Skip to main content

Living Colour

Living Colour

Rock band

For the Record

Assembled First Band in 1983

Assisted by Mick Jagger; Made Cult Video

Opened for Stones on Tour

Times Up Explored Timely Issues

Selected discography


The New York rock and roll band Living Colour, with its hard-hitting songs and expert musicianship, had all the ingredients for success when it first approached the music industry. Yet record labels didnt know what to do with the band, for the simple reason that all four of its members were black. Despite music-business stereotyping, Living Colour proceeded to banish all doubt with their 1988 debut album Vivid, which went gold, and their 1990 follow-up Times Up, spearheading a wave of eclectic and critically-acclaimed bands who challenged racial conventions.

Guitarist Vernon Reid, who started the band in 1985, struggled for years to realize his dream of an all-black, all-rock band. An early inspiration was rock guitar giant Jimi Hendrix, whose trailblazing songs remain some of the most popular music of the late sixties. For Reid, Hendrix provided an example of a black musician fusing traditionally black forms like the blues with psychedelia and other new styles. Yet the popular tendency to deemphasize Hendrixs blackness frustrated Reid. When he was in high school, Reid told Charles Shaar

For the Record

Living Colour members are Vernon Reid, guitar, born c. 1958 in London; Corey Glover, vocals; Muzz Skillings, bass, born c. 1964; and William Calhoun, drums.

Hard Rock band. Reid played guitar with bands The Decoding Society and Defunkt; Glover did acting work in films and commercials; Skillings and Calhoun worked as session musicians; band played on New York City club and college circuit, signed with Epic records, 1987, released first album, 1988.

Awards: Grammy for best hard-rock performance for Cult of Personality, 1989; MTV Video Music Award for best new artist, 1989.

Addresses: Record company Epic Records, 666 Fifth Ave., P.O. Box 4455, New York, NY 10101. Other Black Rock Coalition, P.O. Box 1054, Cooper Station, New York, NY 10276.

Murray, author of the book Crosstown Traffic: Jimi Hendrix and the Rock n Roll Revolution, that he heard a white Florida deejay say that Hendrix was black, but the music didnt sound very black to him [the DJ]. and I flipped out. At the time I was very culturally aware of the race issues because of [black activists] Martin Luther King [Jr.] and Malcolm X and all the ferment that was happening in the Black Power movement. I didnt really connect it all so much with music, but that really threw it in my face. It was a phone-in show, and I spent all night trying to call in. I fell asleep with the phone in my hand. This early incident focused Reids attention on the attitudes he would eventually challenge.

Assembled First Band in 1983

Reid was born in London to West Indian parents and raised in Brooklyn. He assembled the first version of his band in 1983, while still playing with drummer Ronald Shannon Jacksons jazz-fusion band The Decoding Society. Several different musicians played with early versions of the band, which would be named Living Colour in 1986, including jazz pianist Geri Allen. Reid met vocalist Corey Glover at a party during this period, and their common interests led them to collaborate. Reid left The Decoding Society in 1985 with the determination to form what Rolling Stones David Fricke termed a full-tilt rock band celebrating the continuing vitality and enduring promise of Robert Johnson, Billie Holiday, Bo Diddley, Sly Stone, Ornette Coleman, and Bad Brains (to name but a few), with the muscle and volume of Led Zeppelin.

That same year he co-founded the Black Rock Coalition (BRC), an organization designed to support African-American musicians hoping to break out of the straitjacket of black and white music categories. By 1990, the organization had a membership of 175 individuals and 30 bands, though Living Colour was the first to achieve mainstream success.

At a BRC meeting Reid met bassist Muzz Skillings, and soon thereafter ran into drummer Will Calhoun, who was playing for Harry Belafonte at the time. Glover left the band briefly to act in the film Platoon, and singer Mark Ledford fronted the band for its appearance at the Moers Jazz Festival in Europe in 1986. When Glover returned, the band played club dates in the New York area in 1987 and 1988.

Assisted by Mick Jagger; Made Cult Video

Mick Jagger, lead singer of the pioneering British rock band The Rolling Stones, heard Living Colour at a club date and was sufficiently impressed to produce two songs for the band, Glamour Boys and Which Way to America. The songs served as demos that helped them secure a record deal with the Epic label and were remixed for the LP Vivid, which was released in 1988. The album was slow to take off, and the first video, Middle Man, aired only scantily on MTV. The second video, for the song Cult of Personality, marked a breakthrough for the band, inspiring heavy radio airplay and increased record sales.

The video for Cult, a metallic rock tune with lyrics about blind obedience to leaders, featured film clips of politicians as diverse as Italian fascist Benito Mussolini and U.S. president John F. Kennedy, interspersed with energetic footage of the band onstage. Other songs from Vivid that fared well on radio and MTV were Glamour Boys, which, like Cult, became a Top 40 hit, Open Letter (to a Landlord), and Funny Vibe, a song about racism which included a guest appearance by the rap group Public Enemy. The LP went gold, then double platinum. Living Colour won a 1989 Grammy for best hard rock performance for Cult, and numerous trophies at the MTV Video Music Awards, among them best new artist. Rolling Stones Alan Light referred to Vivid as one of the most promisingand with over one and a half million copies sold, one of the most successfulrookie efforts in years. Reids band had answered industry concern that, in Frickes words, black rock was a contradiction in terms.

Opened for Stones on Tour

Shortly thereafter, Jagger invited the band to join the Rolling Stones on their 1989 Steel Wheels tour. Backstage after one of these shows, Living Colour was approached by Little Richard, one of the first black rock and roll artists to gain mainstream success in the fifties. Hi! Richard greeted the band. Im one of those glamour boys you been singin about! For the band, Richards encouragement was stunning and uplifting. That was the moment, Reid told Fricke. Having Little Richard say You guys are doing the right thingif I needed validation, thats it.

Little Richard contributed a rap to the song Elvis Is Dead on the bands next album, Times Up. This song both ridiculed the host of Elvis sightings publicized in tabloid newspapers and reminded listeners that Elvis Presley was a white singer making use of a black musical tradition. The song also featured a saxophone solo by former James Brown sideman Maceo Parker. A host of other noted musicians contributed to the LP, including rappers Queen Latifah and Doug E. Fresh. The albums first single, Type, made the Top Ten with radio airplay, and its video fared well on MTV. Epic shipped 400,000 copies of the album to stores initially, and within a week the company was taking reorders. Times Up entered Billboards album chart at Number 82, and reached the Top 20 the next week.

Times Up Explored Timely Issues

The second LP was, as Reid remarked to Interviews Charlie Ahearn, a few steps removed from where we were when we did Vivid. Indeed, Times Up explored a wide range of musical styles, including rap, soul, and African High Life music, and also included spoken-word passages about black experience on History Lesson by noted actors Ossie Davis, Ruby Dee, and James Earl Jones. Among the subjects treated in the lyrics were sexuality in the age of AIDS, information technology, and the motivations of drug dealers. According to Rolling Stones Light, the album represents the fulfillment of the bands promise. The challenge of a second record is to avoid formula, and this spectacular album is a tribute to Living Colours bravery. Times Up was voted one of the best albums of the year in a Rolling Stone readers poll, and Living Colour voted one of the best bands.

In 1991 Living Colour joined the massive Lollapalooza concert tour, along with such diverse performers as hard rockers Janes Addiction, rapper Ice-T, and punk mischief-makers The Butthole Surfers. At the outset of the tour, the band released an EP, Biscuits, which included covers of Hendrixs Burning of the Midnight Lamp, soul great Al Greens Love and Happiness, and James Browns Talkin Loud and Saying Nothing, as well as an outtake from Times Up, Money Talks, and two live tracks. Yet Entertainment Weeklys David Brown called the record overambitious Living Colour may indeed be the successors to Hendrix and Brown, but they need to make their biscuits with a simpler recipe.

These criticisms still acknowledged Living Colour as the fulfillment of Reids ambitions: a successful modern black rock group with a solid connection to a black rock tradition. After years of frustration, the band had become rock heavyweights.

Selected discography

Vivid (includes The Cult of Personality, Glamour Boys, Open Letter (to a Landlord), Middle Man, Funny Vibe, and Which Way to America), Epic, 1988.

Times Up (includes Type and Elvis Is Dead), Epic, 1990.

Biscuits (includes Burning of the Midnight Lamp, Love and Happiness, Talkin Loud and Saying Nothing, and Money Talks), Epic, 1991.



Murray, Charles Shaar, Crosstown Traffic: Jimi Hendrix and the Rock n Roll Revolution, St. Martins Press, 1989.


Down Beat, October 1990.

Entertainment Weekly, July 19, 1991.

Interview, September 1990.

Rolling Stone, September 6, 1990; November 1, 1990; December 13-27, 1990; March 7, 1991.

Simon Glickman

Cite this article
Pick a style below, and copy the text for your bibliography.

  • MLA
  • Chicago
  • APA

"Living Colour." Contemporary Musicians. . 25 Mar. 2019 <>.

"Living Colour." Contemporary Musicians. . (March 25, 2019).

"Living Colour." Contemporary Musicians. . Retrieved March 25, 2019 from

Learn more about citation styles

Citation styles gives you the ability to cite reference entries and articles according to common styles from the Modern Language Association (MLA), The Chicago Manual of Style, and the American Psychological Association (APA).

Within the “Cite this article” tool, pick a style to see how all available information looks when formatted according to that style. Then, copy and paste the text into your bibliography or works cited list.

Because each style has its own formatting nuances that evolve over time and not all information is available for every reference entry or article, cannot guarantee each citation it generates. Therefore, it’s best to use citations as a starting point before checking the style against your school or publication’s requirements and the most-recent information available at these sites:

Modern Language Association

The Chicago Manual of Style

American Psychological Association

  • Most online reference entries and articles do not have page numbers. Therefore, that information is unavailable for most content. However, the date of retrieval is often important. Refer to each style’s convention regarding the best way to format page numbers and retrieval dates.
  • In addition to the MLA, Chicago, and APA styles, your school, university, publication, or institution may have its own requirements for citations. Therefore, be sure to refer to those guidelines when editing your bibliography or works cited list.