Sunday, February 29, 2004

9:30 Club - setlist
February 28, 2004
Washington, DC

Power Of Soul
Song Without Sin
Middle Man
A ? Of When
Operation: Mind Control
Go Away
In Your Name
Glamour Boys
Sacred Ground
Cult Of Personality
Band Intros > Drum Solo
Tomorrow Never Knows - This Is The Life
thanks rastafishi
Downtown - Farmingdale setlist
thanks Clarke
CrossTown Traffic
Song W/o Sin
Middle man
A ? of When
Operation Mind control
Go Away
In Your Name
Glamour Boys
Sacred Ground
Ignorance is Bliss
NOTHINGNESS (not on the list)
Elvis Is Dead
Drumm Solo ( with Great samples in the BG of i think MLK, but i not
Cult Of Personality
Tomorrow Never Knows/This is the Life

Friday, February 27, 2004

Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster

Sat 2/28/04 - Washington, DC @ 9:30 Club -

Toad's Place setlist
-Power of Soul
-Song w/o Sin
-Middle Man
-A ? of When
-Operation Mind Control
-Go Away
-In Your Name>
-Sacred Ground
-Glamour Boys (first time I've heard this live)
-Postman (ditto)
-Elvis is Dead>
-Type (guest sax on these last two, I believe his name was Andre?)

They said goodnight here tho Will never left the stage and went right into his drum solo, but I guess the following could still be called the "encore":

-Tommorrow Never Knows (long jam, Corey adding words from This Is The Life)

Europe Dates

Thu 03/04/04 - Zwolle, Netherlands @ Hedon
Fri 03/05/04 - Zoetemeer, Netherlands @ Boerderij
Sat 03/06/04 - Helmond, Netherlands @ Plato
Sun 03/07/04 - Vlissingen, Netherlands @ Arsenaal
Mon 03/08/04 - Zaandam, Netherlands @ De Kade
Tue 03/09/04 - Bochum, Germany @ Zeche
Wed 03/10/04 - Brussels, Belgium @ Ancienne Belgique
Fri 03/12/04 - Paris, France @ Banlieues Bleues Festival
Sat 03/13/04 - Solothurn, Switzerland @ Kofmehl
Sun 03/14/04 - Luzern, Switzerland @ Abc Mixx
Mon 03/15/04 - Winterthur, Switzerland @ Gaswerk
Tue 03/16/04 - St. Gallen, Switzerland @ Grabenhalle
Wed 03/17/04 - Florence, Italy @ Auditorium Flog
Thu 03/18/04 - Modena, Italy @ Vox
Fri 03/19/04 - Venice, Italy @ 041
Sat 03/20/04 - Ancona, Italy @ Mammamia
Mon 03/22/04 - Vienna, Austria @ Porgy & Bess
Tue 03/23/04 - Vienna, Austria @ Porgy & Bess
Wed 03/24/04 - BRNO, Slovakia @ Seilasso
Thu 03/25/04 - Bratislava, Slovakia @ Babylon
Fri 03/26/04 - Milano, Italy @ Live Music Hall
Sat 03/27/04 - Montreux, Switzerland @ Ned
Sun 03/28/04 - Salsburg, Austria @ Rockhouse
Mon 03/29/04 - Budapest, Hungary @ A 38
Tue 03/30/04 - Zagreb, Croatia @ Pauk
Wed 03/31/04 - Belgrad, Yugoslavia @ Dom Umladine
Thu 04/01/04 - Sofia, Bulgaria @ Hristo Botev Hall
Sat 04/03/04 - Ostrava, Czech Republic @ Hala Tartan
Sun 04/04/04 - Warsaw, Poland @ Stodola

Brazil Dates

Fri 04/16/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Sat 04/17/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Thu 04/22/04 - Rio De Janeiro, BRAZIL @ TBD
Fri 04/23/04 - Brasilia, BRAZIL @ TBD
Sat 04/24/04 - Recife, BRAZIL @ TBD

Thursday, February 26, 2004

Thu 2/26/04 - New Haven, CT @ Toad's Place - TicketMaster

Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster
Sat 2/28/04 - Washington, DC @ 9:30 Club -

Sunday, February 22, 2004

Sun 2/22/04 - Seattle, WA @ Paramount Theatre (Hendrix Tribute show)

Tue 2/24/04 - Portland, OR @ Roseland Ballroom (Hendrix Tribute show)
Thu 2/26/04 - New Haven, CT @ Toad's Place - TicketMaster
Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster
Sat 2/28/04 - Washington, DC @ 9:30 Club -
click on either links for venue or ticket site

Saturday, February 21, 2004

Living Colour setlist for Count Basie Theatre
Middle Man
A ? OF When
Operation Mind Control
Funny Vibe
Glamour Boys
Back In Black
Times Up
In Your Name
Sacred Ground
Love Rears
(no encore played - although official setlist says : Tomorrow Never Knows)

Friday, February 20, 2004

Living Colour Feb 2004 US Dates

Fri 2/20/04 - Red Banks, NJ @ Count Basie Theatre - Count Basie Ticket info

Sun 2/22/04 - Seattle, WA @ Paramount Theatre (Hendrix Tribute show)
Tue 2/24/04 - Portland, OR @ Roseland Ballroom (Hendrix Tribute show)
Thu 2/26/04 - New Haven, CT @ Toad's Place - TicketMaster
Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster
Sat 2/28/04 - Washington, DC @ 9:30 Club -
click on either links for venue or ticket site

Wednesday, February 18, 2004

Slaying the Dragon : Corey Glover on the Past, Present and Future of Living Colour
by Gregory A. DeTogne
click link for article w/ pics

Beyond the storied Body Glove wet suits and hair statements touted onstage by Living Colour in the late '80s, the band received both critical and popular accolades for its ability to blend hip-hop, metal, and R&B into a funked-up musical stew unique to its own sonic kitchen. The hard-slammin' quartet was perhaps both ahead of and after its time, a concept made all the more nebulous by the group's sudden and unexplained disappearance in 1995. "We didn't go out with a bang or even a whimper," says front man Corey Glover today. "We just went away."

Regrouping last year with guitarist Vernon Reid, drummer Will Calhoun, and bassist Doug Wimbish, Living Colour began what Glover describes as a "living experiment" on the road. Once the tour wrapped, the group was so satisfied with the results that they decided to return to the studio. What will come of these renewed efforts? Glover contemplates just that and more in this exclusive OTWS interview.

On Tour with Shure: Did the process of getting Living Colour back together require any kicking, screaming, or gnashing of teeth?

Corey Glover: No, no, no. We all came to an agreement that this had to happen sooner rather than later. Living Colour was turning into a mere blip on the public's radar screen, and we all had higher aspirations for the group than that. At the same time, our own individual careers as solo artists were still being eclipsed by our collective work as Living Colour. So here was this thing, Living Colour, which wasn't getting the due we felt it deserved. Yet, we still couldn't do anything on our own until we slayed the dragon which is Living Colour. We just vanished seven years ago without giving our audience a chance to say goodbye. People kept asking when we were coming back, saying it was necessary. It finally came to the point where it was inevitable.

OTWS: So, in a sense, you're now trying to bring proper closure to your work together?

CG: In a way this is proper closure, because it healed a lot of wounds between us personally. We sort of walked away from each other to avoid having to deal with certain issues, all of which were essentially brought about by burnout. If we would have taken some time off, those years would have passed with all of us working together. We kept going nonstop from gig-to-gig and record-to-record without giving it a break, and were constantly in each other's lives.

OTWS: Over the years, many have spent a considerable amount of time describing your vocal style. Now here's your chance: How would you categorize your singing?

CG: People generally view me as a gospel-tinged screamer. That's certainly part of what I am, but if you listen closely, you'll discover all kinds of other subtleties. I don't like to describe what I do; it's just all there-everything I've ever heard and made use of, from African music to opera. My inspirations are wide-ranging, and I try to incorporate every one of them into my voice. It's a lifelong, ongoing process.

OTWS: For the better part of your career, you've relied upon Shure to capture your voice. Do you recall the first time you picked up a Shure mic?

CG: My relationship with Shure started the moment we went on the road and had to carry some of our own gear. I'm really tough on microphones; I mean just physically brutal. If I use a lesser mic than a Shure, I can actually feel the capsule breaking in my hands. A Shure mic is a true workhorse.

OTWS: When I've seen Living Colour perform live, the stage seems to be entirely Shure.

CG: I think we have almost everything they make. I even use some of the broadcast mics in my studio at home. At Long View [Long View Farm Recording Studios in Brookfield, MA, where the band began recording at the beginning of March -ed.] I'm using an SM7 for scratch vocals, and it sounds great.

OTWS: The SM7 has traditionally been an under utilized mic in recording studio applications. Why does it work so well for you?

CG: Like most Shure mics, it captures a true picture of your voice. It's a great ambient mic, too. While recording at home, I use it to establish the acoustical signature of the room.

OTWS: Your choice for live vocals has been Shure's U24D/ Beta 58® wireless, and you're on PSM® 700 personal monitors. What does the latter offer in terms of your singing?

CG: The monitors allow me to hear subtleties that I can't get with standard floor monitors. Plus now I don't have to push myself as hard to hear my own voice over loud-ass guitars or whatever. My real problem with floor monitors is that if the band is louder than the monitors, or the PA is louder than the monitors, I can't really hear myself; I'm hearing variations of processed signals that don't sound like me at all. With my ears in, I actually hear how I'm truly singing, and I can do little things with my voice I wasn't able to do before because I simply couldn't hear. In-ear monitors are consistently right there, and so is my pitch as a result. Another benefit is that I'm preserving my hearing. I want to be able to do this [sing] a very long time, and of course hearing is vital to that goal.

OTWS: As a group, Living Colour did its part for hearing conservation recently by performing at the Shure Musical Roots benefit concert during Winter NAMM at the House of Blues Anaheim. You helped raise $60,000 for the cause, which was donated to charitable organizations including H.E.A.R., HEI and HAMF. The show's crowning moment came when you assembled one of the largest and most diverse all-star casts I've ever seen for an extemporaneous jam. Keb' Mo' was trading licks with Los Lobos' David Hidalgo. Stewart Copeland was sitting in on drums; Sheila E. was there, and of course the inimitable George Clinton. How did you feel on stage and performing with all of these people?

CG: It was like a dream gig. Growing up, I had always wanted to be in the Police, and there I was playing with Stewart Copeland. All of us in Living Colour have also wanted to be in P-Funk, and there we were sharing the spotlight with George Clinton. The moment was right that night, and I'm glad we seized it. We won't get too many more chances like that in life I'm sure.

OTWS: Rock music seems to be looking for direction these days. Where is it headed?

CG: The great thing about the music is it has the ability to morph according to whatever is happening in the world around it. As a genre, it began as the bastard child of the blues, country, and gospel. Now it's converging with hip-hop and electronica. The music won't die-it's just in the process of taking another evolutionary step.

OTWS: Will we hear any of these new influences on what's coming out of Living Colour's Long View sessions?

CG: Definitely. I'd like to think the best is yet to come. Stay tuned and have a listen.

Sunday, February 15, 2004

Living Colour Feb 2004 US Dates

Fri 2/20/04 - Red Banks, NJ @ Count Basie Theatre - Count Basie Ticket info
Sun 2/22/04 - Seattle, WA @ Paramount Theatre (Hendrix Tribute show)
Tue 2/24/04 - Portland, OR @ Roseland Ballroom (Hendrix Tribute show)
Thu 2/26/04 - New Haven, CT @ Toad's Place - TicketMaster
Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster
Sat 2/28/04 - Washington, DC @ 9:30 Club -

Collideoscope 2004 - Europe
(as per Living Colour tour dates section )
03/04/04 Zwolle, Netherlands Hedon
03/05/04 Zoetemeer, Netherlands Boerderij
03/06/04 Helmond, Netherlands Plato
03/07/04 Vlissingen, Netherlands Arsenaal
03/08/04 Zaandam, Netherlands De Kade
03/09/04 Bochum, Germany Zeche
03/10/04 Brussels, Belgium Ancienne Belgique
03/12/04 Paris, France Banlieues Bleues Festival
03/13/04 Solothurn, Switzerland Kofmehl
03/14/04 Luzern, Switzerland Abc Mixx
03/15/04 Winterthur, Switzerland Gaswerk
03/16/04 St. Gallen, Switzerland Grabenhalle
03/17/04 Florence, Italy Auditorium Flag
03/18/04 Modena, Italy Vox
03/19/04 Venice, Italy 041
03/20/04 Ancona, Italy Mamamia
03/22/04 Vienna, Austria Porgy
03/23/04 Vienna, Austria Porgy
03/24/04 Brno, Slovakia Seilasso
03/25/04 Bratislava, Slovakia The Pageant
03/26/04 Milano, Italy Live Music Hall
03/27/04 Montreux, Switzerland Ned
03/28/04 Salzburg, Austria Rockhouse
03/29/04 Budapest, Hungary A 38
03/30/04 Zagreb, Croatia Pauk
03/31/04 Belgrad, Yugoslavia tbd
04/01/04 Sofia, Bulgaria Dom Umladine
04/03/04 Wroclaw, Poland tbd
04/04/04 Warsaw, Poland Stodola

April - Living Colour in Brazil 2004
Fri 04/16/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Sat 04/17/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Thu 04/22/04 - Rio De Janeiro, BRAZIL @ TBD
Fri 04/23/04 - Brasilia, BRAZIL @ TBD
Sat 04/24/04 - Recife, BRAZIL @ TBD

Saturday, February 14, 2004

Feb. 14th, Corey and Vernon will be on The Tour Bus a syndicated radio show. In the NY/NJ/PA area they are on 105.5 WDHA or 95.9 WRAT The Rat. for a list of all stations.

The show goes on at 8pm in NY/NJ/PA and later out of that area I believe. (9pm)

Friday, February 13, 2004

Living Colour : Brazil Dates
Fri 04/16/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Sat 04/17/04 - Sao Paulo, BRAZIL @ Via Funchall Music Hall
Thu 04/22/04 - Rio De Janeiro, BRAZIL @ TBD
Fri 04/23/04 - Brasilia, BRAZIL @ TBD
Sat 04/24/04 - Recife, BRAZIL @ TBD

*from Will Calhoun's Site

Thursday, February 12, 2004

Living Colour on The Tour Bus!!

The Living Colour / Tour Bus COOK OFF! Coming soon to the Tour Bus Studios!

In the Right Corner - Bus Driver of the Tour Bus for 5 years - In the left corner - Singer of Living Colour for a lot more than that! The prize - WHO MAKES THE BEST MAC&CHEESE?

When Living Colour comes in to perform live in our studios, and we play tracks from their new CD - Collide O Scope -

We'll find out!

It's Corey VS. Ralphy

Place your bets now :)

Wednesday, February 11, 2004

Will Calhoun and Doug Wimbish as special guests this weekend

Mos Def is playing 3 sold-out shows @ New York City's Blue Note w/ Will Calhoun and his jazz quartet Feb 13, 14, and 15. There will be 2 shows per evening : 8pm and 10:30pm.
IF you get there early enough, you might be able to score a seat at the bar!

DJ Logic and Project Logic @ Blue Note - NYC
On Friday, 2/13/03, they'll be joined by bassist DOUG WIMBISH (from living colour) and violinist MIRI BEN-ARI.

German magazine feat. Living Colour and midi files ???
(for bass and guitar)

Living Colour : Groundbreaking Alt-Metal Band Returns
By Chris J. Walker

Mix, Feb 1, 2004

Much like a popular couple breaking up, the extremely dynamic alternative metal band, Living Colour, which officially disbanded in 1995, was constantly queried about reuniting. Anywhere former bandmembers went while pursuing individual ventures, fans, music-biz types and fellow musicians asked the eternal question: “When is Living Colour getting back together?” Even Mick Jagger — who featured them as an opening act on mid-'80s Stones tours, produced their demo and coordinated a subsequent record deal — told drummer Will Calhoun, “They needed to regroup.” Overwhelmingly, the band's past achievements — garnering a multi-Platinum CD, two Grammys and two MTV Video Music Awards while maintaining an intensely loyal, global fan base — overshadowed their subsequent endeavors.

Still, from the perspective of the bandmembers — guitarist Vernon Reid, vocalist Corey Glover, bassist Doug Wimbish and Calhoun — there were lingering issues concerning their general frustration with the music industry and the dissolution of unity within the group. Was there a real desire to be a full working band again? “It was kind of like, ‘Well, is there anything there’?” Reid explains from his home studio on Staten Island, N.Y. “There's a lot of affection for the people and history, obviously [being the first rock band of color to make an impact since the heralded days of Jimi Hendrix, Sly Stone and Santana]. But in my mind, you could always say, ‘No, no, no and hell no!’ Then, one day I just said yes.”

Living Color first reunited in December 2000 at CBGB's in New York, the landmark venue where the quartet first crafted their sound and was discovered. Calhoun and Wimbish were there doing a drum 'n' bass side project called Headfake, with Glover sporadically helping out. When Reid accepted their invitation to sit in, the show billed “Headfake and Surprise Musical Guest” turned into a full-on reunion jam. Riding the crest of ecstatic fan response, they continued playing sold-out club dates across the States and made festival appearances in Europe and South America. Talk of returning to the studio to record a new CD ensued, but the band couldn't seem to agree on direction, methodology and, foremost, a definitive reason to devote the time and effort. In the midst of their disparity, the 9/11 tragedy occurred.

“It's not our reason, either,” declares Reid, who could previously see the World Trade Center towers clearly from his house. “But what it is, is that we were able to start thinking about each other in a different light and talk about issues in other ways. Also, it made us look at the music we did before differently. Ironically, ‘A ? of When’ was written before 9/11, even though it seems right on top of it.” Consequently, Living Colour found that many of their recently penned songs had other meanings and a third of the songs on their reunion CD, Collideoscope, are related to the catastrophic event.

For the process of forging lyrics and sonic elements, the band initially headed to Long View Farms in North Brookfield, Mass., during the spring of 2002. They'd cut the album Pride there, the CD prior to Living Colour's breaking up, and Reid describes its owner, Bonnie Milner, as a “wonderful ally to the band.”

However, when the members were pursuing various solo ventures, Wimbish also formed an allegiance with engineer/drummer/drum programmer Chris Weinland, who owns and operates Tree House Studios in Storrs, Conn., midway between Boston and New York. This studio, which is located in a converted garage/barn adjacent to a state park, became central to the recording of Living Colour's latest throughout the fall of 2002 and into the spring of 2003. The isolated natural setting of Weinland's studio, where cell phones are out of range, provided the necessary solitude that the band needed to write and try out songs. Also, Reid could crank up his guitar and equipment to his heart's content without being concerned about any neighbors.

Reid, Wimbish, Glover and Calhoun worked together about 80 percent of the time at Tree House, penning lyrics and jamming. Added guitars and reworked drum parts were done individually, and often the whole band wouldn't make the trek. “There were torrential snow storms every Friday when they would come,” the studio owner/engineer recalled. “And sometimes, it would take up to four hours to get here from New York. Normally, it takes a little over two hours and we got over 100 inches of snow last winter. I was laughing a couple of weeks ago with Doug about that and how they ended up getting so much stuff done here, 'cause what else are you going do when there's three feet of snow out and it's below zero?” The group also did sessions at Wimbish's Novasound Studios in Connecticut, On-U-Sound Studios in London, Sound Studios in Los Angeles and The Cutting Room in New York.

Weinland comments about the band's creative process for Collideoscope: “They'd been apart for some time and they really needed to get their heads back in it. So there was a certain amount of just regrouping, and they would come up for four or five days at a time. A lot of stuff would get written, which we would edit. Then they would decide what they liked and we would retrack a lot of stuff later on. The arrangements, I guess, would be backward from what you would expect when you're writing an album. Things would be played, then arranged and then replayed. As late as March and April [2003], we were still doing vocal tracks. But it was really interesting to see how they worked and developed tunes. And, obviously, the musicianship was about as good as you're ever going to see from a rock 'n' roll band.”

All tracking for their reunion CD done at Tree House Studios was recorded on Pro Tools through such supporting gear as modules from an old Neve broadcast console (believed to be Sonic Youth's old board), API preamps, Apogee converters and various vintage mics — mostly Neumanns. Weinland stresses that he wanted to keep the signal path as clear as possible, and the combination of preamps and mics used for that application worked perfectly.

Just the same, Reid was very comfortable and stayed with Weiland's family for extended periods during the creation of Collideoscope. “[Weinland] was a big fan of the band, his wife is a graphic designer and their son is a great kid,” he comments. “So it was a nice environment to be around while we were doing the live stuff. Also, we had a lot of help from different engineers working as a team, such as Michael Ryan, Dave Shuman and Fran Flannery, who did a lot of editing.”

Musically, there was plenty of high-octane jamming at the sessions, with a noticeable strong dose of funk injected. Reid believes the current sound harkens back to the exploratory times at CBGBs and the Mudd Club. Reid and Wimbush used Reason software for composing and Calhoun programmed some beats. Loops and samples have always been an important ingredient in Living Colour's music. However, it has developed way beyond their initial forays.

“From the time we did Vivid, we've worked with samples and things like that,” Reid states, “and now we're starting to integrate that more into what we are doing live. It's an interesting challenge, and now Doug and I both have laptops onstage. We play live, but we also incorporate all kinds of different elements and what-have-you. Of course, I also have a full Moogerfooger pedal line for whooping, blarings and things like that, along with virtual ones.”

In contrast to the elongated periods of songwriting and tracking, mixing for Collideoscope went fairly quickly. “The mixing was done by our live engineer, Andy Stackpole,” Reid says, “one of those rare people who has that other skill set.” Stackpole, a 10-year veteran who's worked with Bad Brains, the Beastie Boys, Busta Rhymes and others, became Living Colour's front-of-house engineer two years ago. He actually didn't feel that the transition from front of house to being a studio mixer was that difficult, because “if you mess up, you can go back and do it again.” However, he quickly found that the pressure to get things done made mixing far more intense.

After a week of overdubbing, editing and going through everything, he had 11 days to complete 15 tracks. “I really wish I'd had more time,” Stackpole says from his home in Norwich, Conn. “It was mix, mix, mix. I didn't really have any time to get away and listen to it in my own environment.” At Soundtracks in New York, the engineer, with Reid on hand and the bandmembers occasionally dropping by, mixed Living Colour's release on a vintage Neve board. And although it was his first time handling a major project, he had one big advantage: “I had started working with them as they were developing songs and playing them live to see what worked and what didn't.”

Unequivocally, the band and Reid were happy with the engineer's efforts and are pleased with the album in general. The band feels the strongest it's been for a long time. “Now that we've done this,” Reid states, “tomorrow is the question. In fact, Corey and I have already started talking about the next record and there's some very interesting aspects we're thinking about. In a way, the band does pick up where it left off. So it'll be interesting to see how it all evolves.”

Monday, February 09, 2004

Live Living Colour pictures

Back in the band

From Duran Duran to Blondie, once-extinct bands are putting acrimonious splits behind them to try to make another go of it.

By Erik Spanberg
Correspondent of The Christian Science Monitor
(editted for LC blog; click link for full article)
....For Corey Glover, lead singer of Living Colour, which released its comeback album last fall, any reunion hinges on repairing frayed relationships. That, he says, can be a daunting proposition.

"No band breaks up because record sales are bad. They break up because of relationships," Glover says. "You have to ask yourself whether you're willing to go through that again. It's a tough question because, let's face it, people don't change."

Such concerns have been borne out with brief returns that quickly fizzled. In 1996, for example, Van Halen appeared at the MTV Video Music Awards with original lead singer David Lee Roth in tow.

Soon after, though, the band began squabbling again - long before a reunion tour ever happened.

Even realized reunions can turn sour. The evident hostility between Paul Simon and Art Garfunkel led many critics to pan the duo's recent tour, dismissing it as a money-grab.

Soon after Living Colour began toying with the idea of a return, Glover went to lunch with guitarist Vernon Reid and hashed out past differences. Looking back, Glover says the unexpected success of the band's debut album had caused enormous problems.

Within a year of debuting, Living Colour's foot-stomping anthem, "Cult of Personality," became an MTV staple and the band toured with the Rolling Stones. The heady experience set the group on a disastrous cycle of constant tours and records, causing burnout and a split.

Still, Glover isn't surprised by his recent rock 'n' roll rapprochement: "It couldn't end where we left it."....

Thursday, February 05, 2004

New Tour Date for Living Colour
*thanks Jake*

On February 20, 2004 Living Colour will be performing at the Count Basie Theater in Red Banks, NJ. Tix are available at the Count Basie Theater Box Office (732) 842 - 9000. Here's the added bonus!!!

Also on the bill is TM Stevens Shocka Zooloo!! TM Stevens and LC in the same building on the same night. This is the must see jam!!

see BSquared Productions for more details!

Living Colour Feb 2004 US Dates

Fri 2/20/04 - Red Banks, NJ @ Count Basie Theatre - Count Basie Ticket info
Sun 2/22/04 - Seattle, WA @ Paramount Theatre (Hendrix Tribute show)
Tue 2/24/04 - Portland, OR @ Roseland Ballroom (Hendrix Tribute show)
Thu 2/26/04 - New Haven, CT @ Toad's Place - TicketMaster
Fri 2/27/04 - Farmingdale, NY @ The Downtown - TicketMaster
Sat 2/28/04 - Washington, DC @ 9:30 Club -

Enter to win 2 tickets for Living Colour @ the Downtown Club


Living Colour won't just be heading out on the upcoming Experience Hendrix tour – they've just announced a tour of their own. The band will be heading out on a few U-S dates before heading overseas in support of their new album, CollideOscope. But Living Colour fans fret not – even though their U-S concerts are few, you'll probably be able to bring their European dates into your own home. Singer Corey Glover explains. “We’re throwing around the idea that you could buy a live show CD, like online you can get our shows, whichever shows we’ve played at. We’ll record every show, we’ll videotape every show. And if you want to get one, if you want to see a particular show, you can have it.” Living Colour will play a few dates here in February before heading over to Europe in March.

REMINDER - set your VCR's!
Living Colour will be featured as the house band on Last Call with Carson Daly show. Air date is Feb. 6, 2004 on NBC. Check local listings for air time.

Wednesday, February 04, 2004

Backstage Pass

Living Colour (review)
opening for King Crimson
The Pageant, November 7

Though best known for their 1998 hit song “Cult of Personality,” the reformed Living Colour can still rock. Throughout their set at the Pageant on November 7, vocalist Corey Glover demonstrated his expansive vocal range and strong voice. Even without the famous spandex shorts, his stage presence was explosive. And the talent doesn’t stop there; Glover’s vocals were backed by a very talented band.

Vernon Reed is still one of the fastest guitar players to walk this earth. In the rhythm section, the beat was held steady by the excellent drumming of Will Callhoun. In addition to being a stalwart drummer, Callhoun also holds notoriety for being one of the band’s songwriters. The only non-original member of the band was bassist Doug Wimbish, who got his start as a session player for Sugar Hill Records. To his credit, Wimbish is good: when he hits a note, you feel it vibrate the inside of your soul.

Going into tonight’s show, I was questioning King Crimson’s choice of opening acts. By the time Living Colour had finished its first song, though, I realized they were the perfect opener for the night. Unlike other bands from the late ’80s/early ’90s, they have grown with the times.

Living Colour has just released CollideØscope, its first studio album in ten years. —Michael Dahl