by Nikki M. MascaliStaff Writer
Living Colour has always been a band whose sound was a melting pot of funk, heavy metal, rock and hip hop. Its 1988 hit “Cult of Personality” was one of the defining songs of the decade — and the perfect venue for the band’s social and political commentary. Now, more than 20 years later, Living Colour released “The Chair in the Doorway,” its fifth studio album. Made up of vocalist Corey Glover, guitarist Vernon Reid, bassist Doug Wimbish and drummer Will Calhoun, Living Colour has not lost one ounce of its anthemic vibe or rock prowess.
The great starter, “Burned Bridges,” reintroduces listeners to Glover’s unmistakable vocals, which sound just as brutally honest as they did 20 years ago, and just how good a guitarist Reid is. An early standout is “DecaDance,” which has Glover sounding downright pissed as he growls, “In the access of excess/ The pigs are at the trough/ You thought you had your fill/ But enough is never enough.” (Hmm, might he be a fed up Luzerne County resident?)
“Young Man” features fantastic and funky guitar and bass mixed with tribal drums. “Method,” another standout, is an apocalyptic industrial track with Glover’s voice breaking through like a beacon of hope — even with dark lyrics like “Hell is frozen/ Crashing dreams/ Cities imploding/ Worlds unseen.” The upbeat “Behind the Sun,” another highlight, is the antithesis of “Method:” “Everyone’s happy/ Life is sweet/ … It’s cold and lonely but we still believe.”
The musicianship of Living Colour shines on “Bless Those (Little Annie’s Prayer),” which starts off with a tasty jam and features bluesy bass and an incredible Reid solo which mixes deliciously with Glover’s voice. The conversational “Hard Times” verses mesh well with its angry, thrusting chorus and who, in these times, can’t relate when Glover declares that “There is no happy ending/ Where things turn out fine/ So stop all your pretending?”
Crunchy guitar is prominent on “Out of My Mind,” a track in which Glover’s vocals alternate his normal richness with gravelly screaming and a few Axl Rose-esque screeches — and it works. The closer “Not Tomorrow,” with its handclaps and throaty and hypnotic bass-and-drum dance, gives visions of a voodoo-ridden bayou.
On “Behind the Sun,” Glover sings “We’re still here,” and that’s something rock fans should be thankful for. Living Colour stayed true to its core and delivered an album that is exactly what a Living Colour record — and a rock record — should be — with no whining, wallet chains or bandanas.
Rating: W W W W
