at "House Of Blues" in LA. on November n, 1996. Steve loved my compositions and playing. For me, it was very important for him to hear this aspect of me which, more than any recording I have made, gives insight to the potential of my contribution to any collaborative musical venture. The next day I went to Steve's home and he played me a few solo project tracks he had completed including one in a flamenco style, and he expressed a serious desire to explore this direction which is so close to his heart. When I heard this music I was impressed, overjoyed and excited. Not only did he have the "rock name" but demonstrated a profound sense of melody, harmony, virtuoso technique, stylistic sensibility and philosophical tendencies which immediately revealed to me this was going to be much more than a commercially-driven "studio project." This, in turn, created the problem of finding a very special bass player (not just a "rock name") but someone who would bring the same creative, individualistic expression to the project Steve and I could bring. In making a "dream" list for Pete to research, Tony Levin was put at the top almost half-heartily because we never thought he would be interested and if by remote chance he was - he probably would be so busy with Peter Gabriel, King Crimson, solo projects and/or session work he wouldn't be able to do it anyway. Well, guess what? He not only was very interested but he could sgueeze four days out of his busy schedule January 26-30 to do the record! Steve and I had spoken about the process of this project - unconditional acceptance of all members' ideas - to spontaneously compose in an improvisational manner and use editing or overdubbing to flesh out the basic tracks - we even got together and jammed at my home in Austin to make sure the playing chemistry between us was going to happen {and in the process we structured the forms and sections of the five or six jams we did just to have something to fall back on if we got in trouble improvising in the studio). But four days?!!7 I had done a Lonely Bears album in 10 days. But only after a week of rehearsals and a live gig under our belts. I did a Polytown album in three weeks where we went in the studio with no preconceived musical ideas. But four days, with three guys who had never played together before was dangerous at the very least, if not suicidal.

    So the big day comes. We go in the studio, deal with typical set-up and equipment problems, sat down or assumed the position, rolled tape and just played. "The Sun Road" was the first piece to surface by the grace of the archetypes of our collective unconscious. The second take was "it" and when we listened back we knew we had shared something very special. The rest of the tracks came one of two ways: either mapping out a few sections as signposts, or with very little discussion and then allowing the muses to use us as they would. "Duende" and "Book Of Hours" fall into the latter category, the other titles following the methodology of the former. In any case, no track was recorded in more than one or two takes - live - no punch ins - as it happened in the moment. Tony overdubbed a few parts to make use of the bowed MS Upright, Stick, or Guild Ashbory basses in order fo have these wonderful varieties of color. Then he got on a plane and went back home to Woodstock. Steve took the tapes to his studio after the initial four days and overdubbed some of the beautiful melodies with effected guitar, Coral Electric Sitar, Ramirez Acoustic and Roland Synth Guitar. We also flew in a few tape loops, field recording samples and spoken word effects. As soon as he was finished with our project, Steve started working non-stop on a film score. This leads us to the present, me alone with my old buddy Wyn Davis, who I insisted engineer this project. We're down at Total Access studios where we have a hardly generous five days to mix. Despite meticulous notes and track sheets and instructions from Steve and Tony, I'm nervous! Neither guy can be here and "OK" the mixes. If I put the guitar loud Steve will like it; if I put the bass loud Tony will like it. Hmmm! If I want to hear my drums I may end up playing solo again1 So, I defer to Wyn's judgment and seasoned ears. I think he represents the spirit of the trio excellently: warm, live, natural and well balanced: appropriately strong yet, dynamically sensitive when it's called for. The epitome of good taste. Wyn's always been there for me (since I met him back in the old Missing Persons/Ken Scott days). I'm tired. I miss my family. I've been in LA. about three weeks now working every day on some facet of this project. I'm thinking back about how this all fell together as if guided by synchronicity or fate. On the afternoon on the fourth day of recording photographer friends, Robert Knight and Maryanne Bilham, came by the studio and painlessly took great album and publicity shots. They accomplished this feat in only one hour, with minimal distraction to our pressured recording situation. Before we started overdubs Tony had already announced the band on his web page, complete with digital photos he took of us during the recording. And how supportive my drum tech, Wayne Wilburn, and Steve and Tony's tech, Gavin Menzies, were in keeping our confidence levels up and keeping the humor factor high to valve off the pressure, anxiety and seriousness extant throughout the recording. And also how Robert and Maryanne were kind enough to accommodate Wayne during the sessions. Marlene fi, Steve Stevens and Gail Zappa were kind enough to accommodate me in order to keep our little budget from going through the roof. And, finally, to all of our friends who, at dinner parties or visits, put on the music, ceased conversing, sat down, closed their eyes and listened ... allowing the music to take them away on a journey I can't wouldn't want to begin to explain. Terry Bozzio in LA., February, igg7

    From The Heart ...

    Terry Bozzio would like to thank, first and foremost, my wife EV and son, Raanen, for their love and support; Pete Morticelli for making it all happen; Dan, Heather and John at Pelican Mktq & Mgmf; Don Lombardi and John Good and all at Drum Workshop for their support, favors and for making me the most beautiful drumset in the world (a piece of art to make art with); Wayne Wilburn for always getting it right and sharing life on the road with me; Gavin Menzies for your humor; Gail Zappa and Marlene Stevens for your generosity; Wyn Davis for years of favors and great ears; Todd Langner and all at Euphonix for bailing us out, mixing our last song and demonstrating your wonderful Euphonix Console; And, finally, to Steve and Tony for what we have done and what we will do with it. Steve Stevens would like to thank Marlene Stevens for all the love and unwavering, great positive energy; Terry Bozzio for instilling my faith in the craft and intelligence of my fellow musicians; The entire Bozzio family for just being cool; Tony Levin for redefining the entire musical history of an instrument; Lindsay Scott for your guidance and support; Frank Strausser, the greatest neighbor; Xavier Carrica, Gavin Menzies; Betty Bennett; Bob Clearmountain; and Bob Timmons.

    Professional Credits:

    Terry Bozzio exclusively uses Drum Workshop drums and hardware and pedals; Sabian Cymbals, bells and gongs; Attack Signature Series Heads; Vic Firth Terry Bozzio1 Signature Series sticks and bass drum beaters with sound enhancers; LP Tambourine and Percussion; AKG Microphones; Protector Cases. Personal Management: Peter Morticelli/Pelican Mktg & Mgmf Inc. Terry may be contacted at Bozziomgmtaaol.com Tony Levin plays Music Man basses, The Chapman Stick, the MS Electric Upright, Guild Ashbory Bass, Trace Elliot Bass Amps. Tony may be contacted at http://www.papabear.com/tlev.htm Steve Stevens acknowledges West L.A. Music; Guitar Center; Dean Markley Strings; Seymour Duncan Pickups; Westlake Audio; Peavey Musical Instruments; Music Man/Ernie Ball; Zoom; Digitech; Paul Reed Smith Guitars; Steve Stevens management by Lindsay Scott Management.