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[ Vernon ]

Reid
and during the few moments we have left …

THE WONDERFUL WORLD OF LIVING COLOR

— Guitar Magazine (January/1991)

The Artist — Vernon Reid and his band Living Colour were flying high in 1991 when he sat down for a picture to be used on Guitar Magazine’s January cover. 

Time’s Up (Living Colour’s second album) was still new, and by most accounts, had met the high standard expected of the band that had introduced itself with Vivid, a debut album universally hailed a Rock N Roll “masterpiece.”

Storm Is Rising

It was a volatile time (1988) when Vernon Reid and Living Colour, entered the Rock N Roll fray. The 1980s had opened the door wide, and storming through it was a growing Punk, faster and faster metal, and a more angry and guttal Thrash. All shots across the popular music bow.

Thrash Metal (“The Big Eight”) MetallicaMegadethSlayerAnthrax, Testament, ExodusOverkill, Death Angel.

All Noisy On The Eastern Front

Anthrax (1981)

Bad Brains (1982)

Run-DMC (1983)

Public Enemy (1985)

The Notorius B.I.G. (1993)

 

How The West Was Won

The Sunset Strip

Los Angeles
The Decline Of Western Civilization
Big hair, tattoos, Harley Davidsons, and GIRLS, GIRLS, GIRLS.
Sunset Strip (2000) Trailer

WHEN METAL RULED THE WORLD
’80S HEAVY METAL (IN THE ’80s)
THE COMEDY STORE

Van Halen (1974)
Agent Orange (1979)
Minutemen  (1980)
Motle Crue (1981)
Megadeath (1983)
Red Hot Chili Peppers (1983)
Fishbone (1985)
“Party At Ground Zero”
Guns N’ Roses (1985)
TOOL (1990)
Suicidal Tendencies (1990)
Lights, Camera, Revolution
Rage Against The Machine (1991)

1967

Summer of Love (PBS American Experience)
MONTEREY POP (40th)
Quicksilver Messenger Service
It’s A Beautiful Day
Steve Miller
The Doobie Brothers
Santana
Bay City Thrash
Metallica (1981)
Testament(1987)
Alex Skolnick
Faith No More (1988)
Buckethead
Tupac Shakur

San Francisco Flowers Turned to Metal, and a thing called Grunge was on the horizon.
The 1980s were over. Hip Hop had taken root, Metal and Thrash was lurking in wait. A dangerous Storm Was Rising in the never-satisfied World of Rock N Roll.
Metal had emerged when Rock N Roll was hard and heavy, more than angry and sharp . Led Zeppelin, Deep Purple, Black Sabbath had dominated ’70s Rock with  passion, virtuosity, and theatrics. The 80s saw Metal turn to Thrash, spandex turn to black denim, skulls and chains, and a general decline in Los Angeles civilization. 
Nothing against any one genre, but not all Rock N Roll fans liked the idea of a World where Death Metal is considered Pop.

Metallica
  Kill ‘Em All (1983)
  Ride the Lightning (1984)
  Master of Puppets (1986)
  And Justice for All (1988)
  Metallica (1991) The Black Album

Paint It Black”  b/ Rolling Stones (1966) 
“Black Is Black” b/ Los Bravos (1966)

The White Album  b/ The Beatles (1968)
“Back In The U.S.S.R” 
b/ Living Colour (2007)

“While My Guitar Gently Weeps”
Tom Petty / Prince @ Hall Of Fame

Back In Black b/ AC-DC (1980)
“Back In Black” b/ Living Colour (2003)

“Happiness Is A Warm Gun” / “Who Shot Ya?”

 

[1988] — Vivid 

And Then Came Mick

 

— originalnoise.org

Like some sort of Rock N Roll God, Mick Jagger, in 1988, anointed a new generation of musicians talented and eclectic enough to remind us that there was more to Rock N Roll than anger, volume, and speed

The Trinity

The Father, Son, and Holy Spirit
According to the Rolling Stones. 

Appetite For Destruction  b/ Guns N’ Roses (1987)

“Rocket Queen”

Surfing With The Alien  b/ Joe Satriani (1988)

Not Of This Earth (1986)

Vivid  b/ Living Colour (1988)

Time’s Up  b/ Living Colour (1990)

STEEL WHEELS TOUR (1989)
Mick Jagger
MTV (Music Video Awards)
SNL (“Cult of Personality”)
Grammy Awards:
Best Hard Rock Performance (twice)
1988 — Vivid  “Cult Of Personality”
1990 — Time’s Up
International Music Awards (1989)
“Johnny B. Goode” (video)
Tiny Elvis Statues / Eric Clapton “E.C. Was Here”
Why Not A Jimi?
“Elvis Is Dead”
Jethro Tull vs. Metallica
Steel Wheels (1989)
Living Colour
MTV
Grammy Awards
International Music Awards — [1989]
Tiny E Statues / Eric Clapton
(EC Was Here)
Johnny B. Goode (video)
Chuck Berry
Hail! Hail! Rock N Roll (1987)
Keith Richards
Eric Clapton

Tiny Elvis? Should have been a Little Jimi.

Stone Free: Tribute to Jimi Hendrix (1993)

“Crosstown Traffic”

Experience Hendrix — [2010]

Experience Hendrix

Atlanta @ The Fox Theater

March 27, 2010

Billy Cox

The Experience Hendrix Tour will be hitting the road in March featuring a who’s who of rock and blues artists, including bassist Billy Cox, who played with Hendrix in the Jimi Hendrix Experience and the Band of Gypsys. Other performers include Joe Satriani, Jonny Lang, Eric Johnson, Kenny Wayne Shepherd, Brad Whitford (of Aerosmith), Doyle Bramhall II, Ernie Isley, Living Colour, Double Trouble’s Chris Layton. The musicians will be performing music written and inspired by the legendary guitarist.

“It’s a thrill for me to play Jimi’s music for audiences now as it was in the 1960s,” says Cox. “The Experience Hendrix tours have shown how timeless this music really is.” Billy Cox first met Jimi when they were in the 101st Airborne division in the Army, and Hendrix later recruited him for the Band of Gypsys in 1969. He appeared with Hendrix at numerous historical festivals, including Woodstock and the Isle of Wight. Cox is the sole surviving member of both Hendrix’s Experience and Band of Gypsys groups.

Also not to be missed are the hard hitting bass lines of Living Colour’s Doug Wimbish. After this tour, Living Colour will continue touring overseas.

— Seattle Review of “Experience Hendrix” 

Joe Satriani

Ernie Isley

Eric Johnson

Kenny Wayne Shepherd

Jonny Lang

Chris Layton

Vernon (Backstage)
Describes Staten Island Ferry photography
To Do, Or Not To Do”  Trying on a Do Rag, and asking the band what they thought?
“We are not Living Color”  Will Calhoun T-Shirt buying Amber in Atlanta
In Living Colour (1990) Sketch Comedy TV
At Miami Beach (Italian Designer) Boutique. Will trying on clothes for the young couple, one gay, one Serbian. Surprisingly heavy and smooth, the small, black-beaded  cocktail dress on a rack by the dooor.
Will with trio, Soundscape Park, w/Miami Orchestra violins and cello, and acrobatic dancers on the New World Symphony Concert Hall’s  glass wall. (video) Kim Kumura
At Fairchild Gardens
Nova University

Do The Right Thing  b/ Spike Lee (1989)

 

SOUL TRAIN (1971-1993)

Vinx (Soul Train Dance Mix)

WATTSTAX (1973)

Richard Pryor

SNL (Job Interview w/Chevy Chase)

Fridays (1980)

Friday’s Episodes (April 11, 1980-April 23, 1982)

 

[1991] — Eye & I

Reviewed in the United States on June 15, 2006

Here’s another example of the early ’90’s black rock movement that, for whatever reason, just never got the play or marketing push they needed to get over the top.

Inconsistency might have been a problem: The songs here are all over the map, ranging from relatively bland sugar-pop (Virgin Heart, Can’t Live Without Your Love) to serious, message oriented rock (Don’t Just Say Peace), to melodic, bombastic, blow-out all the stops tunes (Venus In Furs, World Without End). Musically, the band was maybe a bit ahead of it’s time, powered along by female lead-singer DK Dyson’s soaring vocals and bassist Melvin Gibbs‘ thundering bass lines. Contributions from Living Colour’s guitar virtuoso Vernon Reid and P-Funk legend Bernie Worrell are highlights.
And speaking of Vernon Reid… the Sony label spent a lot of time, if not money, searching for the for next Living Colour, after that band’s breakthrough. Along with Eye & I, Sony signed other great black bands like Bad Brains (Rise) and began to promote their existing stable of black ‘rock’ bands like Fishbone (In Your Face, Truth and Soul, The Reality of My Surroundings, etc.). Even though those bands already had rabid, alternative-niche market fans, they weren’t all playing the same type of music, Sony never figured out how to promote them properly, and they seemed to get lost among the labels more mainstream, radio friendly acts. In effect, they weren’t Living Colour clones, and unfortunately, they probably suffered as much as benefited from Living Colour’s popularity. Fishbone and Bad Brains eventually drifted away from the Sony label, and Eye & I just faded out altogether after this one album.

Jane’s Addiction

Jane’s Addiction live  (1987)

Nothing’s Shocking (1988) 

Ritual de lo habitual (1990)

 

Lollapalooza
1991 One of Rolling Stone Magazine’s All-Time “Best 100” Guitarists
Vernon Reid #66

THE WONDERFUL WORLD OF LIVING COLOUR 

“Reids rampant eclecticism encompasses everything from heavy metal and punk to funk, R&B and avant-garde jazz.

His anarchic, lightning-fast solos have become a hallmark.”

— Critic Steve Huey

1991 Eye & I (w/DK Dyson)  As far and high as Vernon has flown, he has never completely detached from his Downtown NYC roots.

 

Metallica   Metallica (1991)

The Black Album

 

1988 — Joe Satriani With a little help from Mick.

Back in 1988, Joe Satriani was losing $8,000 a week on his failing tour to promote ‘Surfing With the Alien,’ and it got so bad that he was even considering putting down his guitar and look for a job. That’s when he got some help from a most unlikely benefactor: Mick Jagger

Satriani recalls the dark days during his ‘Surfing With the Alien’ tour, saying, “I was all but done. I was going to scrap the tour and just go figure something else out. Then I got a call about an audition for a Mick Jagger solo tour. I got the job and bam – all of a sudden I went from all but total obscurity into a hyperworld with a red carpet in front of me at all times.”

But while his playing earned him a spot in Jagger’s band, Satriani says the iconic Rolling Stones frontman was also exceedingly kind:

“Not only was he the total rock star I always dreamed he would be, he was also funny, unpredictable, incredibly cool, open, and one of the most generous people I’d ever met … He said to me, ‘My staff is your staff. Use all my resources to help promote your record while we tour. Use this private room for interviews, use these people to help you.’ Then he gave me a big solo spot in the show.

“He was totally selfless and completely excited to help me with my success. I just learned so much and he really allowed me to establish myself as a solo artist.”

These days, Satriani is enjoying his time with supergroup Chickenfoot, although that gig, too, was an unexpectedly nice twist of fate.

“I can plan and dream about certain guys, like, say, Jimmy Page and Jeff Beck, guys I grew up loving that I would kill to play with,” he said. “Then out of the blue comes something like Chickenfoot, a band I never expected but that I love to death. Who could have predicted that?”

“You can plan, and you have to do that, but you have to keep an open mind because sometimes you wind up playing with people you never thought about – and it becomes a dream gig,” he adds. “That’s what I think about Chickenfoot. We just have so much fun.”

Chickenfoot, which also includes other rock luminaries like Sammy Hagar and former Van Halen bassist Michael Anthony — kicks off their US tour May 4 in Lake Tahoe, Nev.

1988 — Mick Jagger
w/ Joe Satriani / Doug Wimbish

— Australian TV

w/ Joe Satriani, Doug Wimbish

Before returning to the stage for the Rolling Stones’ Steel Wheels tour (1988), Mick Jagger, as he’s been know to do, played small, “secret” shows as a way to warm up before the grind of playing stadiums,night after night. Years later, these gigs take on a “legendary” status, especially for those fortunate enough to have been there. This gig, at  the Corner Hotel in Melbourne, Australia, was one such show. In addition to Charlie Musselwhite (who was officially booked that night) and his band, Jagger was joined by JOE SATRIANI, DOUG WIMBISH, SIMON PHILLIPS, and JIMMY RIP, young musicians who he had worked with on solo projects while the Rolling Stones were on their 1980s hiatus. They were billed (anonymously) as The Brothers Of Sodom, but their playing of “Little Red Rooster” was  all Mick, and entertainingly reminiscent  of  the Stones having always played with America’s Blues Legends.

1981 — Chicago @ The Checkerboard Lounge
“Baby Please Don’t Go”  
b/ Muddy Waters  w/ Rolling Stones

1989 — Atlantic City
“Little Red Rooster” / “Boogie Chillin'”
b/ John Lee Hooker
w/ Rolling Stones / Eric Clapton (12/19/89)

— Living Colour

The branks (headgear) worn by the androgynous model on pictured on the cover of Living Colour’s third studio album, Stain. 

A Branks is a device consisting of a headpiece with a flat, iron bit to restrain the tongue, formerly used to punish scolds.

Rage Against the Machine
Red Hot Chili Peppers
Faith No More
Tool

JAN 14, 1993: Dave Letterman (CBS) Press Conference

AUG 30, 1993: Letterman’s first CBS Show

Late Shift (1996) Film

Late Shift (1996) Trailer

Comedy Store Documentary (2020)  Trailer

 

Gary Shandling (1986)

 

GATOR GROWL (UF)

Rodney Dangerfield (1981)

Robin Williams (1982)

Bob HopeIrene Cara (1983)

Bill CosbyHerbie Hancock (1984)

The Smothers Brothers (1985)

Billy Crystal (1986)

Jay Leno (1987)

Steven WrightJerry Seinfeld (1988)

Richard JeniPaula Poundstone (1989)

 

Bill Hicks

[1987] —  Bill Hicks, nearly homeless, is invited to be part of Rodney Dangerfield’s Young Comedians special. (Also, Sam Kinison and Roseanne Barr)

Sane Man (video)  b/ Bill Hicks (1989)

Dangerous  b/ Bill Hicks (1990)

Relentless  b/ Bill Hicks (1992)

Elvis

Nirvana

Pearl Jam

Singles

Rage Against The Machine

Tool — 1993 Lollapalooza (Bill opens for Tool)

Faith No More

Red Hot Chili Peppers

David Sanborn

Night Music

Miles Davis

Marcus Miller

Miles w/ Prince

King Missile

“The World Would Have To End Without Willie”

John Hiatt

Late Shift (1991)

 

 

[1980] — The Decline of Western Civilization The story of the Los Angeles punk rock scene (1979/1980), directed by Penelope Spheeris. After the movie’s premiere (1981), Los Angeles Police Chief Daryl Gates wrote a letter demanding the film not be shown again in Los Angeles.

[1988] —  The Decline of Western Civilization Part II: The Metal Years covers the Los Angeles heavy metal scene of 1987–1988.

[1998] —  The Decline of Western Civilization III (1998), chronicles the gutter punk lifestyle of homeless teenagers in the late 1990s. The film features a mix of live concert footage and interviews with established heavy metal performers such as 

Lemmy

Ozzy Osbourne

Aerosmith

Alice Cooper

Kiss

Megadeth 

W.A.S.P..

Several unsigned club bands are also prominently featured, such as Odin and Seduce.

 

[1990] — Living Colour was still surfing the monster wave of MTV momentum, as the band rode into the new decade. Without pause, Vernon continued, sustaining the energy in what had been one of the most explosive launches of a band into Rock N Roll History.

 

Vivid

 

Hard Rock vs. Metal, Thrash, Hardcore (cute blonde girlfriend)

Living Colour guitar tech’s, 20-something girlfriend.

(not to judge, but just wondering) Is this your kind of music?

“yes. it is,” said with the cutest smile.

Queensrÿche (EP), such and such ryche, getting together’

“yes. The Third Reich

NAZI GERMANY

Heavy Metal Confronts It’s Nazi Problem (New Yorker)

 

Mick Jagger heard word of a young “rock n roll” band making a lot of new noise, after hours, in the darker Underground of downtown New York City.

When Mick saw Living Colour and met Vernon, he was happy to realize what he heard was true, Living Colour was better than expected, and after meeting Vernon, Mick offered to help, anyway he could.

Four months later, and with encouragement from Mick, Epic Records offered Living Colour a deal he help, The Rolling Stones were looking for young blood to open their long anticipated, Steel Wheels World Tour.  Manhattan  the band, downtown took them on the road (Steel Wheels), and helped them with Vivid, Living Colour’s debut  was featured on the cover of Guitar Magazine, his band, Living Colour, had just released Time’s Up, its second album, Time’s Up, and they had just accepted old friend, Perry Farrell’s (Jane’s Addiction) invitation to join his Inaugural Lollapalooza, Summer Tour.

 

“Type”

  b/ Living Colour Time’s Up (1990)

6

— Living Colour’s Epic Launch

A Band Grows In Brooklyn …

[1991] After a meteoric rise out of the Manhattan Underground, playing stadiums with his new friend Mick, and the rest of the Stones,  Vernon and Living Colour were flying high, and landing back home, in New York City, did nothing to keep Living Colour on the ground.

 FLY ME TO THE MTV MOON

They were anxious to finish Time’s Up, their second album, the work already in progress, since before the release of Vivid, Living Colour’s debut masterpiece.

— OriginalNoise.Org

Back In Black
Many, especially critics and industry professionals,  argued that Living Colour’s third record, Stain marked another exploratory change in a band, from the beginning, known for playing on the edge of its own making. 

 

[1976] — “Funkanova”

Wood Brass & Steel

Studio 54

 

— OriginalNoise.Org

Wood Brass & Steel, a dance/funk band (Hartford, Connecticut) was signed with Turbo Records, one of a number of such small record “businesses” under the control of Joe Robinson and his wife, Sylvia. The Robinsons tapped Wood Brass & Steel’s rhythm section to serve as the house band for the Robinsons’ new label the called Sugar Hill Records.

Hip Hop Happens / Sugar Hill Records

 

meanwhile:downtown

[1980] — Vernon Reid.

As a member of Ronald Shannon Jackson and The Decoding Society, and also, later, playing and recording with DEFUNKT, and EYE & I, popular bands in the dark, underground of downtown Manhattan. While above ground, and Uptown in The Bronx and Harlem, B-Boys (DJs, MCs, Graffiti Writers, and Break Dancers were plugging into parks and abandoned buildings, and were , and using the power to MC parties behind the unlocked, chain-link fence.

VERNONREID-DEFUNKT

— OriginalNoise.Org

Unerground, Ronald Shannon Jackson, The Knitting Factory, Defunkt, Eye & I, Screaming Headless Torsos, Graffiti Cemetery, and reaching up to the Hip Hop (above ground) urban world. Harlem World, The Original Sugar Hill Rhythm Section. Sugar Hill Records House Band.

Vernon’s earned an early reputation as one of the young, hot-shit guitar players in the Avant-Funk/Outside-Jazz scene, one could see way DOWNTOWN, on the Island of Manhattan. It was there and then Vernon was inspired to step out on his own and form a number of bands, all of which he called Living Colour.

Bad Brains

CBGB

CBGB (movie)

Basquiat Andy Warhol

 

WildStyle

Beat Street

 

The Roxy

— photograph b/ dave. (OriginalNoise.Org)

Learning to skate (cross over) Step to the beat, don’t snuffle. The Roxy (Roller Rink by Day) Niip Hop nightclub. Bernard Fowler, Beat Street Preacher.

Six Degrees Of Separation

Paradise Garage

Paradise Garage (doc.) Video

David Mancuso / The Loft

Flashdance B-Boy scene

 

 

Malcolm X

Malcolm X  d/ Spike Lee

“The Message”

b/ Melle Mel (Not) Grandmaster Flash

White Lines (Don’t Don’t Do It) 

b/ Melle Mel & The Furious Five (1983)

“White Lines” (video)  w/ Spike Lee, Lawrence Fishburne

A warning of the dangers of cocaine.

Melle Mel One of his signature tracks.

Sugar Hill house band (

f/ Doug Wimbish 

covering “Cavern

by Liquid Liquid (New York City)

 

“No Sell Out”  b/ Keith Leblanc (Malcolm X)

Malcolm X speeches cut to Keith, the drummer’s beats. (1984)

vs. Sugar Hill Records

w/ Betty Shabazz (Malcolm’s widow) “The Queen” 

vs. Joe & Sylvia Robinson (Federal Court)

Newark, New Jersey

Across the George Washington Bridge (GW)

I Was Afraid Of Malcolm”  b/ Garland Jeffreys

Do the Right Thing (1985)

After Hours (1985)

 

 

6  “Up On The Roof”  b/ The Drifters

 

— Up On The Roof

There could not have been a more appropriate place (location) for Vernon Reid and Living Colour to stand for their first (Epic Records) promotional photograph. Up On The Roof of a building in their Brooklyn (NYC) neighborhood. 

 

“Cult Of Personality”

  b/ Living Colour Vivid (1988)

6

 

 

Lollapalooza — Hot Fun In The Summertime. Vernon was looking forward to playing his friend Perry Farrell’s Inaugural Lollapalooza Festival Tour, later that Summer of 1991.

 

Before sitting down for a lengthy “Guitar” magazine interview, Vernon sat for his cover shoot. Always serious, socially conscious, unquestionably honest, and artistically aware, Vernon took interest in the Living Colour picture Guitar Magazine was painting. The image it would place on its most valuable, visual real estate.

In what he had control over, all the while consulting with the talented photographer, it was decided that Vernon be holding his “Malcolm X” bright pink Hammer(?), with Malcolm’s face, and the words that introduced Living Colour to the MTV World, written in marker, covering the body of the guitar.

“During the few moments we have left …”

 

 

[1993] — After Muzz Skillings quit the band in the middle of its first World Tour (1992), between Europe and South America, Vernon’s old, downtown NYC friend, the already legendary bassist Doug Wimbish joined Living Colour on its high-flying adventure.

 

“Banned In D.C.”   b/ Bad Brains (1993)

The Bad Brains ProphecyVernon Reid and Living Colour were touring with their friends, Bad Brains, Washington D.C.’s pioneering, African American, Hardcore Punk band, when he unexpectedly (at least to the rest of the band), decided to bring Living Colour’s first voyage to an abrupt end.

— Living Colour (1993)

 

 

 

 

— The End Of The Beginning

Before we embark on the next voyage into the future, let’s look back.

 

6  “Love & Happiness”  b/ Livng Colour Biscuits (Japan)

 

— The End Of The Beginning

Before we embark on the next voyage into the future, let’s look back.

 

 

 

 “Dangerous Sex” (video)

 

 

Paradise Garage

After Hours (movie)

 

— Little Annie Bandez

Little Annie, a downtown NYC chanteuse, and friend of the Original Sugar Hill Rhythm Section. Downtown neighbors.

 

Little Annie Bandez

 “Strange Love” (Levi’s video)

 Max’s Kansas City (nightclub)

Frank Zappa (“About Annie”)

The Dakota

John & Yoko

Double Fantasy

 Bernard / Earl Slick (“Fame”)

 

Sacred Ground

Living Colour, well into the post-apocalyptic era, continues its journey into the musical beyond.

— Montreux (2007)

The Montreux Jazz festival has always been a favorite event for Vernon and Living Colour. They played the festival in 2001, the first year of the band’s reunion, and again in 2007, after well setting its course into the post-apocalyptic era.

 

THE WONDERFUL WORLD OF LIVING COLOUR 

 

“Reid’s rampant eclecticism encompasses everything from heavy metal and punk to funk, R&B and avant-garde jazz.

His anarchic, lightning-fast solos have become a hallmark.”

— Critic Steve Huey

 

Vernon Alphonsus Reid

b./ London August 22, 1958

Living Colour, (1983)

Grew up in New York City, with his Carribean parents, and began his musical career in the downtown, outside-jazz underground, just as hip hop was grabbing the city’s attention. 

Brooklyn Technical High School (77?) 

New York University (81?)

Downtown with Ronald Shannon Jackson.(80?)

Living Colour (1983)

Smash & Scatteration w/ Ronald Shannon Jackson (1984)

Defunkt (88?)

w/ Bill Frisell (1984)

Black Rock Coalition (1985)

w/ journalist Greg Tate / producer Konda Mason.

[1983] —

Vernon Reid forms the earliest versions of Living Colour, where he lived, in New York City.

[1985] — Living Colour’s first (permanent) lineup was solidified.

— Living Colour’s Epic Launch

Meteoric Rise, and Voyages Beond.

 

 

[1988] — Living Colour drops its debut, Vivid, and like a bomb, the band’s career explodes. Within two years, Vivid goes Double-Platinum, just before the release of Living Colour’s second release, Time’s Up.

 

[1990] — Time’s Up is certified gold, adding to Living Colour’s instant success and meteoric rise. The band also received wo consecutive, Best Hard Rock Performance Grammy Awards and the “Best New Band” in 1989’s MTV Music Video Awards. Live (onstage), Living Colour opened for the Rolling Stones on the North American leg of their 1989 “Steel Wheels” tour; and in the summer of 1991, Perry Farrell (Jane’s Addiction) invited Vernon and Living Colour to play the inaugural Lollapalooza.

 

[1991] — Playing Well With Others

Lollapalooza — Originally designed by Perry Farrell, as a small, casual, Jane’s Addiction farewell tour, but considering the quality of bands that had accepted Farrell’s invitation to play, the small tour grew into that summer’s sensational event, the seed that grew into the Legendary, Socially Significant, Original Rock N Roll Festival Events. 

 

— Living Colur post-epic documentary recordings

Biscuits — A mix of energetic live recordings and previously unreleased outtakes and B-sides recorded between 1989 and 1992, the years Muzz Skillings was Living Colour’s bassist. (1995)

[1992] — World Tour. Muzz Skillings leaves the band after Europe, and is replaced by Vernon’s old, downtown NYC friend,  the already legendary bassist, Doug Wimbish.

[1993] — Living Colour, making its mark, Stain.

 

 

“Crosstown Traffic” Stone Free: A Tribute To Jimi Hendrix (1993)

“Sunshine Of Your Love” Stone True Lies Soundtrack (1994)

 

[1994] —  (No) Dread

 

 

 

— Living Colur post-epic documentary recordings

[1995] — Pride

 

[1996] — Masque Mistaken Identity

 

— Vernon Solo Voyager

[Today] — Living Colour is older, wiser, and reflective. The same kick-ass band from downtown New York City … loud, aggressive, passionate, and never too shy to howl at the racist moon.The same band that made a fan of Mick Jagger, and went from CBGB to Arenas and Stadiums, in a matter of weeks, rather than months or years.

 

 

— Silent Running

 

Pink Floyd

Black Sabbath

Deep Purple

Green Day

King Crimson

Golden Earring

Blue Oyster Cult

Blue Cheer

Black Flag

Blak Out

 

 

 

LivingColourLogoBlack-Condensed-960

 

 

 

 

The Wonderful World Of Living Colour
Pt.1 — a vivid beginning
Pt.2 — post-apocalyptic reunion
Pt.3 — back in the USSR
“who shot ya?”
SHADE (Sept. 9, 2017)

Pt.5 —  see the light

 “Imagine / Two  Sides”

 

Living Colour broke up in 1995 but reformed in 2000. Since then, they have released three more albums: Collideøscope in October 2003 on Sanctuary RecordsThe Chair in the Doorway in September 2009, and Shade in September 2017 on Megaforce Records.

In addition to his work with Living Colour, Reid has been engaged in a number of other projects. He released Mistaken Identity, his first solo album, in 1996 and has collaborated with the choreographers Bill T. Jones on Still/Here and Donald Byrd on Jazztrain. He performed “Party ‘Til The End of Time” at the Brooklyn Academy of Music (BAM) with The Roots, an end of the 2000 millennium tribute featuring the music of Prince’s album 1999. He also composed and performed “Bring Your Beats” a children’s program for BAM.

Reid has also undertaken significant work as a record producer, including two Grammy-nominated albums: Papa (1999) by the African vocalist 

Salif Keita 

James Blood Ulmer 

Memphis Blood: The Sun Sessions (2001) by guitarist . Ulmer’s subsequent albums, 

No Escape from the Blues: The Electric Lady Sessions (2003), 

Birthright (2005), and 

Bad Blood in the City: The Piety Street Sessions (2007), were also produced by Reid.

Guitar Oblique (Knitting Factory)

w/  David TornElliott Sharp.

Reid was also featured in the program presented by BAM and the Experience Music Project in Seattle entitled “Magic Science”, which includes 

Medeski Martin & Wood and the 

Gil Evans Orchestra performing Gil Evans’ arrangements of songs by Jimi Hendrix.

Reid composed the score for the film 

Paid in Full, directed by Charles Stone III (well known for creating the “Wasssup!” series of commercials for Budweiser as well as directing three videos for Living Colour) and released by Miramax in the fall of 2002. Reid also composed the score for the celebrated documentary Ghosts of Attica (directed by Brad Lichtenstein), which aired on Court TV in the fall of 2001 and has been featured at several film festivals. He composed the score for another documentary directed by Lichtenstein, Almost Home, which aired in 2006 on the PBS series Independent Lens.

Reid and DJ Logic, calling themselves “Yohimbe Brothers”, released an album in September 2002 entitled Front End Lifter. The Yohimbe Brothers have been touring on and off since the release of the album. Reid was also the music supervisor for the film Mr. 3000, starring Bernie Mac and directed by Charles Stone III; the film was released in September 2004. Vernon’s album with Masque (Leon Gruenbaum – keyboards & Samchillian, Hank Schroy – bass and Marlon Browden – drums), an instrumental album entitled Known Unknown, was released in April 2004, and on 18 April 2006 Vernon Reid and Masque released Other True Self, both on Favored Nations records, owned by another guitarist, Steve Vai.

Reid has a prolific session output in a variety of contexts. He has played live or on record with

The Roots,

Eye & I, 

Mick Jagger,

Ambitious Lovers, 

Rollins Band,

Spearhead, 

Public Enemy

Janet Jackson

Mariah Carey

Tracy Chapman

Ronald Shannon Jackson

Don Byron

Defunkt

Santana

Bernie Worrell

MC 900 Ft. Jesus

B.B. King

Madeleine Peyroux,

Meridiem, 

Jack Bruce

Terry Bozzio,

Black Sugar Transmission

(Reid solos on the title track of 2009’s USE IT EP) and 

DJ Spooky.

 

1999/2000

America’s Millennium Gala,

New Year’s Eve  2000

Lincoln Memorial, performing

Fortunate Son” w/John Fogerty. Among those in the audience were 

President Bill Clinton and 

First Lady Hillary Clinton.

In March 2007, Reid played with Jamaaladeen Tacuma, and G. Calvin Weston at Tonic in New York and Tritone in Philadelphia, which led them to record as

Free Form Funky Freqs

Urban Mythology Volume 1.

European Tour November.

In July 2008 Vernon Reid assembled a one-off solo band for his appearance at the 

G-TARanaki Guitar Festival 

in TaranakiNew Zealand,

with keyboard player Jonathan Crayford, bassist Crete Haami and drummer Magesh Magesh.

At the Puke Ariki “Midnight Session” concert, Vernon performed an all-star jam with 

Uli Jon Roth

Gilby Clarke and 

Alex Skolnick.

In 2008 Reid also played a series of Blue Note Club tribute concerts to the Tony Williams Lifetime in Japan with 

Jack Bruce

Cindy Blackman and 

John Medeski.

In June 2012 the collaboration released a self-titled album 

Spectrum Road Palmetto.

Accompanied by a series of dates at large jazz festivals in North America and Europe throughout June and July.

In 2018, Reid signed with Mascot Label Group. He has an album slated for release in 2019.

“An Underground Railroad Of The Mind”

In 2017, Reid debuted his semi-monthly broadcast on the streaming radio station Home. His show, titled “An Underground Railroad of the Mind,” features Reid playing vinyl records from his record collection.

Reid resides in Staten Island with his wife Gabri Christa, a choreographer and filmmaker, and their daughter Idea (born June 30, 2003).

influences. 

Miles Davis

James Brown

Jimi Hendrix

Robert Fripp

John Coltrane

Frank Zappa

Jeff Beck

Carlos Santana

Eddie Hazel

John McLaughlin

Jimmy Page

Eddie Van Halen, and 

Dr. Know 

During the early years of Living Colour, Reid used a multi-colored ESP Mirage with EMG pickups, and he was an endorser of the A/DA MP-1 preamp. In later years, Reid has used custom Hamer guitars, and started a relationship with Parker Guitars, who built the DF824VR Vernon Reid signature model based on their Dragonfly design. it has EMG-X pickups in a HSS layout with 5-way switching system, a Floyd Rose vibrato (a first for Parker), and a Roland GK divided pickup. In 2016, he switched to PRS and was working on a signature model with them.[citation needed][15] The result is the PRS S2 VR Vela.

ESP Released the 86-run limited edition Cult ’86 based on the original used on “Cult of Personality.” [17]

Living Colour

Vivid (1988)

Masque

Mistaken Identity (Sony, 1996)

Known Unknown (Sony, 2004)

Other True Self (2006)

Yohimbe Brothers

Front End Lifter (2002)

The Tao of Yo (2004)

Obscure and/or unreleased

This Little Room (Sony, 2000)

In collaboration

w/ Bill FrisellSmash & Scatteration (Minor Music, 1984)

w/ Elliott Sharp and David TornGTR OBLQ (1998)

w/ Jack BruceJohn Medeski and Cindy Blackman SantanaSpectrum Road (2012)

w/ Melvin Gibbs/Mary Halvorson/Lee Ranaldo/

Vernon Reid/Elliott Sharp Christian Marclay: Graffiti Composition (2010; Dog w/ a Bone Records)

w/Jack Bruce

More Jack than God (2003) Sanctuary

Geri Allen

The Gathering (Verve, 1998)

Free Form Funky Freqs

Urban Mythology Volume 1 (2007)

Bon Vivant (2013)

Ronald Shannon Jackson and the Decoding Society

Mandance (1982)Antilles,

Barbeque Dog (1983)Antilles,

Montreux Jazz Festival (1983)Knit Classics,

Decode Yourself (1985)Island,

Mitch Winston and the

Band of Natural Selection

    • Right Back (2002)

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