I am shocked to report, Living Colour's new album, ColideOScope is real bad--I'm talking N'Sync or Train or Staind bad. I am a big fan, so am disheartened by this. The album is just real badly written, and the socially aware songs have awkward lyrics. The guitar riffs are weak and the album has no funk or soul. They are trying to sound like a white rock band. Please, do not buy this, if you can help it. There are a few decent songs, but this album is baaad. Save your money.

WTF is up with that God-awful title too?!?

Thanks for the warning!

A pouting party is in order.

I don't like their cover of Prince's "17 Days"!

You should hear their cover of Back In Black. Corey sings it in falsetto, but the whole song is done almost exactly like ACDC

And how do we know you're not on the payroll of rival pop bands... like "N'Sync or Train or Staind?" HMMM???

Seriously, though, I've always wanted to like Living Colour, but I could never wrap around anything they did except for one remix of "Nothingness."

2freaky4church1 said:

He said they did it true to the original cuz they love the song. But LORD he sounds bad doing it.

well, this is living colour after all...what were you expecting? some bands fade for a reason...cult of personality...come on...

Freakin' retards. It's 4 stars on allmusic.com.

:Fro:


Living Colour's appetite was always voracious. It attacked rock, funk, and jazz textures with a tenacious, blind energy, and opened wide to accommodate lyrically outsized social and political issues. But while the band had an incredible capacity for honing its humongous sound and vision into searing (or grooving) anthems, its lyrical kvetching sometimes seemed self-righteous, and the constant, radical aesthetic shifts could be jarring. And yet, Living Colour's stagnation after 1995's Stain was strange. They had always been so hungry, so exploratory — three albums didn't seem like sufficient nourishment. As it turns out, the quartet wasn't finished. A round of 2000s reunion gigs has led to CollideØscope, a barbed and literate work that tears anew into Living Colour's signature sound, but is also flawed by a few of those old shortcomings. Vivid and Time's Up's flashes of cynical humor ("Glamour Boys," "Elvis Is Dead") were largely gone by Stain, replaced with a claustrophobic weariness typified even in song titles — "Go Away," "Mind Your Own Business." CollideØscope further emphasizes that shift. Here, Corey Glover's lyrics grapple with media, herd mentality, and the loss of faith. But it's the specter of 9/11 that really casts a pall, since he sees much of the mind control and climate of complacency in the U.S. as ramifications of that tragedy. Vernon Reid accompanies this sociopolitical soul-searching with guitar work that's serrated, dirty, and consistently amazing. "Song Without Sin" and especially "A ? of When" nod again to Bad Brains; the latter's staccato lyrical fatalism unfolds hardcore style over Reid's assaulting riff. As they do throughout, Will Calhoun and Doug Wimbish prove to be a formidable rhythm section, expertly exerting varying levels of pressure on the mid-level mess of guitar and sound bed cacophony. In a classic Living Colour move, one of the album's most alluring songs is also its most disturbing. Detailing the World Trade Center's destruction from one wrenching point of view, Glover's voice follows "Flying"'s light, soaring funk with a detachment that's arresting. "I jumped out the window to get to the parking lot," Glover sings. "Never in my life have I felt a heat so hot/I had to get out." When things get this heavy, a little levity would be nice — not to ignore what happened (or what is happening), but to alleviate the immediacy of CollideØscope's single-mindedness. This dour heart is at once the album's greatest strength and biggest weakness. Living Colour proves it hasn't lost a step by rocking out of the box with such visceral anger and scenery-chewing musical adventurism (check out the drum'n'bass/dub hybrid "In Your Name" or instrumental coda "Nova"; a mid-album run through AC/DC's "Back in Black" also rocks energetically and without agenda). There's no doubt CollideØscope is a welcome return for a group that never should have left. But the quartet's blistered, gray-sky worldview makes listeners forget the flutter of "Solace of You" or the sighing soul update "Broken Hearts," and the permeating darkness obscures the mixture of hope and anger that makes its music so thrilling. — Johnny Loftus

1. Song Without Sin - 4:08
2. A ? of When - 3:49
3. Operation: Mind Control - 3:09
4. Flying - 4:24
5. In Your Name - 4:23
6. Back in Black - 4:24
7. Nightmare City - 4:05
8. Lost Halo - 4:20
9. Holy Roller - 4:26
10. Great Expectation - 3:37
11. Choices Mash Up - 5:07
12. Pocket of Tears - 4:42
13. Sacred Ground - 4:11
14. Tomorrow Never Knows - 4:11
15. Nova - 1:35




http://www.allmusic.com/c...b1z8oa4yv5

2freaky4church1 said:

what kind of shit is this?

Don't you think people should get it and decide for them selves?

2freaky4church1 said:

No it isn't. It sounds nothing at all like the original.
Corey's vox is more a hysterical screech than a smooth falsetto, In any case, it's played as a joke.

bananacologne said:

Clues:
Living colour
Kalidescope
9/11

imnotsayinthisjust2bnasty said:

Hey mang, Time's Up was the shit.

ahh...shut it!

S'funny cuz I always thought LC brought out the dark stuff Prince started to touch on SOTT, but backed off to a more pop kind of style.

I've been listening to this almost non-stop since I got it. Here are some of my impressions.


Pretty experimental; mixes electronica, punk, hardrock, reggae and blues. Lyrics are political with a heavy post-9/11 tone. Dark and grim. Crimson and gray. The crimson soaked blood splattered flag and grim grey NY skyline on the back cover bring to mind "What's Going On ?" cover with Marvin standing out in the rain. Another time when shit went wrong in American and the slop gets on you.

Sometimes the production distorts the nature of the recorded track. "Operation Mind Control" is sung almost like robotic chant and the vox are suppressed and sounding like they're coming thru a hole in the wall. "In Your Name" is about march to war in military buildup and has layers of industrial noise with a frantic punk vocal from lead singer Corey Glover.

I like "Great Expectaion" which has great lyrics about becoming disillusioned and cynical. "Holy Roller" is a scathing blues feature for Vernon Reid. My fave track is "Pocket of Tears" which was one of the tunes they did live recently. Also good is "Lost Halo"; a kind of twisted lovesong liek "Love Rears It's Ugly Head".

There are two covers: AC/DC "Back In Black" and Beatles "Tomorrow Never Knows".
First cover is hysterically a joke as Corey's singing in a wild screehy voice. The Beatles cover is masterful with Indian-type strumming that bleeds into a shot atmospheric instrumental.

This is headphones kinda music. Like the early Stevie Wonder and FUNKADELIC albums where you listen for sonic details.

Anxiety said:

I still like Love Rears Its Ugly Head

CalhounSq said:

You'll probably dig "Lost Halo", too.

2freaky4church1 said:

BULLSHIT!!

eldog98 said:

Now now. I'd say, if you're a guitar freak for Vai and Satch and dig that total obsessive guitar over all else kind of record, then maybe this record will do it for you.

But if you liked the band for other reasons, Corey's vocals, the killer drums on Time's Up, etc, it ain't there. This is a continuum of Stain - bare-bones production, riff heavy crap tone record.

otan said:

Totally confirms my belief that you usually post without an idea of what you are talking about.

You did get one thng right. It is a continuation (not sure what you meant by "continuum"?) of STAIN which moved them away from hip-hop and more into the alt-rock genre. (something it took me a while to realize I appreciated). The post-production is actually overly busy in an electronica sense, which might be lost on a casual listener.

Moral of the story for the rest of us who haven't heard it - make your own opinion


Rolling Stone is selling it with their review as well.

PFunkjazz said:

Oh DO shut up, it was a rhetorical question.
[This message was edited Sat Oct 25 15:18:30 PDT 2003 by bananacologne]

goddammit, i still can't find this record anywhere.

Recordings
A Shade Bolder, Living Colour Is Back

By Michael Deeds
Special to The Washington Post
Sunday, October 26, 2003; Page N02

Although Living Colour released three albums before disbanding in
1995, the group is best remembered for the song that made its initial
splash: 1988's Grammy-winning anthem "Cult of Personality."

Constructed around a perfectly bludgeoning riff, that terrific hit was
almost as effective as its stereotype-shattering video, which became
ubiquitous on MTV. The image of four black men cranking out
cranium-crushing rock -- vocalist Corey Glover flinging his
dreadlocks, guitarist Vernon Reid unleashing avant-garde metal solos
-- was foreign and revolutionary to music fans, as was the song's
politically charged subject matter.

That's why headbangers have every reason to celebrate the return of
this ambitious quartet, which also includes drummer Will Calhoun and
bassist Doug Wimbish. Living Colour's dynamic fourth album,
"Collideoscope," isn't just a comeback. It's a raised fist and a
battle cry.

The opening track, "Song Without Sin," is a lesson for today's
nu-metal elite: Reid's guttural guitar is ferocious but paced, and his
rhythmic approach emphasizes the silence between riffs, making the
power chords that much denser. Meanwhile, Glover's instantly
recognizable voice -- drenched with passion and focused on melody --
perfectly counteracts Reid's sonic brutality throughout the album.

Living Colour has plenty to say on "Collideoscope," which covers an
array of subjects and musical styles: anxiety (blues scorcher "Holy
Roller"), Big Brother (the grinding "Operation: Mind Control") and war
protest (industrial-metal track "In Your Name"). The Sept. 11, 2001,
terrorist attacks provide the framework for a handful of songs. The
ethereal, smooth-grooved "Flying" tells, in first person, the sad
story of a man who gets the nerve to ask out a woman in the World
Trade Center -- moments before the plane hits: "Fate has given me
wings / Such a terrible, funny thing," he sings as the couple jump to
their death holding hands. The other terrorist attack-inspired
standout, "A ? of When," is a frantic, relentless charge about living
in fear. "Can it happen again? / Not a question of if / But a question
of when!" Glover shrieks while Reid pummels his ax like a madman.

Even when Living Colour joyfully plows through a sizzling cover of
AC/DC's "Back in Black," it feels like a statement. Song title
notwithstanding, the lyric "They've got to catch me if they want me to
hang" takes on new meaning coming from Glover's mouth.

Reid spits out more notes during the "Back in Black" guitar solo than
Angus Young probably played on that entire AC/DC album -- a trend that
permeates "Collideoscope." Influenced by jazz and punk, his leads are
Gatling gun bursts often completely outside the song's parameters.

Somehow he's able to pull the ripcord and parachute back in, even on
the soulful, easygoing "Lost Halo." But for the more casual rock
listener, it can be jarring to have a zillion notes explode in your face.

Then again, Reid and the rest of Living Colour want to be noticed.
(Why else would they cover the Beatles' "Tomorrow Never Knows"?)
"Collideoscope" not only jumps up and down screaming to be heard, it
also raises the whammy bar for the rest of the hard-rock universe.

(To hear a free Sound Bite from this album, call Post-Haste at
202-334-9000 and press 8161.)

http://www.washingtonpost...Oct24.html

bananacologne said:

I'm a complete ?

You sounded like you had no clue!

PFunkjazz said:

PFunkjazz said:

...but It's STILL shit.
[This message was edited Sun Oct 26 8:18:36 PST 2003 by bananacologne]

bananacologne said:

You know what they sat about opinions & assholes?
Yours is full of it.
[This message was edited Sun Oct 26 10:00:43 PST 2003 by PFunkjazz]