TERRYBOZZIO.COM FAQ's....................

A-10:Dear Dan
It was easy for me to replace Bill in UK because I admired him so much-I was honored to have the prestige of following him because he was key in making me realize that I needed to develop my own style or sonic identity.
Eddie Jobson sat me down and played some old King Crimson and I realized for the first time that a drummer could play something unique and musical, without having to flaunt his technique, or sound like Tony Williams or the other great American jazz / fusion drummers I had been so influenced by.
It was then that I started to stack cymbals and take a more linear melodic approach to my beats-the results were Rendezvous 6:02 and the like.
When it came to playing live, I already loved the first UK album and wanted to play those tunes (I actually think that the first album was better than anything else UK did), so it was just a matter of putting my own interpretation in to it.
I think I play in a more naturally energetic or heavy style so that part was easy-I think that Bill and Alan's parts were so key to the compositions that it was important to keep the aspects of what they did intact and Eddie made suggestions as to new arrangements (such as playing presto vivace on cowbells and bongos) to bring a more Zappa-esque color to the drumparts.
Otherwise, my approach has always been to follow the unconscious or intuitive and kind of "let go and see what happens" school, so it was not so preconceived or conceptual at that point.
As I've gotten older and have had the time to study and analyze composition and orchestration more, I've gotten in to conceptualizing my style. this has allowed me to use techniques that are more specialized and result in a more distinctive style than I had at that time.

A-11a:Dear Ryan
I heard about the audition from Eddie Henderson (trumpet player from Herbie Hancock) who I was playing with at the time- He was using George Duke (Zappa's keyboardist) on a record and found out from George that they could not find a drummer in L.A. and were looking in other places (like S.F.).
My relationship w/ Frank one of awe and respect for him-I tried to do whatever I could to please him. He was 10 yrs. older than me and a seriously talented genius, so I always felt like I was in the position of actor/symphony musician, and he was the Director/Composed/Conductor-and I was really grateful to have just been chosen, as I didn't really feel qualified to even BE there!

A-11b:
It's both and more! Black is a very serious color associated with classical musicians, priests, mystery and the unknown-I take my music seriously, and it comes from the unconscious / intuitive side of my psyche-it's also a non-color which I think down plays clothes and highlights the character of a human being (you've heard about fashion clichés "basic black" or "that little black dress"), well I feel that it works for me in terms of I don't think I'm that handsome, and my face could be a disappointment by the time you get to it, if you are first attracted to a brightly colored shirt!!!!
Also, with my equipment, if its black or monochromatic instead of chrome, it tends to down play the equipment and feature the performer, which I feel enhances my communication with the audience from behind all that distracting stuff that creates a barrier between me and the listeners.

A-11c:
I got the idea from certain gongs from East Asia, which are scored in a similar fashion.

A-11d:
I have no idea what my drumsets cost, I'd suggest you contact DW & Sabian to get an idea of that.
I sometimes think about playing on a small kit, but not a typical one- I've recently experimented with a dbl bd(13" &16") 10" sn & 4 8" &4 10" piccolo toms set w/ a Radia flat ride & other splashes bells &small chinas, but abandoned the idea to use the pieces on some new ideas for my big kit.

A-12:
I have used the same approach to hi hats for well over 15 years-(see the set up page-and check out the new "Live in Concert" video-I think you've missed the hihat work on BLS,Polytown,Guitarshop, the Lonely Bears, as well as going back to UK and Missing Persons)- I mic them left-center & right and pan them that way in the mix so the linear melodic patterns I play dance around the stereo mix.
I use my experience, and all my techniques of orchestration to decide on what instruments of my kit to use, and what combinations of instruments will create textures or colors I want to use to enhance or contrast with the music I hear or am playing. Sometimes it's drum oriented, sometimes metal sounds.
Different projects I've done have different levels of how much freedom I have to be creative- as opposed to being told what to do, and the musical results and mixes
may or may not reflect my intentions on things I do to make money, and don't have any control over(like Vai & Explorers).
But as I said, the mic'ing, mixing(panning) and approach to playing 4-way coordinated, linear melodic beats has been the same since the track "Rendezvous 6:02" on UK's "Danger Money" in 1979.

A-13:
I love the music and drumming of many ethnic percussionists from all over the world. A short list would be Dudu N'Daye Rose (Senegal "Sabar" style), Mamadie Kieta (jembe master, Guinea), The Master Drummers of Burundi, The Kodo Drummers (Japan), Balinese "Gamelon" music, Middle Eastern Hand Drumming, Indian Masters such as Zakir Hussein, Vikku, Selva Ganesh, Brazillian's Hermeto Pascoal, Aierto, & Dudu Tucci, and Latin Greats Giovanni Hidalgo, Karl Perazzo & Raoul Rekow, Luis Conte,and many, many more!
I'd love to record with any and all of them- and have had the pleasure of playing with many of them at drum festivals all over the world.
As for "Wipeout", I don't know where you could find that, it's from the soundtrack to "Back to the Beach" on CBS I think.