rock musician
Personal Information
Born Leonard Kravitz, on May 26, 1964, in New York, NY; son of Sy Kravitz (a television executive and free-lance music promoter) and Roxie Roker (an actress); married Lisa Bonet (an actress), 1987 (divorced, 1991); children: Zoe.
Career
Signed with Virgin Records and released debut album, Let Love Rule, 1989; wrote "Justify My Love" for Madonna, 1990; toured with the Rolling Stones, 1994; produced multi-platinum Grammy winning album 5; put out greatest hits album, 2000.
Life's Work
Lenny Kravitz has fused a broad range of styles from the 1960s and 1970s to create his own blend of psychedelia, funk, soul, and rock. Initially derided as an unoriginal throwback to the 1960s, Kravitz went on to develop his diverse style, with its strong message of love and peace, earning greater respect and wider popularity with his second and third albums. A multitalented musician, Kravitz played almost all the instruments on his first two releases. He went on to collaborate with others in the rock industry, both as a songwriter and producer, on a number of different projects. The product of a widely varied background, Kravitz sought to express the range of his influences through the songs and sounds he created.
From the beginning, Kravitz stood out from his contemporaries. His father, Sy Kravitz, was a producer and assignment editor at NBC-TV. Kravitz's mother, Roxie Roker, was an actress whose best-known role was Helen Willis on the long-running television show The Jeffersons. Of Russian Jewish and Bahamian descent, Kravitz lived with his parents on the wealthy Upper East Side of Manhattan as a child, but he was also close to his mother's relatives, who lived in the Bedford-Stuyvesant neighborhood of Brooklyn. He attended both a synagogue in Manhattan and a church in Brooklyn.
Lived in Two Worlds
"On weekdays I hung out with my ritzy friends in our ritzy neighborhood in New York. But on weekends I went to my grandmother's house in Brooklyn--in Bed-Stuy--which is a rough-tough black area," he told the Los Angeles Times. "Both sides were completely normal to me. I dealt with it all." In Harper's Bazaar he said, "The folks in Bed-Stuy were much more open and sharing--even though they had much less to share. It was just good, down-home black hospitality."
"My mother always said I should know who I am, that I'm black," Kravitz told the Los Angeles Times. "In this country, if you have a drop of black blood, you're black. There's no confusion about that." Despite this clarity in Kravitz's mind, he discovered as a child that his Jewish-sounding name confused others. "I'll never forget my first day of school in first grade," he said in the Times. "The teacher called my name and when I answered to Leonard Kravitz, her jaw dropped when she saw this little black kid with a tremendous Afro."
Kravitz was attracted to music early on in life. "My mother thought I had a problem when I was a kid," he said. "We used to be in church and I'd be wriggling my leg like crazy. One day she asked, 'Do you hear music?' I said 'yeah.' She said 'Thank God.' She'd been worried I had some kind of disorder."
Because Kravitz's father was also a free-lance jazz promoter, Kravitz grew up surrounded by rhythm and blues and jazz, in addition to church music. He became familiar with the work of jazz musicians like Cleo Laine, Bobby Short, Count Basie, and Ella Fitzgerald, and later recalled sitting on Duke Ellington's lap while the jazz legend played the piano. He was also exposed to soul music, learning the work of Aretha Franklin, Al Green, and James Brown. "My parents were very supportive of the fact that I loved music early on, and they took me to a lot of shows," Kravitz told Harper's Bazaar.
Kravitz's musical background was further broadened and enriched after his family moved to Los Angeles in 1974, where he spent three years singing in the California Boys Choir. As a member of this group, which had a classical repertoire, Kravitz sang with the Metropolitan Opera and took part in a recording of Mahler's Third Symphony conducted by the eminent Zubin Mehta. Kravitz also taught himself how to play guitar, bass, keyboards, and drums.
Kravitz attended Beverly Hills High School, where he experimented with different personae. He went through preppie, punk, and hippie phases, but from the time of his mid-teens on, he knew that he wanted to be a pop star. "I was attracted to the cool style, the girls, the rock 'n' roll lifestyle," he told the Los Angeles Times.
After high school, Kravitz adopted the stage persona of "Romeo Blue" and began producing dance rock in the style of pop sensation Prince. He admitted to Spin magazine that this phase "was a phony time for me, so I know what posing feels like. That was when I was really into my David Bowie phase. I wanted to be David Bowie more than anything in the world." The music Kravitz was writing at this time held no appeal for record companies. "I was doing this trendy, British thing, and they wanted me to do whatever black radio was doing at the time. I was offered deals but only if I changed my music. I refused," he recalled in the Los Angeles Times. Eventually, Kravitz abandoned Romeo Blue. "Even though it was a put-on, it was important for me," he told Harper's Bazaar. "Ultimately, it got me back to myself. And when I finally did accept myself for myself, music started flowing out of me."
After moving back to New York, Kravitz entered into a partnership with record producer Henry Hirsch, who ran a recording studio in Hoboken, New Jersey. Like Kravitz, Hirsch championed classic, pre-digital recording techniques. In the late 1980s, Kravitz finally signed with a label, choosing Virgin Records. "They didn't categorize me," he told the Los Angeles Times. "They wanted me to do the music I wanted."
In December of 1987 Kravitz married actress Lisa Bonet in Las Vegas. Bonet then had a regular role on the situation comedy The Cosby Show, and her high-profile career overshadowed his. In December of1988 the two had a baby daughter, Zoe. When Kravitz released his first album, in 1989 he got as much attention for his famous wife, who helped him write two of the songs on the album, as he did for his work.
Released First Album
Kravitz's first album, Let Love Rule, was a mélange of musical styles in which he demonstrated his versatility by providing almost all of the instrumental and vocal material on the record. Collaborating with Hirsch, Kravitz worked to master a complicated recording technique. "When I put out Let Love Rule in '89, industry people laughed," Kravitz recalled. "They said, 'What are you doing?' Nothing sounded at all like it. Now when people try for that sound, they feel that all you have to do is turn the reverb off. They don't understand the whole process--going from microphone to the amplifier to compressors into e.q. units that have tubes and back to the tape machine--it's a lost art."
Let Love Rule was hailed as a throwback to the psychedelic era. Kravitz presented himself as a hippie singer, with a gold ring through his nose, who preached peace and love. The main influences evident on the album were artists from the 1960s, such as John Lennon and the Beatles, and soul singer Curtis Mayfield. "People have gotten on me about the hippie stuff, singing about love and optimism," Kravitz told the Los Angeles Times. "They say I'm unrealistic, that the world is screwed up, so just accept it. But I believe the messages I'm putting out. Maybe I'm living in a dream world, like the hippies in the '60s. But what's wrong with dreaming? You have to dream about these things first before they ever become a reality."
In taking artists of the 1960s as his primary influences, Kravitz also strayed from the racial segregation of the music industry. Critics suggested that his work was closer to music produced by whites than blacks and noted that Kravitz's album challenged the notion that black artists all had to sound a certain, identifiable way. The appeal of Let Love Rule was primarily to alternative-music radio stations, and the album, with its unexpected sound, was shunned by many black stations, to Kravitz's dismay. "I'm black, so I want my music on black radio," he told the Los Angeles Times. Later he told Rolling Stone's David Wild, "I'm playing white people's music. Obviously not really, because black people invented rock and roll. White people took that and made some wonderful things out of it. But black people shouldn't throw their music away."
Let Love Rule started simply, with Kravitz singing the words to "Sittin' on Top of the World," accompanied only by a single guitar. Gradually, other instruments joined in, creating a full sound to flesh out Kravitz's emotion-laden vocals. Other songs on the album included the title track, which one critic hailed in People magazine as "an extended jam that couldn't be more full-bodied and spiritual if it were sung by an entire church choir." In "Mr. Cab Driver," Kravitz reflected on his inability to hail a cab because he was a black man, singing, "Mr. Cab Driver won't you stop to let me in/ Mr. Cab Driver don't like my kind of skin."
"Fear," another song on Let Love Rule, also betrayed an acute social consciousness, addressing the issues of the environment and inner-city blight. "I smell the fear that rains inside/ the thought of children who must oblige/ To tainted dreams in polluted seas/ The missing moon and melting trees," Kravitz sang. "I Build This Garden for Us" and "Flower Child" continued the hopeful, utopian theme.
While some critics objected to what they perceived as Let Love Rule's insistent political correctness, many hailed Kravitz's debut work. Let Love Rule was deemed "stunningly fresh, infinitely listenable, unusually thoughtful, and ... hopeful and joyous," in People magazine, with "intensity, raw edge, [and] soulfulness."
Kravitz embarked on a club tour with a backup band in late 1989 to promote Let Love Rule. He also started to collaborate with other musicians on their projects. In 1990 he wrote "Justify My Love" for Madonna, which became a controversial hit when the video produced to accompany it was banned by MTV. In addition, Kravitz paid homage to John Lennon by remaking "Give Peace a Chance," with the blessing of Yoko Ono, Lennon's widow. These projects paved the way for further joint efforts in the early 1990s.
Blues-Influenced Songs and Collaborations
By March of 1991, Kravitz and his wife had split. The singer released his second album, Mama Said, a short while later. This work, a much darker, more blues-influenced album, provided an outlet for Kravitz to express his emotional pain over the turmoil of his marriage. Critics noted the work's references to many other pop styles of the past, calling Mama Said "a marketing masterpiece that offers smart music that can be interpreted as either pure pop or a cool inside joke," as the New York Times put it. In listing the influences displayed on the release, Peter Watrous of the New York Times wrote, "'Fields of Joy' borrows from the Beatles, 'Always on the Run' from Parliament-Funkadelic, 'Stop Draggin' Around' from Jimi Hendrix, 'What Goes Around Comes Around' from both Curtis Mayfield and Sly Stone." Citing Kravitz's recent break-up with Bonet, Watrous said that the singer had "written a series of songs about love, loss, and longing that manage to parody '60s confessional rawness." Critical sniping aside, Mama Said produced a hit single, "It Ain't Over 'Til It's Over."
As on Let Love Rule, Kravitz performed almost all of the music on Mama Said himself, but he also embarked on another series of collaborations in the wake of this project. Demonstrating his versatility and the wide range of influences on his work, he cowrote material with members of the hard rock group Aerosmith, sang with Rolling Stone Mick Jagger on his new solo album, and wrote, arranged, and produced a record of folk, jazz, and soul music for French singer Vanessa Paradis, as well as taking part in Curtis Mayfield and Kiss tribute albums.
Kravitz moved to expand his musical production when he recruited a guitarist and bass player to take part in half the songs on his third album, Are You Gonna Go My Way, released in 1993. With this work, which he recorded in just three months, Kravitz was hailed as having reached a new, more mature level in his music. The album became Kravitz's most successful, selling more than two million copies and winning two Grammy nominations, for best rock song and best solo rock vocal performance, and an MTV Video Award for best male video. In his appearance at the MTV Music Awards ceremony, Kravitz played "Are You Gonna Go My Way," backed by Led Zeppelin bassist John Paul Jones and wearing a reflective jumpsuit and platform shoes.
With the respect he earned for Are You Gonna Go My Way, Kravitz attempted to lay to rest the accusations that he was too heavily influenced by the 1960s, a shallow and all-inclusive practitioner of pastiche, rather than an artist in his own right. "Sure, I'm all about love, unity, and togetherness," he told Harper's Bazaar. "But when people started to say those 'peace and love' things about me, it was derogatory; they weren't saying those things in a nice way. They were too busy looking at my clothes to listen to what I was really saying."
With Are You Gonna Go My Way, Kravitz turned to soul, funk, and reggae as his predominant inspiration. Relying again on classic recording techniques and live instruments--a production style that had returned to vogue by then--Kravitz produced a sophisticated blend of musical traditions in songs that focused on his favorite themes of love and peace. In tracks such as the psychedelic "Believe," "Sister," in which an acoustic guitar mimicked a mandolin, or "Eleutheria," a reggae-influenced number, Kravitz demonstrated mastery of his craft.
The respect Kravitz had won with his third album was demonstrated in the summer of 1994, when he was asked to open several East Coast concerts for the Rolling Stones. At the time, Kravitz was writing material for two new albums, one to deal primarily with the issue of God, and one directed specifically at the black community, which he had so far largely failed to reach. "I have things I want to say to the youth of the black community," he told the Detroit Free Press. "To do that, I will go after it another way, and speak in a language that they might hear.... I've got to express my views. Something positive needs to be said." Similarly he explained in Rolling Stone that "I have issues to speak about to the black community because I am a black person--or whatever I am." In planning this album, Kravitz anticipated a raw and funky sound, "a real basement record," as he told the Detroit Free Press. This became his darkest album, Circus, influenced by the passing of his mother and the pressure of the music industry. And in turning to yet another musical style and tradition to express his core message, Kravitz demonstrated once again his versatility and command of the elements of popular music.
Returned to Happiness and Accolades
The music industry wondered if Circus would be the end of Kravitz's career, considering that it only produced one real single and didn't sell well over all. The industry would have to wait another three years for Kravitz to hit the studio again, but when he returned he was three things he had not been on his last album: happy, focused,, and clear. With the release of 5 in 1998, Kravitz returned to his happier view of the world with songs such as "Fly Away," and "If You Can't Say No." 5 rocketed Kravitz back onto the Billboard charts as well as onto the MTV-VH1 video circuits. Kravitz believed the success of the album came from his priorities as he told Tracey Pepper of Interview, "I was just feeling good. The last record was a very tedious process. It was not fun ... was under the impression that for the last few years, it's been so chic for everyone to be miserable. Like if you're in with the cool crowd, you can't be happy. I let all of that go and tried to promote the fact that I enjoy life and making music." Kravitz won a Grammy for Best Male Rock Vocal Performance for "Fly Away." In 2000 Kravitz won his second Grammy for Best Male Rock Vocal Performance for his remake of the Guess Who's classic "American Woman" for the Spy Who Shagged Me soundtrack, a track that was later added to 5. He also put out his first greatest hits compilation album simply entitled Greatest Hits. Like most compilation albums, Greatest Hits included a few new songs to entice buyers to purchase the album. Unlike many compilation albums, Kravitz's new song "Again" made Greatest Hits one of the best selling compilation albums to date. "Again" was such a huge success that it earned Kravitz a coveted third Grammy in 2001 in the Best Male Rock Vocal Performance category. This made him the only artist in history to have ever won this award three years in a row and tying him with rock great Bruce Springsteen for most wins in this category.
Coming off of the success of Greatest Hits, Kravitz continued to put out more music in 2001 with the release of sixth original studio album, Lenny. The album produced hits such as "Dig In" and "Yesterday is Gone," both of which Kravitz have called, "a return to the upbeat feeling and meaning of rock." Lenny, like Kravitz's previous two albums gained its own respect from critics and also earned Kravitz an unprecedented fourth Grammy in the Best Male Rock Performance as well as the American Music Award in the "favorite pop/rock male artist" category. On a more personal note, Kravitz gained custody of his daughter Zoe in 2001 and said in a Jet interview that he is "trying hard to not be any one thing, but be everything, including a father, a musician, and a better person."
Kravtiz has gone from a retro-throw back to a full-fledged rock artist in a decade and he has the awards to prove it. But for Kravitz, it is not about the recognition as much as it is about being true to himself and the music that he has been able to produce. He told Jet magazine, "I feel quite blessed. I've always stayed true to myself and never compromised. I'm still in the game, still on the top of my game. That's an amazing blessing."
Awards
MTV Video Award for best male video, 1993; Grammy Award nominations, 1993, for best rock song and best solo rock vocal performance; Best Male Rock Vocal Performance, 1999, 2000, 2001, and 2002; American Music Award, 2002.
Works
Selected discography
- Let Love Rule, 1989.
- Mama Said, 1991.
- Are You Gonna Go My Way, 1993.
- Circus, 1995.
- 5, 1998.
- Greatest Hits, 2000.
- Lenny, 2001.
Further Reading
- Billboard, August 12, 1995 p.9-11; October 14, 2000, p.14.
- Detroit Free Press, August 28, 1994, pp. 16, 76.
- Harper's Bazaar, March 1993, p. 308.
- Interview, July 1998, p.106-110.
- Jet, March 25, 2002, pp. 58-61.
- Los Angeles Times, September 27, 1989.
- New York Times, April 21, 1991; February 23, 1992; September 9, 1993, p. C13.
- People, October 9, 1989.
- PR Newswire, February 28, 2001.
- Rolling Stone, November 17, 1994, p. 60.
- St. Petersburg Times (FL), October 8, 1993, p. 18.
— Elizabeth Rourke and Ralph Zerbonia




