Sly & the Family Stone
Band members Related acts
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line up 1 (1967-) - Greg Errico - drums, percussion (1967-71)
- Larry Graham - vocals, bass (1967-72)
- Fred Stone - horns - Rusty Allen - bass (replaced Larry Graham) (1972- )
line up x (1976) - Virginia Ayers -- vocals, percussion - Joe Baker -- guitar, backing vocals - Lady Bianca -- vocals, clavinet - Viocki Blackwell - violin - John Colla -- sax, backing vocals - JohN Farey --keyboards, percussion - Dwight Hogan -- bass, backing vocals - Cynthia Robinson -- trumpet, backing vocals - Steve Schuster sax, flute - Sly Stone - vocals, keyboards, guitar, bass - Anthony Warren -- drums
supporting musicians (1976) - Peter Frampton --- guitar - Amando Peraza -- percussion - Cousin Tiny -- backing vocals - Sister Vai -- backing vocals
backing
band (1979)
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- BLT (Bill Lordan) - Rubicon
(Jerry Martini) |
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Genre: funk Rating: *** (3 stars) Title: Life Company: Epic Catalog: E 30333 Country/State: Denton, Texas Year: 1968 Grade (cover/record): VG / VG Comments: minor age discoloration; minor edge and corner wear Available: 1 Catalog ID: Price: $8.00
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Having enjoyed massive popular success with their first two albums, 1968's self-produced
"Life" found Sly and company opting for a harder edged, more experimental approach. First impressions for most listeners weren't too favorable. While the band's unique funk edge remained instantly recognizable, tracks such as "Only One Way out of This Mess" "Plastic Jim" and "Jane Is a Groupie" were too just too strange for radio and the mainstream audience. That impression changes with multiple hearings. Probably one of the band's most consistent releases, even the wilder stuff ("Chicken" and "I'm an Animal" - always loved the sound effects) is rewarding. Released as a single "M'Lady" b/w "Lady" (Epic catalog number 5-10353) was one of the more commercial efforts and provided the band with a modest radio hit. Lacking a killer single (and perhaps colored by a
disastrous English tour - Graham was caught trying to smuggle pot into the UK, getting the band expelled from the country without having undertaken a single performance), the album was a commercial disaster, peaking at #195. (Not sure why, but this LP was once quite common, now copies are far and few between ...)
1.) Dynamite (Sylvester Stewart) - 2:43
(side
2)
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Genre: funk Rating: ** (2 stars) Title: High On You Company: Epic Catalog: PE 33835 Country/State: Denton, Texas Year: 1975 Grade (cover/record): VG+/VG+ Comments: minor ring, edge and corner wear; original inner sleeve Available: 1 Catalog ID: Price: $5.00
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Reportedly suffering from a major drug addiction problem, Stone managed to pull himself together in order to release 1975's ironically titled
"High On You". While billed as a solo effort, the collection didn't differ much from his earlier catalog. The fact it sounded like a Sly and the Family Stone offering probably had something to do with the fact the original band provided support
throughout. That said, the set came off as a major disappointment. Burdened by weak material, Sly sounded bored and unenthusiastic throughout. Sure there were a couple of exceptions. The title track offered up a slice of prime funk (probably the best single effort he'd recorded in a couple of years), while "That's Lovin' You" offered up one of his prettier ballads. Of course what else would you expect from a guy with a major addiction problem ... Released as a single "I Get High On You" b/w "That's Lovin' You" (Epic catalog number 8-50136) provided Sly with a minor top-100 pop hit. While Sly's erratic behavior certainly cost him a big portion of his audience, the album sold well, peaking at #45. Unfortunately, adding to his growing personal problems, by the end of the year Stewart found himself hit with a $5 million tax lien and found was forced to declare bankruptcy.
1.) I Get High On You (Sylvester Stewart) - 3:14 (side 2) 1.) Organize
(Sylvester Stewart - F. Stewart) - 3:19
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Genre: funk Rating: *** (3 stars) Title: Heard Ya Missed Me, Well I'm Back Company: Epic Catalog: PE 34348 Country/State: Denton, Texas Year: 1976 Grade (cover/record): VG+/VG+ Comments: still in shrink wrap (torn and open) Available: 1 Catalog ID: 1822 Price: $10.00
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Even though he'd recently filed for bankruptcy in the face of a staggering $5 M federal tax bill, the fact of the matter was Sly Stone was simply too valuable a nameplate for Epic to completely give up on him. His sales may have drastically declined over recent years and he wasn't much of a touring draw, but leave it to a record label to squeeze out the last drop of blood from an artist. And that seems to have been the genesis behind this 1976 comeback album. Reforming the Family Stone nameplate (though the only carry over member was Cynthia Robinson), the optimistically titled "Heard Ya Missed Me, Well I'm Back" was clearly meant to re-ignite his career. Written and produced by Stone, I'd love to tell you this was an amazing comeback, but about the nicest thing one could say was the set had it's moments. In spite of his personal demons, judging by tracks like the Latin-tinged title track and 'Blessing In Disguise' Sly seemed to be in good form. The title track was far different that anything he'd previously recorded, but the breezy Latin feel was charming. 'Blessing In Disguise' was a sweet ballad with a nice Gospel-tinged edge. The pounding 'Family Again' wasn't the most original tune, but demonstrated you could successfully revisit old artistic stomping grounds. Unfortunately the highlights were overwhelmed by lesser material and given what a great voice the man had, it was ironic that on tracks like 'What was I Thinking In My Head' and 'Sexy Situation' he was all but drown out by the backing singers and arrangements.
Sadly, judging by the
complete absence of sales, nobody seemed to care Sly was back. 1.) Heard Ya Missed Me, Well I'm Back (Sly Stone) - 4:03 The breezy Latin tinged title track started the album on a promising note. Kicked along by some wonderful mariachi-tinged horn charts, this was an easygoing, happy ditty that should have generated some chart action for Sly. Admittedly the lyrical references to paranoia were an unfortunate indicator of what was to come. YouTube has Sly and company performing an abbreviated version of the tune on what appears to be Glenn Campbell's variety television show: https://www.youtube.com/watch?v=YA8zU1yecjA rating: **** stars 2.) What was I Thinking In My Head (Sly Stone)- 4:04 Hard edge funk that sounded like a mix between Silver Convention and George Clinton. Interestingly, Sly was all but absent on the tune with the backing singers essentially handling the lead vocals. rating: ** stars 3.) Nothing Less than Happiness (Sly Stone) - 3:03 'Nothing Less than Happiness' was an unexpected shift in direction with Sly and Lady Bianca turning in a '50s doo wop-tinged bluesy duet. Nice, though lyrically it wasn't much more than the title repeated time after time after time .... rating: *** stars 4.) Sexy Situation (Sly Stone) - 3:01 'Sexy Situation' wasn't a half bad funk romp, but it was another tune where Sly was largely buried in the mix with the background singers taking over. Shame since the song had potential. rating: ** stars 5.) Blessing In Disguise (Sly Stone) - 3:54 Probably the most "retro" sounding tune on the album, 'Blessing In Disguise' would not have sounded totally out of place on one of his early-'70s albums. Nice, churchy melody with those patented uplifting lyrics and Sly sounding in good form. One of the album's isolated highlights. rating; **** stars
(side 2) 1.) Everything In You (Sly Stone) - 3:18 I'm sure I'm being way to cynical, but the soul infuse ballad 'Everything In You' sounded like something Sly might have written with Epic marketing executives pointing a gun at his head. clearly intended to mimic the ingredients that had been successful in the past, the results came off as overblown and desperate. Shame since the basic song had real promise. rating: ** stars 2.) Mother Is a Hippie (Sly Stone) - 3:05 Bubbly synthesizers and chirping females chorus simply couldn't save this tune. Again, there seemed to be a good idea underneath all the fluff, but it was never given a chance to breath. rating: ** stars 3.) Let's Be Together (Sly Stone) - 3:40 'Let's Be Together' was a breezy dance tune that eventually grew on you. Sly had such a unique voice and while this wasn't a great tune, it was fun hearing him embrace some of the vocal gymnastics that made him so special. In case anyone cared, Peter Frampton provided the voicebox effects on lead guitar. rating: *** stars 4.) The Thing (Sly Stone) - 3:25 Disco strings ? Not a good way to start. Luckily the song quickly shifted into one of Sly's patented lysergic chants, though, once again, the backing singers all but took over the tune. rating: ** stars 5.) Family Again (Sly Stone) - 2:49 Nah, it wasn't Larry Graham, but kudos to Dwight Hogan for doing an apt imitation of Graham's fat bass sound. And that was enough to give the song that sense of groove and enthusiasm that was missing on most of the album. Easily the album's standout performance which is probably why Epic floated it as a single:
- 1976's 'Family Again' b/w 'Nothing Less Than Happiness' (Epic catalog number 8-50331). rating: **** stars
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Genre: funk Rating: ** (2 stars) Title: Back On the Right Track Company: Warner Brothers Catalog: BSK 3303 Year: 1979 Country/State: Denton, Texas Grade (cover/record): VG/VG+ Comments: cut out notch top; creased bottom right; original inner sleeve Available: 1 Catalog ID: Price: $5.00
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After eleven albums for Epic, in early 1979 Stone signed with Warner Brothers. Though credited to Sly & the Family Stone, supported by a slew of studio pros (guitarists Joseph Baker and Hamps Banks, bassist Keni Burke and keyboardist Mark Davis), for all intents and purposes the LP served as a Stone solo effort. On a positive note, the optimistically titled
"Back On the Right Track" stood as an improvement over his previous release ('course, virtually anything would have been). While nowhere near the caliber of his earlier classics, the set wasn't a complete wipe out. Sly's instantly recognizable voice remained intact and he seemed at least partially focused on the material (the sharp suite looked hysterical on our man). Nothing here was going to drastically change your life, but "Remember Who You Are", "If It's Not Adding Up ... " and "Who's To Say " offered up a couple of decent melodies and memorable funk bass lines. Unfortunately, by now bored with the singer's
unpredictability, Sly's core audience had long since discovered the likes of George Clinton and The Ohio Players. With Sly now virtually unknown to late-'70s music fans, the album peaked at #152. 1.) Remember Who You Are
(Sylvester Stewart - Hamp Banks) - (side 2) 1.) Shine It On
(Sylvester Stewart) -
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Genre: funk Rating: ** (2 stars) Title: Ten Years Too Soon Company: Epic Catalog: JE 35974 Year: 1979 Country/State: Denton, Texas Grade (cover/record): VG+/VG+ Comments: -- Available: 1 Catalog ID: 143 Price: $15.00
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I own some truly bizarre albums and one of the strangest has to be this 1979 remix collection - "Ten Years Too Soon".
Anyhow, here's what Cheryl Machat's liner notes had to say: "[the album] was conceived in an attempt to awaken millions of fans of rocking dance music to Sly's impressive style. The music has been "disco fied" to expose his undiscovered talents to a young and growing radio audience. Extreme measures were taken to accomplish this task without drastically altering the essence of Sly. New York's finest musicians were contacted, each one considered Sly his mentor. They knew everything about Sly -- they studied the kind of guitars he used, each finger, each drum lick, each syncopated beat -- they knew Sly cold. And yet, they sat paralyzed when first confronted with the task to recreate Sly was like demanding a miracle to occur. Never before have witnesses sessions as magical and mystical. Eyes revealed bewilderment as time lost significance. The meter scans as the tape reversed. Years fluttered by at the touch of a button. This year is 1979, but history was recreated. To bring Sly into the modernized sound of disco, certain sounds had to be added, some parts elongated, certain beats exaggerated. Some new tracks were added, including new drums, guitars, bass guitars, fresh handclaps, timbales, syndrums. The original horns and Sty's vocals were left as originally recorded. They were cleaned in the mixing stage, and you will hear shots and licks that were never heard before. But the voice is pure and unsynthesized Sly. We lived and breathed Sly for months, moving n to the next song only when every aspect of perfect recreation was exhausted. In the final analysis, this project was completed out of a deep respect and the sincere belief that the world needs to hear Sly again. The key is the title, Ten Years Too Soon. Sly practically created today's disco sound. Nearly every artist composing rock, fund or disco has borrowed some elements of Sly's music - the list is endless. You need only listen to radio to note the juxtaposition. The Years Too Soon enables a whole new generation, the "Everyday People" of the 1970's to head Sly and understand why we, who grew up on his pulsating beat, say he is the forerunner to today's music."
So, giving credit where due, from a historical standpoint, the set was interesting in that it stood as one of the first remix collections to hit the market. I also took a little comfort in knowing Sly's direct participation in the project was seemingly nonexistent ... it was nice to know that he wasn't responsible for this phase of his career meltdown (I read somewhere Sly actually considered suing Epic). So who gets the blame ? Well I don't know if he was the creative force behind the project, but John Luongo was credited with the remixes ... as such, I'd point the finger at him. And ultimately you had to wonder why they'd bothered ... The original songs were simply too strong to totally redo, so Luongo and company were left to large fiddle around the edges adding needless disco effects here and there; none really making much of a difference. Bottom line for me was that with the possible exception of a bubbly arrangement on 'I Get High On You', none of these remixes was going to make you forget the originals. And what was with the ghastly cover photo ?
1.) Dance To the Music (Sylvester Stewart) - 6:37 The extended acapella opening to 'Dance To the Music' was actually intriguing, but then the arrangement slapped syndrums and a pseudo-disco feel on the song, which led to it quickly loosing most of its original charm. Stick with the original version. Naturally Epic tapped this one as a 12" single.
- 1979's 'Dance To The Music' b/w 'Sing A Simple Song' (Epic catalog number AS 675) rating: ** stars 2.) Sing a Simple Song (Sylvester Stewart) - 6:04 Probably he dullest of he seven tracks, 'Sing a Simple Song' added a bunch of those subtle disco-fied touches to the original arrangement - the most noticeable additions were a disco-fied bass line and beefing up the original Greg Errico drum track. The overall effect was bet described as negligible. rating: ** stars 3.) I Get High On You (Sylvester Stewart) - 5:50 Surrounded by far better know hits, 'I Get High On You' was an interested choice for a remix. Originally recorded for the 1975 "High On You" LP, this may be the one track that actually benefited from the remix effort, which as far as I can tell, seemingly only added a couple of innocuous handclaps the the original arrangement. rating: **** stars
(side 2) 1.) Everyday People (Sylvester Stewart) -5:58 'Everyday People' was probably the song given the most extensive remake. After the first 20 seconds or so, the basic melody finally kicked in and things returned to semi-normal. For what it was worth, the bouncy bass line really didn't add anything, nor did the unexpected mid-song guitar break. rating: ** stars 2.) You Can Make It If You Try (Sylvester Stewart) - 3:42 The original 'You Can Make It If You Try' never made much of an impression on me and the remix dos nothing to change that original feeling. rating: ** stars 3.) Stand! (Sylvester Stewart) - 6:16 'Stand!!' was stretched out and given a strange, lightweight disco feel that threatened to turn the song into the soundtrack for a rental car commercial. I always loved finger poppin' bass lines but this one made be think twice. Yech. rating: ** stars 4.) This Is Love (Sylvester Stewart) - 2:47 Maybe due to the fact it's original '50 doowop edge remained largely intact, 'This Is Love' was another track that emerged relatively unscathed. rating: *** stars
And as you've
probably figured out, the album was a critical and commercial
disaster. I can remember seeing piles of them reduced to 99 cents and
there were no takers. Guess there's landfill somewhere in New Jersey
with a big stash of these slowly decaying ...
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