The gamecock. (Columbia, S.C.) 1908-2006, March 01, 1991, SPRING Sports and Fashion Issue, Page 11, Image 17
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By College Press Service
Since the release of Vivid, their
critically acclaimed, multiplatinum
debut album, the members
of Living Colour have been
busy breaking down the barriers.
B'oth musically and racially,
Living Colour has affected
rock'n'roll unlike any artists in the
past 20 years, Prince and Michael
Jackson included.
"We get a lot of letters from
kids," drummer William Calhoun
said. "Some of them admit to not
expecting black people to do
something like this. Some of them
admit to being racist."
At the 33rd Annual Grammy
Awards Feb. 20, the band's latest
album, Time's Up, was honored in
the category of Best Hard-Rock
Performance.
Living Colour's trademark fusion
of hard-rock roots, jazz influence
and hip-hop madness has won
them a legion of fans and broken
down the doors of restricted
creativity.
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Its music is a mix of the manic
vocals of Corey Glover, guitarist
Vernon Reid's six-string prowess
and the impressive rhythm section
comprised of bassist Muzz Skillings
and drummer Calhoun.
Living Colour was formed in
1984 when guitarist Reid brought
together four musicians from
wildly different backgrounds and
influences.
Born in England and raised in
New York, Reid studied with jazz
guitarists Ted and Rodnev Dunbar
while a teenager. A stint as an apprentice
with Ronald Shannon
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session work with the likes of
Public Enemy and Mick Jagger.
The other members of Living
Colour possess equally impressive
musical credentials.
Drummer Calhoun is a graduate
of the Berklee School of Music in
Boston.
"My mom made us to go to at
least one opera a month," Calhoun
said of his early musical influence.
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"This exposure was great"
This diversity of musical influences
has helped Living Coloui
break new ground in the world ol
rock'n'roll. "We're basically music
lovers. We're not doing it just tc
be different but for the art of it'
Calhoun said.
The band is currendy touring in
support of its second album,
Time's Up, a bold, hard-rocking
and powerful recording, which
touches upon a number of social
concerns including the environment,
racism and the nature ol
relationships.
"We wanted to make a differeni
record, not Vivid II. (Time's Up) is
a little more experimental than the
other one," Calhoun explained.
On Time's Up, the band also recorded
with some friends and
idols, including rapper Queen Latifah,
Maceo Parker and Little
Richard.
"Little Richard is an inspiration
He pulled us to the side, probabl)
a year and a half ago, and told us
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that he was the 'Glamour Boy* we
were singing about," Calhoun said.
'To have somebody like that tell
" you that they like what you're doing
and that they support it is
? pretty important It meant a lot to
us," he said.
While Living Colour's success
has not onlv ODened doors for
bands such as 24-7 Spyz and the
) Bad Brains, Calhoun thinks popuj
lar music is stagnant.
"A lot of music today isn't ex'
perimental as it was 15 years ago.
Things today have become a lot
more regimented due to the success
of certain types of musi'
cians . . . pop stars, or whatever
you want to call them. Radio has
changed and the signing of the
I bands has changed," Calhoun said.
Calhoun also finds racism to be
a continuing problem in the music
industry.
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angle this at a certain market.' I
don't think that black people and
black artists were included in this
market," he said.
Now, "you don't hear about
Chuck Berry, you don't hear about
Little Richard, these guys don't
have record deals and they don't
go on tour anvmnrp " hp. said
"I was talking to Little Richard
and he said, 4hey, the Beatles used
to open for me, the Stones used to
open for me.' Kids, white or black,
don't know about it," Calhoun
added.
This lack of tradition in
rock'n'roll is another barrier Living
Colour is working to tear
Hnuun
"When I was a kid, almost
everyone in my neighorhood
played (an instrument), whether
they wanted to be a musician or
not. We loved music. Now, with
this technology, Gameboy (the
hand-held electronic game) rules!"
Calhoun said.
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