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THE GOSPEL ACCORDING TO LEVI KREIS:
On Yer Knees, Boy!
Interview by Jed Ryan
Singer/songwriter/actor Levi Kreis has a message to
deliver to the masses... and you'd be hard-pressed to find as captivating a
messenger as this out 'n' proud young artist. Levi has come a long way
from his native Bible Belt, and Kreis hasn't lost his "good ol' boy"
Southern charm (or his accent, for that matter!)-- but a lot has changed.
Even if you haven't yet heard of him, chances are you've heard his music: his
original tunes have been used in "The Apprentice" , "Days of Our
Lives", and "Young and the Restless". As an actor, he
co-starred with Bill Pullman in 2001's "Frailty", and he currently has
two films in the works. One of them is the long-gestating filmed
adaptation of the popular play "Southern Baptist Sissies", produced by
the same company that brought us "Latter Days". Levi had been
involved in that play for five years, and wrote the theme song for it. If
the title alone isn't titillating enough, here's another reason to see it: Kreis
has a nude scene. After his debut album "One of the Ones",
nominated for the 2006 Outmusic Award for Outstanding Male New Recording, Kreis
has just unleashed "The Gospel According to Levi", which features
guest vocals by his co-writer Darci Monet and eye-popping CD cover artwork by
Joe Phillips. In addition, on the way is a video for the 2002 song
"Stained Glass Window" (which has achieved something of a cult status
amongst Levi's fans), a dance remix of his new track "Bittersweet
Salvation", and-- it's rumored-- a reworking of the enduring gay classic
"It's Raining Men". But behind the music (and movies), Levi Kreis has
a story to tell, and it's just as fascinating as his body of work. Levi
Kreis is on the rise. Are you ready to get healed?
JR: First off, congratulations on the new CD!
LK: Thanks!
JR: I can't wait to hear it in its entirety! So, Levi, where do you call
home now?
LK: Los Angeles is home to me, with my new husband-- as of September 19th!
We had a domestic partnership ceremony. I'm kinda, sorta legally married
as far of the State of California is concerned. I'm originally from
Tennessee, and I've lived in LA for about eight years, so I guess I'm an
"LA-an" now.
JR: I know that you come to visit New York City frequently. What about New
York makes it a place you keep coming back to?
LK: Well, #1 on that list is gonna be friends, obviously. I was so
fortunate to acquire a small group of really incredible friends when I was
living there... but, I love the music scene much more than I do in LA.
It's more musical than image and polish, like Los Angeles is. There's more
diversity, too, musically, in New York. So, to go out and enjoy the clubs
in New York City is always a treat, in my opinion. There's always so much
out there to take in. And GOOD talent, too, actually. And, of
course, there's the energy. I would rather live in New York City than Los
Angeles any day! I keep coming back and visiting every two months or so.
JR: Well, that's a good thing! You definitely have something a lot of
independent artists don't have, which is a very loyal group of fans.
LK: Thank God, yes! I do, and they're always supportive, and they spread
the word. I think there's always something to be said about that whole
grassroots approach to music, and then once things kind of begin to be more
exposed on the national scale, that's great. But you know that your career
is going to have some level of longevity if you've really built that grassroots
family following that will really be there to support you. They are vocal
fans, too! I've gotten so many interesting e-mails over this last album:
from preachers who have not come out yet and dealing with these issues I'm
talking about on the album, or 19-year olds guys who will "Love Levi
Forever!" It's just a wide array of support.
JR: "One of the Ones" was very bold, because it was all piano and
vocals. It was very stripped down, but very powerful. How would you
describe the sound of "The Gospel According to Levi", musically?
LK: Speaking from a musical standpoint, it's a very genre-bending album in that
it will start out with a Scott Joplin-esque ragtime and then it'll go into
something more pop and then more rock, and then go back to my gospel roots.
It was a project that I approached more from the standpoint of being a
songWRITER. I had some very deliberate intentions to say certain things,
like about the Church and the lack of love, and a lot of the issues that the
album talks about. I saw lyrics that I had created in front of me that
really nailed exactly what I wanted to convey, and sometimes those lyrics convey
themselves better in a different dressing. So, I allowed every song to be
what I wanted it to be, rather than forcing everything to be within one type of
musical style. It was a little jarring, I think, for probably some
of my fans at first-- but the concept is carrying through, and people are
responding strongly to it.
JR: I know that from the music samples I heard, the music on the new CD is more
pounding, and more rhythmic, and... just different! For someone who has
had "One of the Ones" in their head, it does make the listener think,
"Wow! This is a different kind of sound!" You're
experimenting a little bit.
LK: Yeah, and that's the interesting thing about an album like "One of the
Ones". That really was the exception to the rule. That just
happened to be the first album that I put out before the public. It was a
departure. "The Gospel According to Levi" is very much what I
enjoy writing, stylistically.
JR: When I've only seen you perform live, it was always just you and the piano.
I've not seen and heard you with a full band yet.
LK: Yeah. I'm really excited to finally get my guys out on the road for
some dates this year. It has been way too long to have not played with
these incredible guys. And it's a totally new performance experience too,
you know? It's so freeing to be away from the piano and to be able to jump
all over everything and climb all over everything and just kind of be free.
JR: I'll bet! Now, I'm not too familiar with the "Christian
contemporary" genre... or "Christian rock" or "Christian
pop" or whatever you call it...
LK: You're fortunate! (Both of us laugh) I've lived through that!
JR: The only Christian music I may have heard is if I had inadvertently heard it
on TV. Is that considered a genre of its own? When you were making
music in Tennessee, is that how you would have classified yourself at first?
Is that the direction you wanted to go into?
LK: Well, Christian contemporary music is definitely a genre of its own, called
CCM. It's very different from gospel, which is what I grew up with.
My grandfather introduced me to Mahailia Jackson and Andre Crouch when I was
just a kid. By the time I was 12, I was singing and preaching in a
different church every weekend-- a little evangelist! And a lot of those
Churches, if not the majority of them, were black Churches. So, gospel
music is the primary influence that I cut my teeth on as a kid.
Eventually, when I got signed to the Christian record deal when I was like 18 or
something, they obviously put me in the CCM market because I was a white kid,
and white kids aren't really going to be marketed in a gospel music genre, which
is predominantly black.
JR: Now, I know about your history in bits and pieces. Was the Christian label
the major label you were heading toward before you decided to go independent?
LK: There's been a LOT of phases before going independent. I've gone
through 12 major record labels, the last one being Atlantic. That's why I
moved to New York, because I was recording the album there. Going
independent was more of getting kind of fed up with the industry and saying, You
know what? The times are changing. I can do this myself, and I'm
tired of sitting around and waiting for some suit to "get it", because
with so many labels, every time I was signed, they would have a producer who
would kind of make me over to be something that I just wasn't. The last
eight years, I was in a boy band, I've been the lead singer of a Radiohead-type
of band, I've been blue-eyed soul... They just try to mold you into what's the
"safest" thing. By the time Atlantic Records happened, I was
ready to just kind of flip the bird and say, "You know what? I'm
gonna do this myself. I can make a living out of this, I can beef up a
tour schedule, I can get on the road 200 dates a year, and I can do this.
It was more about being fed up, quite honestly. I had long left the
Christian music scene by that time.
JR: Was part of it because you wanted to be out, and they didn't want you to be?
LK: That certainly did play into some of the situations. There have been a
couple of music executives that we know are gay, but the bottom line comes down
to the dollar bill. If they think that that's going to get in the way of
marketing you to an MTV crowd where the highs school girls are gonna fall in
love with you, then they are not going to take that chance... even if they are
gay executives and probably want to support our forward movement.
It actually factored in a lot less than I would have expected, because most of
the times with these labels I was very blatantly out.
JR: What's the relationship like with the Gospel music community in your
hometown now?
LK: I really haven't had any involvement in the Church or in Gospel music for
what is probably eight years now. When I moved to LA, I just started
pursuing my own singer-songwriter stuff away from the Church. With the
album that I'm working on now, I've seen the most interesting musical
development: The new album brings me finally full circle back to the Gospels
sound that I used to play and sing growing up as a kid. You listen to a
lot of those old Ray Charles recordings and the old Aretha stuff, and that's
just Gospel music. Joss Stone is that of our day, today. I think
this 2008 album is actually going to hit a very specific musical style; it will
be bringing me back to "mah roots" in that regard! So that will
be my first kind of returning to that Gospel sound, next year. I've been
estranged for so long!
JR: Well, if it gets people into a genre that they wouldn't normally listen to,
then I think that's a great thing!
LK: Well, I certainly don't have the intention of making many "Standing
Tall"s on the new album! "Standing Tall" is on "The
Gospel According to Levi" and it has very inspirational, "almost
Gospel" lyrics. The new album will be very Gospel in sound, musically
speaking, but I think I've got plenty of those "Ah'm gonna help ya pick ya
up an' get ya inspahred!" songs already! (Both laugh) Now, there's
enough with relationships to write about. Building a relationship now with
someone is such a brand new thing to me, and going from a very independent,
work-obsessed individual to really investing and building and creating something
with someone else is plenty of resource for writing material...
JR: ...but, in a good way! Instead of a bad way, like having a bad
relationship!
LK: Right! Well, that's probably what "One of the Ones" was all
about: a plethora of relationships gone wrong!
JR: Yeah! But later on, I would imagine, when you were singing those
songs, your life had gone in a totally different direction... and I think
that now, people can hear you do those songs and can distance you, the person,
from the songs: like, OK, maybe you felt that way a few years ago, but now
you're only SINGING about those things, not living them, like you had been.
LK: Right! I suppose that's true for a lot of artists. Once the
material finally gets to the ear, it's kind of outlived!
JR: What's your favorite song on "The Gospel According to Levi?"
Which one do you feel most attached to?
LK: Probably a song called "We're OK", which I wrote for my mother.
When I was on the Gay.com tour last year with Eric Hyman, it was the first year
that I had officially come out, professionally, and was marketed and known as a
gay songer-songwriter. And it was kind of tough for my parents to deal
with, you know? Dealing with being gay is one thing, but dealing with
being gay and being in how-many-magazines across the country is another thing to
deal with, you know? So, they had not come to any of my shows or invested
any time or energy into my life for eight years since I left the Church.
So, I continued to tell them when our dates would be near Tennessee, and lo and
behold they drove up four hours to Kentucky, and in the middle of a set my mom
walks in and that was her way of saying, "I'm tired of being a stranger in
your life, I'm tired of letting our issues steal our relationship."
And so, the very next day, "We're OK" just wrote itself. And we
just did the music video for it. The music video will be hitting LOGO and
HBO's "The Zone". For me, it's one of those songs that actually
is the circumstances I'm living at the moment, unlike what we had just
referenced with "One of the Ones". Me and my mother, as of
finishing that song and playing it for her, are finally opening the lines of
communication and beginning to realize that we don't have to agree on
everything, and we just have to make a commitment to talk, to communicate, to be
in each other's lives no matter what. It's fun to experience that now.
It's really new for me, being able to talk to her every other day, and really
beginning to deal with things we've put off for nearly 10 years.
JR: What's the hardest thing about being an independent artist?
LK: The hardest part is: even though there's been decent exposure, you're always
fighting for more... and you don't have $100,000 sunk into promotion and that
sort of thing, and you end up doing a lot of guerrilla promotion on the
Internet... and I'm lucky enough to have a team now do that for me this year.
Last year I was working 12-hour days on the computer plus I was out on the road
all the time, and it was more than I could handle. For me, personally,
that's the biggest challenge: getting the word out. Because when the
word's out, if it's positive, people are gonna respond and like it. But
they have to know who you are. So, exposure, I think, is the biggest
challenge for any independent artist. At the same time, that's kind of
overshadowed by the freedom that I feel coming from 12 major record labels and
being able to say what I want to say, and produce it the way I want to produce
it, and to do it the way I want to do it. It's a wonderful answer to the
last seven years, of making a career of being courted by labels.
JR: What was the biggest lesson that you've learned from he whole experience?
LK: Knowing your heart and knowing what you want to say is essential for all of
us in life, no matter what we do. But especially in the world of major
labels, you can't afford to not know completely who you are, musically and
lyrically; and what you want to convey; and how you would market it, how you
want it to look... because especially now, the way the industry is, if it's not
already a "done deal", finished product, they won't even sign it.
Because, there's so little risk being taken in the major label world now.
It's changing, and there's so many levels of transformation going on with
downloading stuff and the Internet providing us independence with our path to
our crowd... it's a ripe connection to our fans. The major labels are
questioning where this is going to go. It's gonna be interesting to know
where this goes in the next five to seven years. And I can say that with
the experience that I've had with all the major labels, I don't really know that
I committed to who I knew I was. I was still trying to hide a lot of the
time and play it straight and edit my stories (Laughs) and try to keep up with
little white lies so that people wouldn't know my business. I was
"playing the game", like a lot of the actors who get off the bus in
Los Angeles. I think that's even a harder industry to be "out"
in. They've got to put on a face and play the game. They're never
gonna be a young leading man heartthrob if they're openly gay, in their mind.
Hopefully that will be changing! Knowing who you are and being committed
to that is the essential lesson through all of that, I think!
JR: Yeah! How do you feel your fans will react when they see your sexed-up
role in "Southern Baptist Sissies", and when they see the sexy promo
pics of you and that kind of thing?
LK: They LOVE it! And it's so much fun!
JR: They may love it, but they'll still say that they don't...
LK: Yeah, I'm sure they're someone out there who's like, "Well, he's
compromising his integrity as a singer-songwriter. Why does he really have
to take his shirt off? Well, the answer is: A lot of gay publications
won't let you in the magazine unless you're showing a little bit of skin!
So, fight the gay publications, not me! It was really funny, actually, to
find how many gay magazines would not do a photo spread or a layout or even a
larger article because there weren't any kind of provocative pictures.
Which is fine, you know? I think we should all be comfortable with our own
body and all of its quirks and unique identifying marks!
JR: You can't underestimate the fact that there will be some people out there
who are like, "Oh, well here's a good-looking guy with his shirt off...oh,
wait! He's got good music too!"
LK: Well, you know, it's actually not just gay media. That's just the way
of the world, the way of entertainment. Yo know, Beyonce wouldn't be in
the forefront if she was "jus' ugly!" (Both laugh) or if she was
dressed like a nun! It's just part of it, whether it's just
gay media succumbing to it, or whether it's "Interview" magazine and
"Rolling Stone"... There's always a level of that.
JR: So, what's coming up next?
LK: By May, I've got a good four or five months of being on the road every week,
and I'm now six songs into the new album.
JR: Damnit! How do you do it?
LK: It's different every time. There are songs you slave over, and then
there's material that just really does drop in your lap. And I think that
because it's such a return to my roots with that gospel sound, my spirit is
rejoicing that I'm back at something I know so well. The songs are just
writing themselves so quickly. It's going to be a full-on effort-- with
string sections and horn sections-- that is going to be really exciting!
JR: Most of us in New York weren't exposed to gospel music, unless you are
African-American and went to a Baptist Church.
LK: Actually, some Churches in Brooklyn and Harlem are THE places to go if you
want to hear some great gospel music... But "The Gospel According to
Levi" is certainly not a gospel album. There's only one song on there
that burst straight out of my gospel influences. The majority of the album
is intended to be very hooky, catchy pop and pop/rock. There was a reason
for that, because there were so many complicated things I was trying to say .
I thought it might be easier to digest if the music was more "pop"--
easier on the ears. So, I would probably say that this is a theme album.
A theme album that hopefully challenges us to start thinking more about
religious diversity, which we find is hard to come by even in the gay community,
where we know diversity. We ARE diversity! We have the rainbow flag,
right?! (Both laugh) The whole point of the album is to say that a world
with hundreds of different religions, all with their own name for God and their
own holy book and everyone willing to die to stand for that their way is the
right way, when are we going to realize that religious intolerance has been the
single greatest thing in human history that has caused more death and
destruction and war-- and still is-- and begin to realize that maybe our way is
just ANOTHER way, and we can begin to make room for everyone's belief systems?
And only until then are we gonna get past this craziness and this separatist
consciousness that we kind of live with. The religious right is a perfect
example of "We are right, and we have that religious-exclusive
mentality", and it's just destructive. To challenge people to think
about the idea of religious diversity, to challenge people to think that maybe
we're ALL right, we're ALL correct, 'cause we all have our own journey-- is
something that's kind of hard for a lot of people to digest. But, I've
been excited to see that a lot of people come back and answer my conceptions in
these lyrics with positive feedback and say "Yeah, it's about time!"
But I think it's timing too, because we're living in an age where even 9/11
breaks down to the core of religion, and bringing justice for one God over
another... and it's such a predominant thing even today when you watch CNN, with
the politics we see and "moralities" factoring so much in
political leaders who are trying just to make the best political decision, you
know...
JR: "Morality" is always a subjective term...
LK: Yeah, exactly! But if somebody can walk away with that, then I've done
my job. Growing up in the Church, and being an evangelist for ten years,
and going through six years of reparative therapy to become straight, and
studying so many different religions after that to get an idea of what I
believe, and reconstructing my entire belief system... One of the biggest things
I learned is that there's so many similarities in so many different religions,
whether it's Eastern religions or Western religions. There is a common
thread through all of them. To say that one of them is wrong-- because
they don't believe in a way that I am familiar with, and I can't possible
understand their culture and their belief system so it HAS to be wrong, and
"You're going to Hell"-- is just counterproductive. And that's
really the point of the whole album. That's what the lyrics deal with it.
I talk about religion through the entire album, but it's such a confrontational
nature, I don't know that anyone would really say it's a "religious"
album, because it pretty much steps up and challenges the Church, and these
ideas we were talking about: challenging the lack of love that has become sadly
so synonymous with organized religion. I'm getting plenty of e-mails from people
that say when I meet my maker on the other side, I'm gonna pay for these ideas
that I'm promoting on this album. I've got some hardcore Christians who
still believe that their way is the right way, and I'm leading people down the
wrong path.
JR: Wel,l that means that they must have listened to it, which is a good thing.
Hopefully they bought it!
LK: Well, yeah... I think they probably listened to one or two songs on my
MySpace, and then realized, "Oh my God! He's completely defying the
Church". I don't like it when artists kind of just bitch about a
problem if they can't provide solutions, if they can't provide an alternative...
and these people who are writing hate mail in the name of Jesus are not
listening to those songs! It's been so interesting to hear the responses.
I've kept a plethora of responses, all of them interesting e-mails-- some
heart-wrenching stories about "I went through this, I can't believe you've
been able to articulate my experience with the Church"... and then others
are downright hateful. "The Gospel According to Levi" was a
catharsis for me. I needed to do this album so that I could put the past
behind me. I have nothing more to say now. I said it in the album,
and I can now finally leave that painful history and go on and make an album
that's just really strong music without having to have a theme plow through
every song. So, it was very freeing to make the album!
No matter who your God or Goddess, Levi Kreis will promise you a spiritual
awakening! Check out www.levikreis.com
and www.myspace.com/levikreis
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For all information about Levi Kreis check out Levi's website.
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