THE PROG INTERVIEW ADRIAN BELEW
Despite his work being familiar to millions thanks to his extraordinary contributions to classic singles including David Bowie’s Boys Keep Swinging, Talking Heads’ existential classic Once In A Lifetime and the utterly joyous Genius Of Love by Tom Tom Club among countless and diverse others that also include Nine Inch Nails, Paul Simon and Laurie Anderson, Adrian Belew’s name is not one that prompts the response it deserves from Joe Public. However, to the cognoscenti, he’s recognised and revered as one of the most inventive, forward-thinking and outright progressive guitarists to have broadened the scope of the instrument.
A prodigiously talented autodidact groomed under the wing of Frank Zappa, he’s probably best known round these parts as the singer and guitarist of King Crimson. Introduced to founder and guitarist Robert Fripp by erstwhile and mutual employer David Bowie, they were joined by bassist Tony Levin and drummer Bill Bruford, and the new line-up released three celebrated and highly influential albums in the shape of Discipline (1981), Beat (1982) and Three Of A Perfect Pair (1984) before taking a break for over 10 years and then returning with their famed “double trio” line-up.
In between, Belew has continued contributing his unique guitar playing to a variety of artists as well as concentrating on his band, The Bears, and his own steady stream of solo albums. Indeed, with his 25th solo album, Elevator, the fabulously polite Adrian Belew is the very definition of a Southern gentlemen as he looks back at his career from his Nashville studio.
“Robert [Fripp] always gave me encouragement – ‘Whatever you need; if you need the keys to change here; whatever you need, Ade.’ He was really supportive of me all the way.”
You started as a drummer in your teens. How, why and when did the guitar become
