In a quintessentially riff-heavy exchange with Kyle Meredith, Vernon Reid of Living Colour dives into the raw, irrepressible energy that fuels both his music and that of his late collaborator Wayne Kramer, legendary guitarist for the MC5. Speaking about Kramer’s last album, Heavy Lifting, Reid paints a picture of Kramer as more than a musician; he was a figure who fused music with activism, embodying a legacy Reid views as a “rage at injustice.” Kramer’s passion for criminal justice reform and empathy for marginalized people, Reid explains, brought them together through conversations around both music and social issues. The track “Can’t Be Found” felt like a natural meeting point, capturing the essence of Kramer’s work while allowing Reid to add his unique twist. “They dug what I did,” he says with a hint of reverence. “He was a lovely person to know.”
The roots of this collaboration go deeper than just studio sessions. Reid recalls meeting Kramer in various circles, notably during the eclectic camps hosted by guitar legend Tom Morello. With a rotating cast of musicians from John 5 to Nuno Bettencourt, Morello’s gatherings were a playground for Reid and Kramer to riff on ideas—musical and otherwise. Reid emphasizes how this camaraderie transcended age and genre, uniting rock guitarists with shared philosophies. “Wayne was always there to talk about root causes of violence, and he wanted people to understand where it comes from. He’d say, ‘This is why people feel they have to be angry. This is why they’re cornered.’”
The MC5 guitarist left a lasting impact on Reid, who reveres MC5 as progenitors of politically-charged rock that went beyond the superficial. Reflecting on the ‘60s Detroit sound that gave rise to MC5 and The Stooges, Reid reveres the sheer audacity of their sonic approach. “They tapped into something that could only come from that era,” he muses. “They weren’t afraid of sounding dangerous. The music was transformative—it wasn’t about playing it safe. They didn’t offer guarantees. That’s what made them visceral.” He compares the MC5’s ritualistic performance style to the fearless improvisation of jazz greats like Miles Davis and avant-garde rockers like Hendrix, with a show built on suspense, where “none of us are going to be the same by the final chord.”
Reid finds a parallel with Living Colour’s boundary-pushing spirit, a blend of his love for Motown’s groove, jazz’s exploration, and rock’s edge. With each project, he reflects on how music’s purpose has evolved and fractured across generations. “We’re more willing to get out of our own way,” he admits, hinting at the balance between skill and spontaneity that defines Living Colour’s creative dynamic. Their early days may have embodied a “dangerous” edge, but today, Living Colour is just as willing to let the music evolve naturally, without succumbing to industry pressures. Touring with Extreme this year, they’re celebrating the 40th anniversary of their debut, and Reid says the band is “grateful for the connection” that remains with their fans. The newer material is still in the works, and Reid is tight-lipped but hints at a continuation of their blend of the soulful with the confrontational.
In the spirit of keeping rock’s roots alive, Reid champions the largely unrecognized contributions of Black musicians in shaping the genre. “I’ve never seen rock as anything other than Black music,” he states, name-checking the Isley Brothers and War as pioneers whose influence remains undervalued. He dreams of an alternate rock history where figures like Ernie Isley and Funkadelic get their due, where experimental acts like Fishbone and Bad Brains sit at the table alongside Zeppelin and The Clash. “American music was never built on safety,” he declares. “It’s the music of crossing boundaries, of breaking out of silos.”
As Reid looks forward to Living Colour’s future projects, he brings this unfiltered ethos to every performance. And if the MC5 collaboration was anything to go by, it’s clear that the guitarist will keep tearing down walls—both musical and societal—for years to come.
Watch the interview above and then check out the video below.
