Wednesday, November 05, 2003

Living Colour US Tour dates update

Nov 5 Denver, CO Fillmore *
Nov 7 St Louis, MO The Pageant *
Nov 8 Urbana, IL Canopy Club
Nov 9 Ann Arbor, MI Magic Bag
Nov 11 Montreal Theatre St Denis *
Nov 12 Boston, MA Avalon Ballroom *
Nov 14 Kingston, NY U.P.A.C. *
Nov 15 New York Beacon Theater*
Nov 20 Scottsdale, AZ Cajan House
Nov 21 Tuscon, AZ City Limits
Nov 23 San Juan Capistrano Coach House
Nov 24 Santa Barbara, CA Coach House North
Nov 25 W. Hollywood House of Blues
Nov 26 San Francisco Bimbo's
Nov 28 Portland, OR Roseland
Nov 29 Seattle, WA Showbox
Dec 2 Chicago, IL Park West
Dec 4 Philadelphia, PA Trocadero
Dec 5 New York, NY Bowery Ballroom (not on sale yet)
Dec 6 Farmingdale, NY The Downtown
Dec 7 New Haven, CT Toad's Place
Who's opening for Living Colour?
from November 20 - December 5
Tony C and the Truth

Glide Magazine Review of Collideoscope
Living Colour
by Shane Handler

It’s been eight years since black-rock pioneers Living Colour decided to break things up. Sad to say, for many they were one of the best things to come out of the 80’s aside from the machine that helped make their pristine musicianship accessible – MTV.

With guitar virtuoso Vernon Reid on board, how could anything possibly go wrong? Lucky for chief shriller Corey Glover, bass man Doug Wimbish, and drummer William Calhoun, there's no sign of clear and present danger. Collideoscope leaves off where Living Colour's prior release, 1993’s Stain left us alone to hang in a pile of grunge and the birth of Alternative Nation.

This ten year in the making affair treats us with "A of When," a riveting rap meets metal assault, reminding us the Glover’s voice is still as distinguishing as when he hollered about "Ghandi and Kennedy" fifteen years ago in the landmark hit "Cult of Personality." Reid continues to mold the six-string into a sandbox of experimentation , as every song pours with inventive leads. "Flying" drifts over funk flavored mellow grooves that echo like one of Faith No More’s adventurous ballads. It’s of course not a Living Colour album without a rush of political angst, and "In Your Name," does the job, catapulting with firearm sound effects against the right wing. " Lost Halo" sounds quite 1990, with its arena rock triumphs, but with the recent rap-metal pretenders that have invaded our mainstream consciousness, Living Colour has never been so welcome. Even their funky cover of AC/DC’s " Back in Black" is overly predictable, yet preferably inviting. Fred Durst please leave the radio, Living Colour, the real deal, is back.

PunitiveArt Review : Collideoscope
I never expected to see another Living Colour album after the breakup. The contractual obligation greatest hits collection just seemed to solidify that. Surprise surprise surprise, they have hit the ground with an album that reminds bands like Korn and Limp Bizkit and Linkin Park who blazed the trail that they are following. The tightest rhythm section this side of serious jazz? Check. Powerhouse vocals? Check. Strong social commentary? Check. Insane guitar? Check. The flat out cover of Back in Black is as forgetable as the stunning cover of Tomorrow Never Knows is possibly better than the original. From raging funk-rock (there's a term I haven't heard in a decade) to droning marches about the mechanisation of society to quiet odes to true humanity, the album makes up for the delay very nicely.

Hot Spots: Song Without Sin, A Question of When, Nightmare City, Great Expectations, Tomorrow Never Knows. Review
Living Colour's previous hiatus between albums hasn't dulled the edge of; rather they sound more aggressive and vital than ever. On their new album, the group come off swinging on tracks like "Operation Mind Control," "A ? of When," and "Song without Sin." Those hard rocking, apocalyptic and social commentary tunes recall their metal/Zeppelin swagger from their brilliant debut. Yet the band also shows a reflective soulful side on the Flying. They also introduce a wicked cover of AC/DC's classic rocker "Back in Black" and trippy, dramatic rendition of the Beatles' "Tomorrow Never Knows." No question guitarist Vernon Reid is still one of the best guitar players of the last 15 years with his slab of sound, and Corey Glover's gospel vocals wreaks convincing angst. This record should lay to rest claims this band had already used up their 15 minutes.

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